Pro Tools | Carbon
Systems Guide
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PRO TOOLS
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CARBON
PRO TOOLS | CARBON Systems Guide
Legal Notices
© 2023 Avid Technology, Inc., (“Avid”), all rights reserved. This guide may not be duplicated in whole or in part without the written consent of Avid.
For a current and complete list of Avid trademarks visit: www.avid.com/legal/trademarks-and-other-notices.
Bonjour, the Bonjour logo, and the Bonjour symbol are trademarks of Apple Computer, Inc.
Thunderbolt and the Thunderbolt logo are trademarks of Intel Corporation in the U.S. and/or other countries.
This product may be protected by one or more U.S. and non-U.S. patents. Details are available at www.avid.com/patents.
Product features, specifications, system requirements, and availability are subject to change without notice.
This product incorporates JetPLL™ clocking technologies, used under license from Sonopsis. JetPLL™ designs are covered by Sonopsis copyright and/or multiple
patents. The JetPLL™ word and logo are trademarks of Sonopsis. More information can be found at the JetPLL.info website: http://JetPLL.info.
Confidential unpublished works. Copyright 2023 Dolby Laboratories. All rights reserved.
Dolby, Dolby Atmos, and the double-D symbol are registered trademarks of Dolby Laboratories Licensing Corporation.
Guide Part Number 9329-66481-00 REV B 7/23
Safety Instructions
Read and Keep these Instructions
Product Safety Warning
Important Safety Instructions
1 Read these instructions.
2 Keep these instructions.
3 Heed all warnings.
4 Follow all instructions.
5 Do not use this equipment near water.
6 Clean only with dry cloth.
7 Do not block any ventilation openings. Install in accordance with the manufacturer’s instructions.
8 Do not install near any heat sources such as radiators, heat registers, stoves, or other equipment (including amplifiers) that pro- duce
heat.
9 Protect power cords from being walked on or pinched particularly at plugs, convenience receptacles, and the point where they exit
from the equipment.
10 Only use attachments/accessories specified by the manufacturer.
11 For products that are not rack-mountable: Use only with a cart, stand, tripod, bracket, or table specified by the manufacturer, or sold
with the equipment. When a cart is used, use caution when moving the cart/equipment combination to avoid injury from tip-over.
12 Unplug this equipment during lightning storms or when unused for long periods of time.
13 Refer all servicing to qualified service personnel. Servicing is re- quired when the equipment has been damaged in any way, such as
power-supply cord or plug is damaged, liquid has been spilled or objects have fallen into the equipment, the equipment has been exposed to rain or moisture, does not operate normally, or has been dropped.
14 For products that are a Mains powered device:
The equipment shall not be exposed to dripping or splashing and no objects filled with liquids (such as vases) shall be placed on the
equipment.
WARNING! To reduce the risk of fire or electric shock, do not expose this equipment to rain or moisture.
ATTENTION! Pour réduire les risques d'incendie ou d'électrocution, n'exposez pas cet équipement à la pluie ou à l'humidité.
Pro Tools | Carbon Systems Guide iii
Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other.
A grounding type plug has two blades and a third grounding prong. The wide blade or the third prong are provided for your safety. If
the provided plug does not fit into your outlet, consult an electrician for replacement of the obsolete outlet.
15 For products containing a lithium battery:
WARNING! Danger of explosion if battery is incorrectly replaced. Replace only with the same or equivalent type.
ATTENTION! Risque d'explosion si la batterie n'est pas remplacée correctement. Remplacez uniquement par un type identique
ou équivalent. Jetez les piles usagées conformément aux instructions.
16 For products with a power switch: It should remain accessible after installation.
17 The equipment shall be used at a maximum ambient temperature of 40' C.
18 This unit is provided with a power supply cord set suitable for 120V AC input only (for U.S.A. and Canada). For other than
U.S.A. and Canada, a qualified person must provide for use with this unit, an appropriate, approved power supply cord set which is in
compliance with the end use country requirements and has a minimum cross-sectional area of 1.0mm2.
19 For products with more than one power cord:
WARNING! This unit has more than one power supply cord. Discon- nect two power supply cords before servicing to avoid
electrical shock.
ATTENTION! Cet appareil comporte plus d’un cordon d’alimenta- tion. Afin de prévenir les chocs électriques, débrancher les
deux cor- dons d’alimentation avant de faire le dépannage.
