Recording Level and UAD Monitoring

[jbandes]

I am using the latest version of Pro Tools to record a bunch of Reel to Reels. I am inputting the Reel to Reel output into a Universal Audio 8P AD/DA converter and using the UAD Console software. I am using a Unison Solid State Logic SSL 4000 E Channel strip and an EQ and Delay and have the Low Latency and Delay Compensation checked in protools.

This lets the monitoring go through the UAD Console and boy does it sound amazing. I have 2 questions.

First has to do with the Stereo Channel levels. They are not equal. I cant seem to figure out a way to balance them while recording. Should I just record them as they are off of the Reel to Reel (a bit out of balance) I am speaking about the recording levels - They are not the same. Should I just record them this way and not worry about it during the recording phase. I guess I could make them even later after recording when I go to bounce the tracks using a plugin.

My second questions is a bit more complicated.

I have some hardware Compressors and EQ devices connected and in Protools I followed the instructions about moving the I/O for the first 4 channels over and setting what goes out on 3 for example comes back on 3 and what goes out on 4 comes back on 4. (Hardware Insert Directions)

This works fine and the hardware units can now be inserted as an I/O plugin. The challenge is if I do the monitoring through the UAD Console and check the two settings Low Latency and Delay Compensation in Protools, I can of course hear all of the UAD plugins in the console as you would expect but what if I want to add some other plugins that are not UAD in protools? With the Low Latency and Delay Compensation checked I can only hear what is inserted in the UAD Console and these are of course only UAD plugins.

If I uncheck these options, I can then hear both the Protools Plugins and the UAD plugins but I thought the whole idea of using UAD Console was to eliminate all latency.

Perhaps I am being too clinical and this is how its supposed to work but with the Protools options checked and taking advantage of the zero latency of UAD I can either use the zero latency monitoring in UAD but then have to use only UAD plugins or I can uncheck these options and montior both but not at zero latency.

If I uncheck these options in Protools I can then hear both but have latency. Small and manageable but I am just trying to figure out if this is how its supposed to work.

Seems to be either zero latency using UAD monitoring but only UAD plugins or both Protools and UAD plugins with Monitoring in Protools and some Latency.

Is this just how its supposed to work?

Thanks

[BScout]

For your second question, that's how it works. LLM (low latency monitoring) means you use your audio interface's monitoring system and don't do the loop through Pro Tools (which goes through an input and output buffer; which means latency.) But that also means you can't use PT plugins, for obvious reasons, while monitoring.

This is why HDX still exists (but once again, you couldn't use UAD plugins without latency; you only use AAX-DSP plugins to limit latency)

[Led]

You can just record the balance way it is, then fix it in Protools afterwards.You can use a plugin, or once recorded, use 'split into mono' and then use clip gain to turn up the lower track to match. Once that's done, create a stereo track, highlight both reel to reel recording tracks and drag them onto the stereo track and they'll be joined again.

Re low latency i wouldn't care, it doesn't matter for what you are doing. Analog hardware on inserts will always introduce latency that can't be compensated for while recording because it's going through 3 stages of conversion - one to get into PT in the first place then another to get out of PT to the outboard then another to get back into PT .If you want low latency while recording you need to patch the reel to reel into the analog outboard then into the uad.

[musicman691]

If this is reclamation of what's on the tapes then there's a few things I would do to help matters along. The first would be to do a degauss of the deck's heads - make sure the tapes are FAR away from the degausser. Second - clean the tape heads , rollers and capstan(s). Third check the azimuth alignment of the heads.

[jbandes]

Thank you everyone. Makes sense that this is how it works. I need to read up on how to adjust the latency offset when I use the Analouge hardware. This will sound strange but I actually prefer the sound of the UAD SSL 4000 E plugin better than the Warm Audio WA76 and the Warm Audio WA273- EQ. I think it may just be because of what I am currently doing (Reel to Reel tape digitizing to WAV file format). I must say that the in the box approach really has come a very long way.

Thanks too for the Mono and back to Stereo idea to balance the tracks that is a brilliant idea

Thanks everyone

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