Quote:
Originally Posted by chrisdee
Yes that was the goal of my request.
I've become acustomed to track vocals/guitar dry (except hardware preamp and compressor) analog by sending a signal from my Avid Omni pres sends to my Presonous HP60 headphone amp and mix that signal with the output from Omni line out 3-4 into Input A on my HP60. This way I get latency free recording.
I also can easily and quickly control the mix between these to sources to individual taste.
The main reason for this setup is the dreaded "blast/explosion of white noise" issue I had in earlier versions of Pro Tools. Luckily it's not been a problem for many years but it still hunts me in the back of my mind. The terrible blast was so loud that I'm afaid it has damaged my hearing. It was especially loud the way I tracked befor (through Pro Tools).
To avoid distorting the input by turning the recording Pro Tools track channel up by 6 to 9 dB to be able to hear myself properly I rather had to turn every other track down by 6 to 9 db (leave the recording channel at 0 db) and turn up the headphone volume to compensate. I guess you can imagin how the white noise blast sounds 9 db louder directly into my ears.
So with Carbon since it's 32bit will it be possible to turn up just the recording track (in the Pro Tools mixer) while tracking (6 to 9 db) wihout it distorting like it does on my Omni and Mbox 3 Pro befor that?
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The Hybrid Engine integrates that entire low latency monitoring workflow into Pro Tools, which is why it's such a joy to track with Carbon. You no longer need external mixing hardware nor a standalone router/mixer app. I definitely hear you on noise bursts. Yuck! We prioritize any noise issues very high and address them asap if they ever crop up. That said, with digital audio there is always some risk. Putting limiters on all monitoring paths can help. Hardware limiters can also help, but that gets cumbersome. Ultimately, it's a user choice. But, our goal with Carbon is to make the best possible tracking experience we can. Keeping you immersed in the Pro Tools environment is key to that goal.
Carbon inputs are very high headroom. So, it's easy to track at a lower input gain, then increase PT fader gain, without clipping.