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Post by thehightenor on Mar 11, 2024 1:20:01 GMT -6
Found this confirming the Optical INs on the Carbon are ADAT exclusively. (You can switch to spdif optical on the OUTS)…so I really don’t think I’d be able to get the digital signal back in from the Trinnov. ADAT is the only digital-in protocol on the unit. Mind boggling. And I think MTRX is the same, right? www.production-expert.com/production-expert-1/experts-name-their-audio-interface-choice“ How To Bring The Mac Mini Audio Into My Monitoring System - With my HD Omni and Mac Pro cheese-grater, I used an optical SPDIF cable from the optical out of my Mac Pro to the optical input of my HD Omni and then configured the HD Omni to route that through to my monitoring, enabling me to be able to monitor Pro Tools or any audio via the macOS like iTunes, Soundly etc without any switching. However, this is not an option with the MTRX Studio as although there are optical inputs they are exclusively ADAT ports and cannot be switched to SPDIF optical. Instead I used an instance of Dante Virtual Sound Card. My second requirement was for an audio interface with balanced audio and that is where the Focusrite 2i2 comes in.” I think AVID suffer a bit from the “Apple Island” mentality. You’ve bought Carbon - you’re now in paradise - there’s nothing else you need - so why provide any ability to connect to the rest of the world when your in “Avid paradise” There’s a certain arrogance to the approach of Apple and Avid - but they have an amazing track record and reputation and so they get away with it. And I get it in a way. If I was switch to Carbon, it would probably be because my days of using separate converters and monitor controllers were over and I’d be using a one stop solution. From what I’ve seen of Carbon it doesn’t appear to be something to intergrate into larger more complex set up - it’s more of a complete studio solution in a box - and in Carbon’s defence it does have a great feature set for the money. |
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Post by the other mark williams on Mar 11, 2024 2:38:31 GMT -6
Found this confirming the Optical INs on the Carbon are ADAT exclusively. (You can switch to spdif optical on the OUTS)…so I really don’t think I’d be able to get the digital signal back in from the Trinnov. ADAT is the only digital-in protocol on the unit. Mind boggling. And I think MTRX is the same, right? www.production-expert.com/production-expert-1/experts-name-their-audio-interface-choice“ How To Bring The Mac Mini Audio Into My Monitoring System - With my HD Omni and Mac Pro cheese-grater, I used an optical SPDIF cable from the optical out of my Mac Pro to the optical input of my HD Omni and then configured the HD Omni to route that through to my monitoring, enabling me to be able to monitor Pro Tools or any audio via the macOS like iTunes, Soundly etc without any switching. However, this is not an option with the MTRX Studio as although there are optical inputs they are exclusively ADAT ports and cannot be switched to SPDIF optical. Instead I used an instance of Dante Virtual Sound Card. My second requirement was for an audio interface with balanced audio and that is where the Focusrite 2i2 comes in.” That is just unreal |
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Post by Johnkenn on Mar 11, 2024 9:16:24 GMT -6
Found this confirming the Optical INs on the Carbon are ADAT exclusively. (You can switch to spdif optical on the OUTS)…so I really don’t think I’d be able to get the digital signal back in from the Trinnov. ADAT is the only digital-in protocol on the unit. Mind boggling. And I think MTRX is the same, right? www.production-expert.com/production-expert-1/experts-name-their-audio-interface-choice“ How To Bring The Mac Mini Audio Into My Monitoring System - With my HD Omni and Mac Pro cheese-grater, I used an optical SPDIF cable from the optical out of my Mac Pro to the optical input of my HD Omni and then configured the HD Omni to route that through to my monitoring, enabling me to be able to monitor Pro Tools or any audio via the macOS like iTunes, Soundly etc without any switching. However, this is not an option with the MTRX Studio as although there are optical inputs they are exclusively ADAT ports and cannot be switched to SPDIF optical. Instead I used an instance of Dante Virtual Sound Card. My second requirement was for an audio interface with balanced audio and that is where the Focusrite 2i2 comes in.” That is just unreal Major design flaw |
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Post by the other mark williams on Mar 11, 2024 9:34:20 GMT -6
I have a feeling it was intentional |
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Post by Quint on Mar 11, 2024 10:06:14 GMT -6
I have a feeling it was intentional So do I. |
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ericn
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Post by ericn on Mar 11, 2024 10:27:43 GMT -6
I have a feeling it was intentional Agree AVID has this history of delivering great products just below their top tier that is always crippled in some stupid way and forcing you to spend the big bucks to make it it work. For instance in this case JK could buy say an Otari Universal format converter or the like used for a pretty reasonable price, but so much for low latency. Of course the other part of this is that while not officially supported, HDX being able to use old digital 192’s is at least a reasonable way to add ADAT, AES/SPDIF or TDIF to an HDX rig. Of course AVID being AVID they have the option of closing that door at any update. |
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Post by notneeson on Mar 11, 2024 12:42:24 GMT -6
That is a pretty damn auspicious absence. Apropos of Eric's comment above, I'd love to have seen a digilink port on the Carbon too. Now that would really open the system up.