20 For products with an operator-accessible fuse:
CAUTION: For continued protection against risk of fire, replace only with same type and rating of fuse.
ATTENTION: Pour ne pas compromettre la protection contre les risques d’incendie, remplacer par un fusible de même type et
de même caractéristiques nominales.
Rack-Mount Safety Instructions
1 Elevated Operating Ambient— If installed in a closed or multi-unit rack assembly, the operating ambient temperature of the rack en-
vironment might be greater than room ambient. There- fore, consider installing the equipment in an environment compatible with the
maximum ambient temperature (Tma) specified by the manufacturer.
2 Reduced Air Flow— Installation of the equipment in a rack should be such that the amount of air flow required for safe operation of
the equipment is not compromised. Make allowances for cooling air to be available to the front panel surface and no restrictions at
the rear.
3 Mechanical Loading— Mounting of the equipment in the rack should be such that a hazardous condition is not achieved due to un-
even mechanical loading.
4 Circuit Overloading— Consideration should be given to the connection of the equipment to the supply circuit and the effect that over-
loading of the circuits might have on over-current protection and supply wiring. Appropriate consideration of equipment nameplate
ratings should be used when addressing this concern.
5 Reliable Earthing— Reliable Earthing of rack-mounted equipment should be maintained. Particular attention should be given to sup-
ply connections other than direct connections to the branch circuit (for example, use of power strips).
LED Safety Notices
Avid hardware might contain LED or Laser devices for communication use. These devices are compliant with the requirements for
Class 1 LED and Laser Products and are safe in the intended use. In normal operation the output of these laser devices does not exceed
the exposure limit of the eye and cannot cause harm.
Pro Tools | Carbon Systems Guide iv
Environmental Compliance
Proposition 65 Warning
Warning
to cause cancer and birth defects or other reproductive harm. For more information go to www.P65Warnings.ca.gov.
This product can expose you to chemicals including Pb and Pb compounds, which is known to the State of California
Perchlorate Notice
This product may contain a lithium coin battery. The State of California requires the following disclosure statement: “Perchlorate Material—special handling may apply, see www.dtsc.ca.gov/hazardous waste/perchlorate.”
Recycling Notice
Disposal of Waste Equipment by Users in the European Union
This symbol on the product or its packaging indicates that this product must not be disposed of with other waste. Instead, it is your responsibility to dispose of your waste equipment by handing it over to a designated collection point for the recycling of waste electrical
and electronic equipment. The separate collection and recycling of your waste equipment at the time of disposal will help conserve natural resources and ensure that it is recycled in a manner that protects human health and the environment. For more information about
where you can drop off your waste equipment for recycling, please contact your local city recycling office or the dealer from whom you
purchased the product.
EMC (Electromagnetic Compliance)
Avid declares that this product complies with the following standards:
• FCC Part 15 Class A
• ICES-003 Class A
• EN 55032 Class A
• AS/NZS CISPR 32 Class A
• CISPR32 Class A
• EN 61000-3-2
• EN 61000-3-3
• EN 55035
FCC Notice: Class A Equipment
This equipment has been tested and found to comply with the limits for a Class A digital device, pursuant to Part 15 of the FCC rules.
These limits are designed to provide reasonable protection against harmful interference when the equipment is operated in a commercial
environment. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with
the instructions, may cause harmful interference to radio communications. Operation of this equipment in a residential area is likely to
cause harmful interference, in which case the user will be required to correct the interference at personal expense.
Pro Tools | Carbon Systems Guide v
Cables
Connections to Avid hardware must be made with shielded cables with metallic RFI/EMI connector hoods in order to maintain compliance with FCC Rules and Regulations.
Any modifications to the unit, unless expressly approved by Avid, could void the user's authority to operate the equipment.
Canadian ICES-003 Class A Notice
This Class A digital apparatus complies with Canadian ICES-003.
Cet appareil numérique de la classe A est conforme à la norme NMB-003 du Canada.
Australian Compliance
Korean EMC Compliance
Safety Compliance
This equipment has been tested to comply with USA, Canadian, EU and International safety certification standards: UL 60065:2015,
CAN/CSA C22.2 No. 60065:16, IEC/EN 60065:2014 (8th Edition), UL 62368-1:2014, CAN/CSA 62368-1-14 and IEC/EN
62368-1:2014 (2nd Edition).
Avid Technology Inc., has been authorized to apply the appropriate NRTL mark on its compliant equipment.
