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Post by notneeson on Mar 7, 2024 11:18:13 GMT -6
It's not bad in low latency mode, what I'm finding is it's best to get a pre-production mix going (with either HW or DSP plugs) with the hybrid engine until you're at the stage where overdubs are done then flip if you need to (or if it's down the line hybrid will just bypass the plugs causing latency). Pro Tools will compensate for Midi & VST latency so even though it's slower than most interfaces I'm not finding any issues with the output latency for VSTi synths etc. alone..
Guitar sims that require an RTT are exactly as I expected, crap.. Not an issue if you've got an AXE FX, Tonex or real amps etc. though and one thing I'm going to try next week is re-amping as a HW insert via my Suhr.
Seems to me that the HDX systems in PT assume that you're going to be "tracking" and then "mixing" as distinct stages. More the old school way of doing things versus what I call the Prince way of doing things. So to Shadow's point, as long as you kind of separate your workflow into tracking / overdubs / mixing you swerve around most of the weird idiosyncrasies and bugs in PT. I can't believe I'm defending ProTools but... here we go, I'll say it. I think a lot of the complaints about ProTools are from people familiar with other DAW's who are trying to make it work the way other DAW's work. Then they get upset when it doesn't cuz it wasn't made to do things that way. (Fwiw, a lot of the ProTools users who don't like Cubase or S1 or whatever have the same problem in reverse.) I am intimately familiar with HD and HDX, but no experience with Carbon. Here's something interesting, I have not tried this w/ HDX, but on a TDM rig you can run native plugins super low latency IF you put a TDM plugin first in the chain. Not sure that trick would work with Carbon and I haven't tried it in years, so there may be caveats. But the idea that I'm not going to overdub at the mix stage is just, not in the cards. Right now it IS a tiny hassle with PT Vanilla and a 3rd party interface because I am sending my mix out to the Silver Bullet and Back in. Not a huge PITA, but I am still figuring out the path of least resistance in terms of workflow. |
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Post by enlav on Mar 7, 2024 11:31:53 GMT -6
I am intimately familiar with HD and HDX, but no experience with Carbon. Here's something interesting, I have not tried this w/ HDX, but on a TDM rig you can run native plugins super low latency IF you put a TDM plugin first in the chain. Not sure that trick would work with Carbon and I haven't tried it in years, so there may be caveats. But the idea that I'm not going to overdub at the mix stage is just, not in the cards. Right now it IS a tiny hassle with PT Vanilla and a 3rd party interface because I am sending my mix out to the Silver Bullet and Back in. Not a huge PITA, but I am still figuring out the path of least resistance in terms of workflow. Regarding TDM > RTAS - Interesting. I know I had the opposite effect going RTAS to TDM, it makes sense that it would induce needless delay, but I guess at that point I sort of stopped using RTAS until I was done with principle tracking.
Regarding overdubs in PT Vanilla - I've found my personal path of least resistance is running overdub tracks straight to the master (assuming any HW inserts are on a submaster), and tossing them into their respective "mix" channels after. It's not ideal for me, but it gets the track down with less noticeable delay. Sometimes it can be an issue if the overdub sounds 'right' going in, but once it has the same processing as the rest of your mix, some things start to surface.
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Post by damoongo on Mar 7, 2024 11:42:42 GMT -6
Can you print a mix in both "Hybrid" and "not hybrid" mode. (Same session, same everything.) Then do a null test. Silence?
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Post by notneeson on Mar 7, 2024 12:09:49 GMT -6
I am intimately familiar with HD and HDX, but no experience with Carbon. Here's something interesting, I have not tried this w/ HDX, but on a TDM rig you can run native plugins super low latency IF you put a TDM plugin first in the chain. Not sure that trick would work with Carbon and I haven't tried it in years, so there may be caveats. But the idea that I'm not going to overdub at the mix stage is just, not in the cards. Right now it IS a tiny hassle with PT Vanilla and a 3rd party interface because I am sending my mix out to the Silver Bullet and Back in. Not a huge PITA, but I am still figuring out the path of least resistance in terms of workflow. Regarding TDM > RTAS - Interesting. I know I had the opposite effect going RTAS to TDM, it makes sense that it would induce needless delay, but I guess at that point I sort of stopped using RTAS until I was done with principle tracking.
