DSP Mode Vs Native Mode

[BScout]

It's the reason why "auto low latency" can now be disabled on input/record tracks (blue mode)

When you put a track into input/record, latency compensation is turned off on that track so it has the lowest latency for tracking. But all the other tracks are still latency compensated. At this point, tracks are misaligned.
When that record/input track is taken out of input/record, it goes back to being latency compensated like all the other tracks so it is back in time.

If you turn off latency compensation completely, then all tracks (whether in input/record or not) are not compensated so overall, the audio is more "aligned." It's not actually in time (if you did some parallel compression, it would have issues) but it is closer aligned in time than some tracks having zero latency compensation (record/input tracks) and some tracks being correctly/fully latency compensated.

Of course, though, this is the wrong way and my original suggestion is the right way to be accurate because putting into "blue mode" keeps all tracks actually aligned. It also, however, increases latency on record tracks (because they have to have the same latency buffer as the most delayed track, due to processing/routing, in your session.)

("Blue mode" is just hovering your mouse pointer over the lowest 1/3 of the delay compensation numbers in the mixer window and right click and you'll see "auto low latency mode" option to turn it off. When you turn it off, the delay compensation number turns blue on that track for when the track is in record/input.)

[darkwavo]

Originally Posted by BScout

It's the reason why "auto low latency" can now be disabled on input/record tracks (blue mode)

When you put a track into input/record, latency compensation is turned off on that track so it has the lowest latency for tracking. But all the other tracks are still latency compensated. At this point, tracks are misaligned.
When that record/input track is taken out of input/record, it goes back to being latency compensated like all the other tracks so it is back in time.

If you turn off latency compensation completely, then all tracks (whether in input/record or not) are not compensated so overall, the audio is more "aligned." It's not actually in time (if you did some parallel compression, it would have issues) but it is closer aligned in time than some tracks having zero latency compensation (record/input tracks) and some tracks being correctly/fully latency compensated.
Of course, though, this is the wrong way and my original suggestion is the right way to be accurate because putting into "blue mode" keeps all tracks actually aligned. It also, however, increases latency on record tracks (because they have to have the same latency buffer as the most delayed track, due to processing/routing, in your session.)

("Blue mode" is just hovering your mouse pointer over the lowest 1/3 of the delay compensation numbers in the mixer window and right click and you'll see "auto low latency mode" option to turn it off. When you turn it off, the delay compensation number turns blue on that track for when the track is in record/input.)

I’m confused.
So what is the default method for overdubbing in sync.?

[darkwavo]

Originally Posted by darkwavo

I’m confused.
So what is the default method for overdubbing in sync.?

Ugggh. Maybe I need an HDX system. All these latency / sync problems make things so unmusical. Maybe I just get a tape machine and little mixer again.

[BScout]

Originally Posted by darkwavo

I’m confused.
So what is the default method for overdubbing in sync.?

A player is playing to what they hear but they don't want latency on hearing what they are playing. So everything not in record is latency compensated but the tracks in record are NOT latency compensated.
That's the default.

It's also why when doing complex record dates, we (at least in my world) do NOT track against live mixes. You print it down so there's nothing on the tracks except audio playback. Then there's no latency anyway for pre-records/previous records.

However, in a mix, if you are not using aux tracks and are using audio tracks in input, you need to disable auto-latency. Which is why this mode exists. Otherwise those audio tracks will be not compensated.

As for tracking with processing and no latency -- you can only have one. Processing takes time. So if you want to run a live mix you have to live with latency on the record track. If your headphone/cue mix feed is before hitting Pro Tools, then the player won't notice. If it is after going through Pro Tools, then the player is going to hear latency on their own stuff. You could also set up dual paths -- one latency compensated and one just a loop back to the player. The latency compensated one would go to the control room monitoring and the loopback would go back to headphones for the player.

[Kyle Splittgerber]

Originally Posted by ReynaldoPena

The only track that is DSP enabled is the one I am ready to record on. They are also on a bus to my effects channel. I just disabled delay compensation, things get worst with delay compensation disabled. Do you think it's possible that my product may be defective?

I also notice that while I'm able to monitor my mic without pro tools, I can only hear my Roland FA 06 through my Digital Audio Workstation. The Carbon is set to the proper channel, input and volume--still, no sound unless I'm on a DAW. I ask because If I use the Apollo Twin X mk2 quad, it'll let me hear what I am playing whether I am on or NOT on Pro Tools. There Is signal, I can see the notes from the instrument input on the Carbon channel but no sound is coming out of my monitors.

Will you post a link (i.e. Dropbox) to a simple session along with a screen capture where you explain the problem you're seeing? That will help. Also, please update to 2021.6 and check the behavior there to see if it's any different. Thanks.

[darkwavo]

Originally Posted by BScout

A player is playing to what they hear but they don't want latency on hearing what they are playing. So everything not in record is latency compensated but the tracks in record are NOT latency compensated.
That's the default.

It's also why when doing complex record dates, we (at least in my world) do NOT track against live mixes. You print it down so there's nothing on the tracks except audio playback. Then there's no latency anyway for pre-records/previous records.

However, in a mix, if you are not using aux tracks and are using audio tracks in input, you need to disable auto-latency. Which is why this mode exists. Otherwise those audio tracks will be not compensated.

As for tracking with processing and no latency -- you can only have one. Processing takes time. So if you want to run a live mix you have to live with latency on the record track. If your headphone/cue mix feed is before hitting Pro Tools, then the player won't notice. If it is after going through Pro Tools, then the player is going to hear latency on their own stuff. You could also set up dual paths -- one latency compensated and one just a loop back to the player. The latency compensated one would go to the control room monitoring and the loopback would go back to headphones for the player.

Isn’t this the point of the hybrid engine on carbon to have 2 paths, one with latency compensation on the mix, and the ultra low latency path for dsp enabled track when recording and monitoring an overdub?
The problem Still remains that the latency compensated mix reference will blindly be out of sync with the ultra low latency monitor overdub.
Am I getting it right here guys ???

[Will Russell]

There is some helpful information here:
https://www.avid.com/resource-center/hdx-hybrid-engine

On a Pro Tools carbon or HDX system, with the hybrid engine, you should not be experiencing the problems you describe. The system is designed to automatically compensate for latency and deliver a low latency monitoring path while in record while remaining in sync with the existing recorded tracks. If you turn off delay compensation then you are turning off these features that maintain synchronization while in or out of record mode.

Perhaps the problem you were experiencing with latency is due to your playback buffer being set to high? Do you have it set for 1024 or something like that? If so, try knocking it down to its lowest level and see if you still have a problem..

Otherwise I would suggest contacting avid tech-support to troubleshoot your problem.

[BScout]

Originally Posted by darkwavo

one with latency compensation on the mix, and the ultra low latency path for dsp enabled track when recording and monitoring an overdub?
The problem Still remains that the latency compensated mix reference will blindly be out of sync with the ultra low latency monitor overdub.
Am I getting it right here guys ???

Yes. This is right. And as you can see, this is not a problem that can be solved by anything (unless we change the laws of space and time)

• Latency compensated mix reference (tracks latency compensated)
• Ultra-low latency record path (which means NOT latency compensated because that would add delay)

So those 2 things will be misaligned during tracking but once out of record, will be aligned. If you don't run a live mix (or, generally, use DSP plugins), the difference will be inconsequential.
If you put the record track into blue mode (auto low latency off) it disables the "ultra-low latency record path" and allows it to be delay compensated like all the other mix tracks.