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Post by Quint on Mar 11, 2024 13:08:02 GMT -6
That is a pretty damn auspicious absence. Apropos of Eric's comment above, I'd love to have seen a digilink port on the Carbon too. Now that would really open the system up. I said the same thing about a Digilink when the Carbon came out, but it's Avid, so that's never going to happen. |
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Post by notneeson on Mar 11, 2024 13:15:07 GMT -6
That is a pretty damn auspicious absence. Apropos of Eric's comment above, I'd love to have seen a digilink port on the Carbon too. Now that would really open the system up. I said the same thing about a Digilink when the Carbon came out, but it's Avid, so that's never going to happen. Yeah, unless they are forced to change due to diminishing returns as other players eat up TAM. Look at UAD and their bargain basement native plugs. |
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Post by thehightenor on Mar 11, 2024 13:29:08 GMT -6
I said the same thing about a Digilink when the Carbon came out, but it's Avid, so that's never going to happen. Yeah, unless they are forced to change due to diminishing returns as other players eat up TAM. Look at UAD and their bargain basement native plugs. Avid have the professional market beyond pop and into post, film, commercial music (adverts) etc. Their penetration into the world of professional audio is deep! You can go from Pro Tools Intro on a kids lap to a $200,000 HDX system and control surfaces. No other DAW has that width to their market. I'm aware sat in my little project studio using an RME AES interface with a Faderport 16 and Cubase Pro 13 is essentially a posh "prosumer" solution. I do admire Avid in many ways, and if I could afford a "pro" Pro Tools rig I'd no doubt on one .... the system I want is way, way beyond my financial reach. |
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Post by notneeson on Mar 11, 2024 13:41:44 GMT -6
Yeah, unless they are forced to change due to diminishing returns as other players eat up TAM. Look at UAD and their bargain basement native plugs. Avid have the professional market beyond pop and into post, film, commercial music (adverts) etc. Their penetration into the world of professional audio is deep! You can go from Pro Tools Intro on a kids lap to a $200,000 HDX system and control surfaces. No other DAW has that width to their market. I'm aware sat in my little project studio using an RME AES interface with a Faderport 16 and Cubase Pro 13 is essentially a posh "prosumer" solution. I do admire Avid in many ways, and if I could afford a "pro" Pro Tools rig I'd no doubt on one .... the system I want is way, way beyond my financial reach. That’s the conventional wisdom. But what happened to music is happening to all those other markets. Meanwhile, private equity owns Avid and that’s a wild card. The current product offerings were probably all in motion before the sale. Things could get weirder. Or not. |
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Post by Shadowk on Mar 11, 2024 13:43:12 GMT -6
That’s the conventional wisdom. But what happened to music is happening to all those other markets. Meanwhile, private equity owns Avid and that’s a wild card. The current product offerings were probably all in motion before the sale. Things could get weirder. Or not. I mean, what ever happened to being the best at what you do? |
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kelk
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Post by kelk on Mar 11, 2024 15:50:28 GMT -6
I'm sure they had some s/pdif lying around their factory.. even their entry Mbox Studio has both adat and s/pdif ins and outs.