Regarding overdubs in PT Vanilla - I've found my personal path of least resistance is running overdub tracks straight to the master (assuming any HW inserts are on a submaster), and tossing them into their respective "mix" channels after. It's not ideal for me, but it gets the track down with less noticeable delay. Sometimes it can be an issue if the overdub sounds 'right' going in, but once it has the same processing as the rest of your mix, some things start to surface.
Yeah, my inserts are indeed on a submaster. Thanks for your input. |
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Post by subspace on Mar 7, 2024 14:17:16 GMT -6
And for my next trick I’m going to hook up two Alesis Adat XT’s to my Carbon via light pipe and record! 😆 It just might sound a little warmer😆 That’s right, I said it, ADATS!😆 When I first got my Carbon, I tried just about every 115 plugins that came with it just messing around with just the plugins. I was surprised, then when I plugged in my outboard it sounded like a record🤟🏻 I am surprised on how good the preamps sound. 2nd time I actually used preamps in an interface. My experience with the Apollo 8p wasn't as good, however it is older tech and not apples to apples. And to be more specific, I really forgot about all the other interfaces on the market since I got the Carbon. I’m happy and it took me a while to think about either going HDX or Carbon. Then when Avid was acquired it made me hesitant again about going with a Carbon Pre8, almost bought another Carbon before the PRE8 was released. Glad I waited, but does it really matter whether you get another Carbon or get a PRE8? I would think it would integrate the same? The Carbon does cost more, however can you do 8 headphones cues? Or does it just stop at 4? These are questions Ive yet to research and find out. No, I run two full Carbons, the second one is booted into Pre mode (hold the input button at boot) so Carbon Central will see it as a Pre expansion to the first unit. It simply adds 8 i/o with the preamps/line/DI, the HP/monitor/adat i/o are unused. Alto was selling Carbons off last summer without software for under $2k, I think they didn't realize they could be used as expander units, as that feature was added via firmware update shortly before that. |
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Post by Shadowk on Mar 7, 2024 14:39:17 GMT -6
Seems to me that the HDX systems in PT assume that you're going to be "tracking" and then "mixing" as distinct stages. More the old school way of doing things versus what I call the Prince way of doing things. So to Shadow's point, as long as you kind of separate your workflow into tracking / overdubs / mixing you swerve around most of the weird idiosyncrasies and bugs in PT. I can't believe I'm defending ProTools but... here we go, I'll say it. I think a lot of the complaints about ProTools are from people familiar with other DAW's who are trying to make it work the way other DAW's work. Then they get upset when it doesn't cuz it wasn't made to do things that way. (Fwiw, a lot of the ProTools users who don't like Cubase or S1 or whatever have the same problem in reverse.) I am intimately familiar with HD and HDX, but no experience with Carbon. Here's something interesting, I have not tried this w/ HDX, but on a TDM rig you can run native plugins super low latency IF you put a TDM plugin first in the chain. Not sure that trick would work with Carbon and I haven't tried it in years, so there may be caveats. But the idea that I'm not going to overdub at the mix stage is just, not in the cards. Right now it IS a tiny hassle with PT Vanilla and a 3rd party interface because I am sending my mix out to the Silver Bullet and Back in. Not a huge PITA, but I am still figuring out the path of least resistance in terms of workflow. I'm replying to both you and Gravesnumber, whole point of Carbon or HDX is not to do that. If you can't punch in via the DSP mixer what's the point of it? You can have an entire mix and overdub with with next to zero latency with LL mode and it's smart enough to ask if you want it when you arm record. The only real difference between Carbon and HDX is the 8 DSP cores instead of 18 and it's less of a headache when you flip native, you still have the same issues with VSTI's in HDX.