Power Safety Input Rating
Regulatory Model Number (RMN) 9100-74077: AC~100-240V, 50-60Hz, 1.0A
United Kingdom Compliance
(EMC, Safety, and RoHS)
Avid Tech. EU LTD
20 Station Road
Gerrards Cross
England SL9 8EL
CE Compliance
(EMC, Safety and RoHS)
Avid is authorized to apply the CE (Conformite Europenne) mark on this compliant equipment thereby declaring conformity to EMC
Directive 2014/30/EU, Low Voltage Directive 2014/35/EU and RoHS Recast Directive 2011/65/EU.
Pro Tools | Carbon Systems Guide vi
Contents
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Pro Tools | Carbon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Pro Tools | Carbon Pre. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Pro Tools | Carbon Expanded Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
System Requirements and Compatibility Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Conventions Used in Pro Tools Documentation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Resources. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Installation and Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
What’s in the Box? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Rack Mounting Pro Tools | Carbon and Pro Tools | Carbon Pre Units . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Connecting Cables. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Register your Pro Tools | Carbon or Carbon Pre . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Download Documentation and Software. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Starting Up or Shutting Down Your System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Avid Carbon Central . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Launch Avid Carbon Central . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Configuring Avid Carbon Central . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Clocking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
AVB Configuration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Device Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Firmware Update . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Avid Carbon Central in the macOS Menu Bar. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Pro Tools | Carbon Front Panel Operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Pro Tools | Carbon Front Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Configuring Inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Device Reset. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Custom Brightness . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Pro Tools | Carbon Back Panel Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Pro Tools | Carbon Back Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Digital I/O Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Analog I/O Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Footswitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Pro Tools | Carbon Pre Front Panel Operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Pro Tools | Carbon Pre Front Panel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Configuring Inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Device Reset. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Pro Tools | Carbon Systems Guide vii
Pro Tools | Carbon Pre Back Panel Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Pro Tools | Carbon Pre Back Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Digital I/O Connections. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Analog I/O Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Configuring Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Launch Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Playback Engine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Hardware Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
I/O Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Surround Monitoring . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Analog Monitoring with Digital Metering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
DSP Mode for Low-Latency Monitoring . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Enabling DSP Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Enabling DSP Mode Safe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Indicators for DSP Plug-ins, Inserts, Sends, and Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
System Usage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
DSP Mode Preferences. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Workflow Example: Recording in DSP Mode for Low-Latency Monitoring . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
Tips for Using DSP Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Pro Tools Mic Preamps Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Mic Preamps View. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Mic Preamps View Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Pro Tools | Carbon Pre Mic Preamps Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
Pro Tools | Carbon Pre Standalone Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
ADAT Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
AD->DA Mode (8-channel Mic Preamp) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
Standalone AVB Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Appendix A. Specifications. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Audio Specifications for Pro Tools | Carbon. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Audio Specifications for Pro Tools | Carbon Pre . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Synchronization and Network Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
Mechanical Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
Environmental Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Appendix B. Core Audio Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
AVB Connections and Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
Generic Core Audio I/O. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Reserved for Pro Tools. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
AVB Device Configuration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
AVB Channel to Physical I/O Mappings for the Pro Tools | Carbon: I/O Device . . . . . . . . . . . . . . . . . . . . . . . . . . 79
AVB Channel to Physical I/O Mappings for the Pro Tools | Carbon Pre: I/O Device . . . . . . . . . . . . . . . . . . . . . . . 81
Pro Tools | Carbon Pre Signal Routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
Pro Tools | Carbon Systems Guide
viii
Appendix C. Pin Out Diagrams . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
Ethernet, RJ45 Connector, Gigabit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
DB25 Pin Out Connections Channels 1–8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
Appendix D. Network Port Usage. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Required Access for Normal Operation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Access for Customer Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Network Security . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Appendix E. Running Carbon in Carbon Pre Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
Pro Tools | Carbon Systems Guide
ix
Introduction
Welcome to Pro Tools | Carbon™ by Avid®. Pro Tools | Carbon systems include Pro Tools | Carbon, Pro Tools | Carbon Pre, and
Pro Tools | Carbon Expanded systems. You can use Pro Tools | Carbon by itself with Pro Tools or other third-party Core Audio–compatible audio software. Pro Tools | Carbon Pre can be used as an audio interface, or as a standalone 8-channel mic pre or ADAT AD/DA
converter. You can also add up to two Pro Tools | Carbon Pre units to a Pro Tools | Carbon unit in a Pro Tools | Carbon Expanded system
(configured using Avid Carbon Central software).