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Post by Johnkenn on Mar 11, 2024 16:12:00 GMT -6
You know - I think PT mutes feedback loops...so when I go Apollo dig out--Trinnov aes In--Trinnov aes out BACK into PT with Carbon, I got nothing. When I did the same but with the Apollo, I got feedback. Which now that I think about it makes sense. If I do those steps but go into a separate DA, it works great.
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ericn
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Post by ericn on Mar 11, 2024 16:21:51 GMT -6
Avid have the professional market beyond pop and into post, film, commercial music (adverts) etc. Their penetration into the world of professional audio is deep! You can go from Pro Tools Intro on a kids lap to a $200,000 HDX system and control surfaces. No other DAW has that width to their market. I'm aware sat in my little project studio using an RME AES interface with a Faderport 16 and Cubase Pro 13 is essentially a posh "prosumer" solution. I do admire Avid in many ways, and if I could afford a "pro" Pro Tools rig I'd no doubt on one .... the system I want is way, way beyond my financial reach. That’s the conventional wisdom. But what happened to music is happening to all those other markets. Meanwhile, private equity owns Avid and that’s a wild card. The current product offerings were probably all in motion before the sale. Things could get weirder. Or not. Nah the only thing AVID has to fear are their own poor choices and maybe Blackmagic/ Fairlight. Video is the market AVID controls the top of post, has done pretty well in ENG. it’s a buisness that needs a standard the standard is AVID. Blackmagic might make some in roads but a number of RED, Sony and Panasonic/ JVC houses view BLackmagic as less than pro. Add in the fact that in the one area in music where people do seam to make money, live AVID has it. |
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Post by thirdeye on Mar 11, 2024 16:38:25 GMT -6
You know - I think PT mutes feedback loops...so when I go Apollo dig out--Trinnov aes In--Trinnov aes out BACK into PT with Carbon, I got nothing. When I did the same but with the Apollo, I got feedback. Which now that I think about it makes sense. If I do those steps but go into a separate DA, it works great. Question - Why does the Trinnov go back into the Carbon? I've been trying to figure that out... |
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Post by the other mark williams on Mar 11, 2024 16:41:53 GMT -6
That’s the conventional wisdom. But what happened to music is happening to all those other markets. Meanwhile, private equity owns Avid and that’s a wild card. The current product offerings were probably all in motion before the sale. Things could get weirder. Or not. Nah the only thing AVID has to fear are their own poor choices and maybe Blackmagic/ Fairlight. Video is the market AVID controls the top of post, has done pretty well in ENG. it’s a buisness that needs a standard the standard is AVID. Blackmagic might make some in roads but a number of RED, Sony and Panasonic/ JVC houses view BLackmagic as less than pro. Add in the fact that in the one area in music where people do seam to make money, live AVID has it. There are no RED houses anymore, not as of last Friday. They're Nikon houses now, which makes no sense whatsoever. |
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Post by Johnkenn on Mar 11, 2024 16:54:39 GMT -6
You know - I think PT mutes feedback loops...so when I go Apollo dig out--Trinnov aes In--Trinnov aes out BACK into PT with Carbon, I got nothing. When I did the same but with the Apollo, I got feedback. Which now that I think about it makes sense. If I do those steps but go into a separate DA, it works great. Question - Why does the Trinnov go back into the Carbon? I've been trying to figure that out... It's after Apollo, so any changes it makes are only heard through the monitors. It has AD and DA - I need to try it - but I'd be shocked if this box had as good conversion as...my Apollo. |
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Post by thirdeye on Mar 11, 2024 17:18:34 GMT -6
Question - Why does the Trinnov go back into the Carbon? I've been trying to figure that out... It's after Apollo, so any changes it makes are only heard through the monitors. It has AD and DA - I need to try it - but I'd be shocked if this box had as good conversion as...my Apollo. Right!, I understand. I use Dirac with the digital version of the MiniDSP, so I can use different converters (MiniDSPs are not very good). But I've never run the mini DSP output back into Pro Tools, only to my monitors. I can't really understand why you would want the processed monitor signal back into Pro Tools. |
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Post by Shadowk on Mar 11, 2024 17:25:01 GMT -6