Right, so this more for GN as you've got a lot of Pro Tools experience Neeson. If you were to punch in a vocal Pro Tools will automatically (unless you put it in safe mode) disable any native plugins and anything downstream as well (on busses, sends etc.). If there's an AAX DSP version available it'll run on the DSP host, HDX does not do this and it can run into latency issues.! Carbon is per track, HDX is per instance (of course there is a paid hybrid engine upgrade of course).
If you cue mix with DSP it should be 0.7ms from entry to exit (for monitoring). When we get to VSTI's however that's a different matter and it affects Carbon as much as HDX, although because it's a midi sysem there is no real reason IME to overdub (unless they messed up the track completely but that wouldn't be an overdub but a retake). If something needs correcting pop open the score editor, fix it, freeze the track and all headache's dissapear (I do this native as well, some VSTI's are damn heavy even with a 32 core Ryzen or 16 core Intel running at 32 samples). With offline bouncing and a computer not powered by a slug this really shouldn't be an issue, if I remember correctly it takes 30 - 40 seconds on my 2018 MBP to freeze a drum VSTI split out to multiple tracks on a 4 minute long song.
Carbon is mainly for tracking because simply put native has become far superior for mixing, I think even Avid got the message on this one because the hybrid system exists. Also I have quite a bit of HW, external effects and because of that HDX is just not worth my time in the slightest. What I wanted is a part of HDX but not the rest.. You're going to want some DSP AAX plugins or you're stuck with stock Pro Tools stock, when Pro Tools bypasses them it doesn't leave you with much..
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Post by Shadowk on Mar 7, 2024 14:45:48 GMT -6
Oh on a side note I just started taking a deep look at the PA plugs (I've skimmed before) all the AAX DSP plugs are all on sale, there's a ton of amp sims etc. for DSP.. With a hybrid setup including HW I'm not too worried about using a couple of BX plugs in places although there is a lot of different options, more than I'd thought. Interesting..
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Post by subspace on Mar 7, 2024 15:23:44 GMT -6
I picked up the Plugin Alliance 2022 bundle when they had an end of year offer on the full catalog. This was the list I made with sample delay values listed in parenthesis for DSP mode, then native value after:
All Bundle 2022
AAX DSP/Native
ACME Audio Opticom XLA-3 (66) 32*
ADA STD-1 Stereo Tapped Delay (34) 0*
AMEK EQ 200 (66) 32*
AMEK EQ 250 (66) 32*
AMEK Mastering Compressor (66) 32*
Black Box HG-2 (66) 32*
Black Box HG-2MS (66) 32*
Brainworx bx_2098 EQ (34) 0*
Brainworx bx_cleansweep Pro (50) 16*
Brainworx bx_console AMEK 9099 (34) 0*
Brainworx bx_console Focusrite SC (34) 0*
Brainworx bx_console N (34) 0*
Brainworx bx_console SSL 4000 E (34) 0*
Brainworx bx_console SSL 4000 G (34) 0*
Brainworx bx_console SSL 9000 J (34) 0*
Brainworx bx_digital V3 (34) 0*
Brainworx bx_hybrid V2 (34) 0*
Brainworx bx_limiter (338) 304*
Brainworx bx_limiter True Peak (354) 320*
Brainworx bx_masterdesk (338) 304*