Pro Tools | Carbon
Pro Tools | Carbon is a versatile multi-channel audio interface for use with Pro Tools® Studio and Pro Tools Ultimate™ software or
other Core Audio–compatible software. It provides exceptional AD/DA audio conversion with 8 mic/line inputs (combo XLR/TRS or
DB25), 2 instrument inputs (TS), 8 line outputs (DB25), 2 dedicated outputs for stereo monitoring (TRS), 4 independent headphone outputs, an integrated talkback mic, ADAT
plug-ins.
™
I/O, Word Clock, AVB, and dedicated HDX DSP for low-latency monitoring with AAX DSP
Pro Tools | Carbon Features
Pro Tools | Carbon provides:
• Up to 192 kHz
• 32-bit AD/DA conversion
• Low latency tracking workflows with on-board HDX DSP
• 8 analog preamp inputs with
• Variable Z (impedance) on INST inputs 1–2 (front panel)
• Variable Z (impedance) on MIC inputs 5–8 (back panel)
• 8 line inputs (DB25 or TRS 1/4-inch) with
• True preamp bypass option
• 18 channels of digital-to-analog conversion
• 8 line outputs (DB25)
• Dedicated stereo (L–R) monitor outputs (TRS 1/4-inch)
• 4 stereo headphone outputs
• Multichannel ADAT I/O:
• 16 channels ADAT at 44.1/48 kHz
• 8 channels ADAT at 88.2/96 kHz
• 4 channels ADAT at 176.4/192 kHz
• Stereo Optical S/PDIF I/O at 44.1/48 kHz and 88.2/96 kHz
• Word Clock I/O
Introduction
1
• 8 channel I/O metering
• Stereo and surround monitor output metering
• Front panel control over monitor sets, headphone outputs, input channel settings, input and output metering, and talkback mic
• Integrated talkback mic
• Footswitch input (to toggle talkback on and off; footswitch not included)
• Gigabit AVB-capable Ethernet (100’ maximum cable length)
Included Software, Plug-ins, and Sound Libraries
With your purchase and registration of Pro Tools | Carbon you are entitled to a Pro Tools subscription with support, free effects and instrument plug-ins, and sound libraries.
For complete, detailed information about what you get with Pro Tools | Carbon, visit www.avid.com/carbon-support.
Pro Tools | Carbon Pre
Pro Tools | Carbon Pre is a versatile multi-channel audio interface for use with Pro Tools Studio and Pro Tools Ultimate™ software or
other Core Audio–compatible software. It provides exceptional AD/DA audio conversion with 8 mic/line inputs (combo XLR/TRS or
DB25), 2 instrument inputs (TS), 8 line outputs (DB25), ADAT I/O, Word Clock, and AVB. You can use up to two Carbon Pre units
in a Pro Tools | Carbon Expanded system for additional I/O.
In a Pro Tools | Carbon Expanded system, each Pro Tools | Carbon Pre provides an additional 8 channels of audio I/O, and when used
with Pro Tools can each take advantage of the DSP in your Pro Tools | Carbon. Pro Tools | Carbon Pre can also function as a standalone
8-channel analog microphone preamp or as a standalone ADAT AD/DA converter. Additionally, you can use Pro Tools | Carbon Pre
as an AVB interface with thrid-party AVB Core Audio–compatible audio software.
Pro Tools | Carbon Pre Configurations
Pro Tools | Carbon Pre can be used in the following system configurations:
• To provide additional I/O in a Pro Tools | Carbon Expanded system (up to two Carbon Pre units)
• As a standalone AD/DA converter (ADAT mode)
• As a standalone 8-channel microphone preamp (ADAT mode and AD->DA mode)
• As an AVB audio interface with Pro Tools or any other Core Audio–compatible DAW
Pro Tools | Carbon Pre Features
Pro Tools | Carbon Pre provides:
• Sample rates up to 192 kHz
• 32-bit AD/DA conversion
• 8 analog preamp inputs with
• Variable Z (impedance) on INST inputs 1–2 (front panel)
• Variable Z (impedance) on MIC inputs 5–8 (back panel)
Introduction
2
• 8 line inputs (DB25 or TRS 1/4-inch) with true preamp bypass capability
• 8 line outputs (DB25)
• Multichannel ADAT I/O:
• 16 channels ADAT at 44.1/48 kHz
• 8 channels ADAT at 88.2/96 kHz
• 4 channels ADAT at 176.4/192 kHz
ADAT I/O is not available in Pro Tools with Pro Tools | Carbon Pre when it is part of a Pro Tools | Carbon Expanded system.