Question - Why does the Trinnov go back into the Carbon? I've been trying to figure that out... It's after Apollo, so any changes it makes are only heard through the monitors. It has AD and DA - I need to try it - but I'd be shocked if this box had as good conversion as...my Apollo. Going by spec's the D-Mon seems up there unlike the Nova. I would defo try it at least.. |
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Post by notneeson on Mar 11, 2024 17:25:37 GMT -6
That’s the conventional wisdom. But what happened to music is happening to all those other markets. Meanwhile, private equity owns Avid and that’s a wild card. The current product offerings were probably all in motion before the sale. Things could get weirder. Or not. Nah the only thing AVID has to fear are their own poor choices and maybe Blackmagic/ Fairlight. Video is the market AVID controls the top of post, has done pretty well in ENG. it’s a buisness that needs a standard the standard is AVID. Blackmagic might make some in roads but a number of RED, Sony and Panasonic/ JVC houses view BLackmagic as less than pro. Add in the fact that in the one area in music where people do seam to make money, live AVID has it. I mean, every commercial room I have ever worked in had an HD(X) rig (or like 30 of them, the one time I got to work at Skywalker) and that's still the case. It's not that I disagree or I'm saying the sky is falling. I just wonder about their future, PE is generally bad news. |
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Post by Johnkenn on Mar 11, 2024 18:18:54 GMT -6
It's after Apollo, so any changes it makes are only heard through the monitors. It has AD and DA - I need to try it - but I'd be shocked if this box had as good conversion as...my Apollo. Right!, I understand. I use Dirac with the digital version of the MiniDSP, so I can use different converters (MiniDSPs are not very good). But I've never run the mini DSP output back into Pro Tools, only to my monitors. I can't really understand why you would want the processed monitor signal back into Pro Tools. I might have misspoken. I just want to be able to monitor that signal when it returns to the interface. I might have mistakenly said Pro Tools. I think the problem is when you have to mirror analog 1-2 to the digital out, you’re monitoring what you’re sending back already…loop. When you send it to another DAC and that DAC is connected to the monitors, you’re hearing that. |
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ericn
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Post by ericn on Mar 11, 2024 20:13:37 GMT -6
Nah the only thing AVID has to fear are their own poor choices and maybe Blackmagic/ Fairlight. Video is the market AVID controls the top of post, has done pretty well in ENG. it’s a buisness that needs a standard the standard is AVID. Blackmagic might make some in roads but a number of RED, Sony and Panasonic/ JVC houses view BLackmagic as less than pro. Add in the fact that in the one area in music where people do seam to make money, live AVID has it. There are no RED houses anymore, not as of last Friday. They're Nikon houses now, which makes no sense whatsoever. See I’m to far removed from video, it gives RED access to one hell of a dealer network and allows Nikon to re- establish their pro reputation. |
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ericn
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Post by ericn on Mar 11, 2024 20:28:12 GMT -6
Nah the only thing AVID has to fear are their own poor choices and maybe Blackmagic/ Fairlight. Video is the market AVID controls the top of post, has done pretty well in ENG. it’s a buisness that needs a standard the standard is AVID. Blackmagic might make some in roads but a number of RED, Sony and Panasonic/ JVC houses view BLackmagic as less than pro. Add in the fact that in the one area in music where people do seam to make money, live AVID has it. I mean, every commercial room I have ever worked in had an HD(X) rig (or like 30 of them, the one time I got to work at Skywalker) and that's still the case. It's not that I disagree or I'm saying the sky is falling. I just wonder about their future, PE is generally bad news. I’m not disagreeing, but every other possible buyer was equally bad or worse. Any other buyer would have wanted parts of the pie, but what actually makes AVID work is the intergration of the parts. |
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Post by Shadowk on Mar 13, 2024 8:58:25 GMT -6
Urrf, do you know. So, Pro Tools + Carbon doesn't support Sonoma (also there's issues with Ilok etc.) and I'm after a new Mac M2 Mini.. Apple pretty much said if it's not supported in the latest OS don't buy one as you can't downgrade them. Strictly speaking that's not correct, you can download the .DMG and use a bootloader but still.
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