PA FREE bx_masterdesk Classic (338) 304*
Brainworx bx_opto (34) 0*
Brainworx bx_panEQ (34) 0*
Brainworx bx_refinement (66) 32*
Brainworx bx_saturator V2 (46) 12*
Brainworx bx_shredspread (34) 0*
Brainworx bx_stereomaker (34) 0*
PA FREE bx_subfilter (34) 0*
Brainworx bx_subsynth (34) 0*
Brainworx bx_townhouse Buss Compressor (34) 0*
elysia alpha compressor (66) 32*
elysia karakter (66) 32*
elysia mpressor (66) 32*
elysia museq (66) 32*
elysia nvelope (66) 32*
PA FREE niveau filter (50) 16*
Knif Audio Soma (66) 32*
Looptrotter SA2RATE 2 (66) 32*
Maag Audio EQ2 (34) 0*
Maag Audio EQ4 (34) 0*
Maag Audio Magnum-K (34) 0*
Millenia TCL-2 (34) 0*
Noveltech Character (34) 0*
Noveltech Vocal Enhancer (34) 0*
ProAudioDSP DSM V3 (83) 49*
Purple Audio MC 77 (66) 32*
Shadow Hills Mastering Compressor (34) 0*
Shadow Hills Mastering Compressor Class A (66) 32*
SPL Attacker Plus (34) 0*
SPL De-Esser (34) 0*
SPL De-Esser Dual-Band (34) 0*
SPL De-Verb Plus (34) 0*
SPL EQ Ranger Plus (34) 0*
PA FREE Free Ranger (34) 0*
SPL IRON (34) 0*
SPL Mo-Verb Plus (34) 0*
SPL Passeq (50) 16*
SPL PQ (66) 32*
SPL Transient Designer
SPL Transient Designer Plus (34) 0*
SPL TwinTube (66) 32*
SPL Vitalizer MK2-T (50) 16*
Vertigo VSC-2 (34) 0*
Vertigo VSM-3 (66) 32*
Ampeg B-15N (34) 0*
Ampeg SVT-3PRO (34) 0*
Ampeg SVT-VR (34) 0*
Ampeg SVT-VR Classic (34) 0*
Ampeg V-4B (34) 0*
Brainworx bx_bassdude (34) 0*
Brainworx bx_blackdist2 (34) 0*
Brainworx bx_bluechorus2 (34) 0*
Brainworx bx_distorange (34) 0*
Brainworx bx_greenscreamer (34) 0*
Brainworx bx_megadual (34) 0*
Brainworx bx_megasingle (34) 0*
Brainworx bx_metal2 (34) 0*
Brainworx bx_opto Pedal (34) 0
Brainworx bx_rockergain100 (34) 0*
Brainworx bx_rockrack V3 (34) 0*
PA FREE bx_rockrack V3 Player (34) 0
Brainworx bx_tuner (34) 0*
Brainworx bx_yellowdrive (34) 0*
Diezel Herbert (34) 0*
ENGL Savage 120 (34) 0*
Friedman BE-100 (34) 0*
Friedman Buxom Betty (34) 0*
Friedman DS-40 (34) 0*
Fuchs Overdrive Supreme 50 (34) 0*
Fuchs Train II (34) 0*
Gallien-Krueger 800RB (34) 0*
Suhr PT100 (34) 0*
Suhr SE100 (34) 0*
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Post by Shadowk on Mar 7, 2024 17:01:37 GMT -6
Keep the info rolling, so I just signed up to a PA sub for a year. I mean once I added up the cost of 5 plugs I thought might as well..
One or two of the plugs didn't work, glad I didn't buy them. What was surprising is for me personally at least I could run an entire mix on Carbon, I'm used to a 24 channel desk with 4 Aux's so that's exactly how I ran it. Listened to quite a few plugs and I thought the BX 4000G channel strip is one of the best out the lot, I do kinda get where Dan is coming from a bit..
Anywho, I stress tested it. Ran 28 channels of SSL 4000 G channel strip (4 of those were busses), three instances of SPL De-esser for main / backing. When it comes to delay's or reverbs I'm not sure why you'd have these in AAX-DSP format because there's going to be a pre-delay anyway so it really doesn't matter if it's a bit out of time. Anyway added a couple of delays, then I ran out of things to add so I put a BX mastering limiter on an aux and that took up an entire chip nearly (75% of a core). Even so, I've got two entire cores left.. And Hmmm. Quite a bit of breathing room I guess.