However, ADAT I/O remains available on the Pro Tools | Carbon primary device in a Pro Tools | Carbon Expanded system.
• Stereo Optical S/PDIF input (auto-detected) at 44.1/48 kHz and 88.2/96 kHz
• Word Clock I/O
• 8 channel I/O metering
• Front panel control over input channel settings, and input and output metering
• Gigabit AVB-capable Ethernet (100’ maximum cable length)
Pro Tools | Carbon Expanded Systems
You can expand your Pro Tools | Carbon system by adding up to two Pro Tools | Carbon Pre units for additional I/O. Each
Pro Tools | Carbon Pre provides an additional 8-channels of audio I/O at all sample rates, and when used with Pro Tools they can take
advantage of the HDX DSP in your Pro Tools | Carbon unit. Avid Carbon Central software is required to setup you Carbon Expanded
system (see Avid Carbon Central).
System Requirements and Compatibility Information
Pro Tools | Carbon is compatible with Pro Tools and Pro Tools | Ultimate 2020.11 or later. Pro Tools | Carbon Pre is compatible with
Pro Tools Studio and Pro Tools Ultimate 2022.10 or later in a Pro Tools | Carbon Expanded system or as a standalone AVB Core Audio
interface with any tier of Pro Tools 2022.10 or later. Pro Tools is not required when using Carbon Pre as a standalone 8-channel microphone preamp or standalone ADAT AD/DA converter. Carbon Pre can also be used as an audio interface with other Core Audio–compatible DAWs.
For detailed Pro Tools | Carbon system requirements, visit www.avid.com/carbon-support.
For complete Pro Tools system requirements and a list of qualified computers, operating systems, hard drives, peripherals, and
third-party devices, visit www.avid.com/compatibility.
Avid can only assure compatibility and provide support for hardware and software it has tested and approved.
For a complete list of optimizations for your Pro Tools computer, visit: Pro Tools Computer Optimizations.
If your computer only has Thunderbolt
In the unlikely event that you experience audio drop-outs with your Pro Tools | Carbon system as an AVB-audio interface, try disabling
Wi-Fi on the Mac and reduce the Mac temperature by increasing airflow.
™
ports, an Avid-qualified AVB-capable Thunderbolt to Ethernet adapter is required.
Introduction
3
Conventions Used in Pro Tools Documentation
Pro Tools documentation uses the following conventions to indicate menu choices, keyboard commands, and mouse commands:
:
Convention Action
File > Save Choose Save from the File menu
Command+N Hold down the Command key and press the N key
Command-click Hold down the Command key and click the mouse button
Right-click Click with the right mouse button
The names of Commands, Options, and Settings that appear on-screen are in a different font.
The names of physical controls on Pro Tools | Carbon are in displayed
in bold text.
Hyper-links and cross-reference links are displayed in blue text.
The following symbols are used to highlight important information:
User Tips are helpful hints for getting the most from your Pro Tools system.
Important Notices include information that could affect your Pro Tools session data or the performance of your Pro Tools system.
Shortcuts show you useful keyboard or mouse shortcuts.
Cross References point to related sections in this guide and other Avid documentation.
Resources
The Avid website (www.avid.com) is your best online source for information to help you get the most out of your Avid system.
Account Activation and Product Registration
Activate your product to access downloads in your Avid account (or quickly create an account if you do not have one). Register your
purchase online, download software, updates, documentation, and other resources.
www.avid.com/account
Support and Downloads
Contact Avid Customer Success (technical support), download software updates and the latest online manuals, browse the Compatibility documents for system requirements, search the online Knowledge Base or join the worldwide Avid user community on the User Conference.
www.avid.com/learn-and-support
Training and Education
Study on your own using courses available online, find out how you can learn in a classroom setting at an Avid-certified training center,
or view video tutorials and webinars.
www.avid.com/learning
Introduction
4
Video Tutorials
The Get Started Fast with Pro Tools series of online videos provide tutorials to help if you are new to Pro Tools. Videos for the expe-
rienced user that introduce new features found in the latest versions of Pro Tools are also available.
www.avidblogs.com/get-started-fast-with-pro-tools
View Pro Tools Tech Tips on YouTube for the latest tips and tricks with Pro Tools.
