Carbon addresses the main issue facing the recording musician: latency. Anyone who wants to record live musicians using a Digital Audio Workstation must deal with the latency that is inherent in the digital recording process. The bottom line is that you want the performer to experience the immediacy that you would get with analogue recording.
But in any native system, lowering the latency comes at a price: the lower the latency, the less processing power you have for your mixes. One of the benefits of the flagship Pro Tools HDX system has always been that you have both power and low-latency on-demand because the HDX DSP chips are dedicated to the task of processing audio. Carbon now brings that workflow to every Pro Tools user with the Pro Tools Hybrid Engine. With the Hybrid Engine, the mixer is running natively but at any time you can switch tracks from Native Mode to DSP Mode to enable low latency recording and monitoring without having to leave the Pro Tools application.
Carbon was designed from the ground up with the recording musician in mind and we haven’t cut any corners when it comes to sound quality. Our converters have four ADCs per channel, providing 126 dB of dynamic range. From input, to the HDX DSPs, and into Pro Tools, the entire gain structure works at 32-bit precision, providing more headroom without any signal degradation.
Clocking is also a critical part of the design. Our clock features a double-resolution implementation of the patented JetPLL jitter elimination technology for the best possible audio integrity.
Carbon’s eight mic pre-amps are a padless design and are the most transparent preamps we’ve ever made, With Variable Z built in, you can adjust input impedance to optimize or alter the tone of any microphone or instrument—from dynamic and ribbon mics, to guitars and bass.
For more information, visit avid.com/carbon
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