You're not going to run an orchestral metal mix on this or a hundred layers of dialogue, if you're doing rock bands, pop etc. and put an ounce of thought into it instead of creating a seperate track and three aux's for someone to go woooo I think you'd be absolutely fine. Plugin dependant of course, well this opened up another avenue.. Using it just like HDX with my HW inserts.
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Post by guitfiddler on Mar 7, 2024 17:31:40 GMT -6
Keep the info rolling, so I just signed up to a PA sub for a year. I mean once I added up the cost of 5 plugs I thought might as well.. One or two of the plugs didn't work, glad I didn't buy them. What was surprising is for me personally at least I could run an entire mix on Carbon, I'm used to a 24 channel desk with 4 Aux's so that's exactly how I ran it. Listened to quite a few plugs and I thought the BX 4000G channel strip is one of the best out the lot, I do kinda get where Dan is coming from a bit.. Anywho, I stress tested it. Ran 28 channels of SSL 4000 G channel strip (4 of those were busses), three instances of SPL De-esser for main / backing. When it comes to delay's or reverbs I'm not sure why you'd have these in AAX-DSP format because there's going to be a pre-delay anyway so it really doesn't matter if it's a bit out of time. Anyway added a couple of delays, then I ran out of things to add so I put a BX mastering limiter on an aux and that took up an entire chip nearly (75% of a core). Even so, I've got two entire cores left.. And Hmmm. Quite a bit of breathing room I guess. You're not going to run an orchestral metal mix on this or a hundred layers of dialogue, if you're doing rock bands, pop etc. and put an ounce of thought into it instead of creating a seperate track and three aux's for someone to go woooo I think you'd be absolutely fine. Plugin dependant of course, well this opened up another avenue.. Using it just like HDX with my HW inserts. This is interesting, I didn’t sign up for PA because it wasn’t compatible with M1 at the time I was researching it. The plugs use the DSP in the Carbon? |
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Post by notneeson on Mar 7, 2024 18:07:49 GMT -6
I am intimately familiar with HD and HDX, but no experience with Carbon. Here's something interesting, I have not tried this w/ HDX, but on a TDM rig you can run native plugins super low latency IF you put a TDM plugin first in the chain. Not sure that trick would work with Carbon and I haven't tried it in years, so there may be caveats. But the idea that I'm not going to overdub at the mix stage is just, not in the cards. Right now it IS a tiny hassle with PT Vanilla and a 3rd party interface because I am sending my mix out to the Silver Bullet and Back in. Not a huge PITA, but I am still figuring out the path of least resistance in terms of workflow. I'm replying to both you and Gravesnumber, whole point of Carbon or HDX is not to do that. If you can't punch in via the DSP mixer what's the point of it? You can have an entire mix and overdub with with next to zero latency with LL mode and it's smart enough to ask if you want it when you arm record. The only real difference between Carbon and HDX is the 8 DSP cores instead of 18 and it's less of a headache when you flip native, you still have the same issues with VSTI's in HDX.
Right, so this more for GN as you've got a lot of Pro Tools experience Neeson. If you were to punch in a vocal Pro Tools will automatically (unless you put it in safe mode) disable any native plugins and anything downstream as well (on busses, sends etc.). If there's an AAX DSP version available it'll run on the DSP host, HDX does not do this and it can run into latency issues.! Carbon is per track, HDX is per instance (of course there is a paid hybrid engine upgrade of course).
If you cue mix with DSP it should be 0.7ms from entry to exit (for monitoring). When we get to VSTI's however that's a different matter and it affects Carbon as much as HDX, although because it's a midi sysem there is no real reason IME to overdub (unless they messed up the track completely but that wouldn't be an overdub but a retake). If something needs correcting pop open the score editor, fix it, freeze the track and all headache's dissapear (I do this native as well, some VSTI's are damn heavy even with a 32 core Ryzen or 16 core Intel running at 32 samples). With offline bouncing and a computer not powered by a slug this really shouldn't be an issue, if I remember correctly it takes 30 - 40 seconds on my 2018 MBP to freeze a drum VSTI split out to multiple tracks on a 4 minute long song.
