Continually tabbing back and forth between two separate mixer windows is a pain in the neck, and the monitor balance and signal conditioning you apply in the DSP mixer won’t be heard on playback.Ī hybrid system combines aspects of both approaches. Because this mixer isn’t part of the recording software, however, its benefit comes at a cost. This implements a mixer that allows inputs to be auditioned with minimal latency, independently of what’s going on in the DAW. You might be able to do your initial tracking at a low buffer size with inaudible delay but what happens when you decide to add that last‑minute percussion overdub to an already busy mix?įor this reason, almost all audio interfaces incorporate DSP, or a functional equivalent. But in a native system, issues of latency are never far away. Doing so has obvious workflow advantages, and lets us hear those signals through plug‑ins. In an ideal world, we’d audition input signals and set up cue mixes in the same software we use for recording. To understand what that means, we need to consider the role that digital signal processing plays in audio interfaces. Instead, Avid describe Pro Tools | Carbon as a ‘hybrid’ system. It’s neither a PCIe system, nor a Thunderbolt or USB device and, although it has DSP that can run plug‑ins, it’s emphatically not a cut‑down HDX rig. What’s even bigger news, though, is that Carbon is far from being a conventional audio interface. Pro Tools | Carbon is thus big news because it marks Avid’s return to the project‑studio interface market. Seemingly, they’ve been content to offer native Pro Tools as a software‑only package, with users taking their pick from the wide range of third‑party USB, Thunderbolt or PCIe hardware available. The native version can work with any audio interface that has ASIO or Core Audio drivers, but this is a market sector that Avid themselves haven’t occupied for many years. This guarantees low latency and consistent performance levels, as well as massive I/O counts where these are needed. Larger configurations require Pro Tools HDX cards, which have hardware DSP to handle audio mixing, processing and routing. Home‑ and project‑studio owners typically use the software‑only version, in which all processing takes place on the host computer. Ultimate licence owners will receive an additional year of updates included in the price.Avid’s innovative ‘hybrid’ audio interface promises to banish latency for good.įrom the humblest bedroom studio to the grandest scoring stage, you’ll find Pro Tools everywhere. Pro Tools Carbon includes the Avid Complete Plugin bundle, as well as seven software instruments and an Avid Pro Tools licence. Used in combination with Pro Tools 2020.11, it allows you to offload locally processed channels onto the HDX chips allowing to increase channel counts and processing power without the need for a separate HDX card. The Pro Tools Carbon also includes 9 TI DSP chips offering built-in HDX operation. Using the years of experience gained using the AVB protocol on their Venue range of live consoles, Avid now brings this technology to the studio. The AVB protocol ensures low latency and superior synchronisation of your data with data prioritisation to ensure no data loss during transfer. The Avid Pro Tools Carbon uses the Audio Video Bridge (AVB) protocol to connect to your system via ethernet instead of Avid’s usual Mini DigiLink connectors. It provides an ideal all-in-one portable recording setup, giving you the performance of Pro Tools’ Flagship HDX system in a convenient 1U package. The Avid Pro Tools Carbon connects to your computer or network via ethernet and can offload some processing directly onto the built-in DSP without needing an HDX DSP card. It has eight preamps (4 with variable impedance), four headphone outs, two hi-z inputs and up to 4 pairs of monitor outs. The Avid Pro Tools Carbon is an 8x8 AVB interface with ADAT.
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