Carbon is mainly for tracking because simply put native has become far superior for mixing, I think even Avid got the message on this one because the hybrid system exists. Also I have quite a bit of HW, external effects and because of that HDX is just not worth my time in the slightest. What I wanted is a part of HDX but not the rest.. You're going to want some DSP AAX plugins or you're stuck with stock Pro Tools stock, when Pro Tools bypasses them it doesn't leave you with much..
Yes, use HD and HDX all the time. Was referring to my personal native PT rig in the above. |
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Post by Shadowk on Mar 7, 2024 18:10:54 GMT -6
This is interesting, I didn’t sign up for PA because it wasn’t compatible with M1 at the time I was researching it. The plugs use the DSP in the Carbon? They do, I've added a couple more and I'm running out now. I recon I could 30 tracks out of this before it caves? In real world mixing when you have some HW I wouldn't do this anyway but I'm stress testing.  |
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Post by Shadowk on Mar 7, 2024 18:43:16 GMT -6
Can you print a mix in both "Hybrid" and "not hybrid" mode. (Same session, same everything.) Then do a null test. Silence? I shall give it a go.. |
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Post by the other mark williams on Mar 8, 2024 15:41:51 GMT -6
Can you tell what the RTL is on the Carbon when it's working with a different DAW on a Mac (and hence, using Core Audio instead of the Pro Tools driver)? If either of you (or anybody else with a Carbon) could do that, wow that would be amazing. I'm wondering what it is at 32/64/128/256 buffers (and on what machine, of course).
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Post by Shadowk on Mar 8, 2024 16:05:34 GMT -6
Can you tell what the RTL is on the Carbon when it's working with a different DAW on a Mac (and hence, using Core Audio instead of the Pro Tools driver)? If either of you (or anybody else with a Carbon) could do that, wow that would be amazing. I'm wondering what it is at 32/64/128/256 buffers (and on what machine, of course).
I'll not be back in till the weekend but I'll give it a go at 32, 64 & 128 @ 44.1Khz & 96Khz, Logic should report the I/O latency. Sound reasonable? |
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Post by subspace on Mar 8, 2024 16:12:09 GMT -6
Can you tell what the RTL is on the Carbon when it's working with a different DAW on a Mac (and hence, using Core Audio instead of the Pro Tools driver)? If either of you (or anybody else with a Carbon) could do that, wow that would be amazing. I'm wondering what it is at 32/64/128/256 buffers (and on what machine, of course).
I measured it when I first got it, December 2020, and Gig Performer 3 measured the round trip latency at 2.8ms with a 128 buffer (96k). That was a 2014 MBP running Catalina. Carbon uses Core Audio FYI, it just registers an additional -reserved for Pro Tools- device plus the regular Core Audio device. So it can share the Carbon between all your native apps at the same time Pro Tools is routed to it. |
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Post by Johnkenn on Mar 8, 2024 16:47:06 GMT -6
So. Got home and realized I need a damn dsub to make trs snake. Shit.
Also realized there’s not a Spdif or aes connection on it…so not sure how I’m going to get it to work with the Trinnov.
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Post by the other mark williams on Mar 8, 2024 16:48:39 GMT -6
Can you tell what the RTL is on the Carbon when it's working with a different DAW on a Mac (and hence, using Core Audio instead of the Pro Tools driver)? If either of you (or anybody else with a Carbon) could do that, wow that would be amazing. I'm wondering what it is at 32/64/128/256 buffers (and on what machine, of course).
I measured it when I first got it, December 2020, and Gig Performer 3 measured the round trip latency at 2.8ms with a 128 buffer (96k). That was a 2014 MBP running Catalina. Carbon uses Core Audio FYI, it just registers an additional -reserved for Pro Tools- device plus the regular Core Audio device. So it can share the Carbon between all your native apps at the same time Pro Tools is routed to it. Awesome! Thanks for all this! |
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Post by the other mark williams on Mar 8, 2024 16:49:04 GMT -6
Can you tell what the RTL is on the Carbon when it's working with a different DAW on a Mac (and hence, using Core Audio instead of the Pro Tools driver)? If either of you (or anybody else with a Carbon) could do that, wow that would be amazing. I'm wondering what it is at 32/64/128/256 buffers (and on what machine, of course).
I'll not be back in till the weekend but I'll give it a go at 32, 64 & 128 @ 44.1Khz & 96Khz, Logic should report the I/O latency. Sound reasonable? Thanks so much, Danny! (Also, I PMd you...)
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Post by the other mark williams on Mar 8, 2024 16:57:07 GMT -6
So. Got home and realized I need a damn dsub to make trs snake. Shit. Also realized there’s not a Spdif or aes connection on it…so not sure how I’m going to get it to work with the Trinnov. You talking about a Carbon? Did you go get one?
I'm just realizing now that I was completely wrong about the S/PDIF - shit. I thought I saw a pic of one on the back. Sorry, John. Totally my bad. 
I wonder if you could go ADAT ----> AES through a converter box for the Trinnov?
EDIT: and regarding DSub to TRS snake, there are some very affordable options out there that work absolutely fine. I've got several here for interfacing with my patchbay from my Metric Halo (which is all DSubs...)
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Post by subspace on Mar 8, 2024 17:01:44 GMT -6
So. Got home and realized I need a damn dsub to make trs snake. Shit. Also realized there’s not a Spdif or aes connection on it…so not sure how I’m going to get it to work with the Trinnov. The optical can switch to SPDIF stereo if you can lay hands on one of those optical>copper SPDIF converter boxes... |
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Post by Johnkenn on Mar 8, 2024 17:15:29 GMT -6
So. Got home and realized I need a damn dsub to make trs snake. Shit. Also realized there’s not a Spdif or aes connection on it…so not sure how I’m going to get it to work with the Trinnov. You talking about a Carbon? Did you go get one? I'm just realizing now that I was completely wrong about the S/PDIF - shit. I thought I saw a pic of one on the back. Sorry, John. Totally my bad. I wonder if you could go ADAT ----> AES through a converter box for the Trinnov?
EDIT: and regarding DSub to TRS snake, there are some very affordable options out there that work absolutely fine. I've got several here for interfacing with my patchbay from my Metric Halo (which is all DSubs...)
I thought it did too. Let me know where the cheap snakes are... |
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Post by Johnkenn on Mar 8, 2024 17:15:57 GMT -6
Anyone have any clue why I'm not seeing it on my network after connecting the AVB cable?
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Post by Shadowk on Mar 8, 2024 17:19:29 GMT -6
So. Got home and realized I need a damn dsub to make trs snake. Shit. Also realized there’s not a Spdif or aes connection on it…so not sure how I’m going to get it to work with the Trinnov. Only for the line out's (not monitor out), it's a DB-25 Tascam pinout snake you need for Carbon. I bought a custom set (TRS Socket) because I wanted it to mimic my MOTU cabling layout from here:
As for the Trinnov that supports analog I/O right? I'm not sure which version you have but if it's the Nova it looks straight forward, if it's the D-Mon it looks like it will require another DB25 for the inputs.
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Post by Johnkenn on Mar 8, 2024 17:23:21 GMT -6
So. Got home and realized I need a damn dsub to make trs snake. Shit. Also realized there’s not a Spdif or aes connection on it…so not sure how I’m going to get it to work with the Trinnov. Only for the line out's (not monitor out), it's a DB-25 Tascam pinout snake you need for Carbon. I bought a custom set (TRS Socket) because I wanted it to mimic my MOTU cabling layout from here: As for the Trinnov that supports analog I/O right? I'm not sure which version you have but if it's the Nova it looks straight forward, if it's the D-Mon it looks like it will require another DB25 for the inputs.
Yeah...but I want to keep it digital and not use the Trinnov's analog path if possible. |
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