For Pro Tools | Carbon–specific tutorials, visit www.avid.com/carbon-support.
Products and Developers
Learn about Avid products, download demo software, or learn about our Development Partners and their plug-ins, applications, and
hardware.
www.avid.com/products
Avid Store
Visit the Avid store for plug-ins and control surfaces to extend the capabilities of your Pro Tools | Carbon system.
shop.avid.com
For more information about specific AAX Native/DSP plug-ins for use with Pro Tools | Carbon and Carbon Expanded systems in
DSP Mode, visit www.avid.com/products/pro-tools-carbon/included-plugins.
Introduction
5
Installation and Setup
Installing and setting up a Pro Tools | Carbon, Pro Tools | Carbon Pre, or Pro Tools | Carbon Expanded system all involve similar steps:
1 Unpack the Pro Tools | Carbon or Pro Tools | Carbon Pre units from the box: see What’s in the Box?
2 Rack mount your Pro Tools | Carbon and/or Pro Tools | Carbon Pre unit(s) (optional).
3 Connect cables: see Connecting Cables.
4 Register your Pro Tools | Carbon and/or Pro Tools | Carbon Pre unit(s): see Register your Pro Tools | Carbon or Carbon Pre.
5 Download and install Avid Carbon Central, PDF documentation, and other software: see Download Documentation and Software.
6 Launch and configure Avid Carbon Central software: see Avid Carbon Central.
7 Launch and configure Pro Tools (included with Pro Tools | Carbon, or purchased separately): see Configuring Pro Tools.
What’s in the Box?
Before you get started installing Pro Tools | Carbon or Carbon Pre, unpack the box, which contains the following:
• Pro Tools | Carbon or Pro Tools | Carbon Pre audio interface
• Power cable
• Ethernet cable (CAT6)
• 4 rack mount screws with washers
• 4 adhesive rubber pads
• Registration card with redemption code, QR code, and serial number
• Warranty Claims Information card
• Avid Health and Safety Guide
Keep the Registration card on hand to register your Pro Tools | Carbon or Pro Tools | Carbon Pre, and access software, sound libraries
(Pro Tools | Carbon only), and documentation and software downloads.
Set the cables aside until you are ready to start making cable connections. Remove Pro Tools | Carbon or Pro Tools | Carbon Pre from
the box and packaging, and place it on a hard, dry surface.
Rack Mounting Pro Tools | Carbon and Pro Tools | Carbon Pre Units
If you install Pro Tools | Carbon and/or Pro Tools | Carbon Pre units into a 19-inch rack, you can use the included rack mount screws
and washers. Pro Tools | Carbon and Pro Tools | Carbon Pre units, as with all Avid audio interfaces, need room at the front and back of
the unit to maintain proper air flow for cooling. Do not block the front or back of the unit, or disconnect the internal fan. It is also recommended that you rack Carbon and Carbon Pre devices with space between them to avoid overheating. If the unit is rack mounted in
a case, remove the case lids or doors before operating the system. Failure to do so can result in the unit overheating, which can permanently damage sensitive components.
If you decide to not install Pro Tools | Carbon or Pro Tools | Carbon Pre in a rack, you can affix the included adhesive rubber pads to
the bottom of the unit to protect whatever surface you decide to set it on (for example, if you decide to use it as a desktop unit).
Installation and Setup
6
Connecting Cables
Once you have installed Pro Tools | Carbon and/or Pro Tools | Carbon in a rack (optional), you are ready to start connecting cables. The
cable connections you make will depend on how you plan to configure your Carbon system: as an audio interface with Pro Tools or another DAW, as part of a Pro Tools | Carbon Expanded system, or when using Pro Tools | Carbon Pre as a standalone 8-channel microphone preamp or as an ADAT AD/DA converter.
Use high-quality, properly shielded cables for all external connections in order to meet EMC requirements and in order to obtain the
highest performance of Pro Tools | Carbon and Pro Tools | Carbon Pre units.
To orient yourself with Pro Tools | Carbon front panel connections, see
For information about back panel connections, see
To orient yourself with Pro Tools | Carbon Pre front panel connections, see Pro Tools | Carbon Pre Front Panel.
For information about back panel connections, see
Pro Tools | Carbon Back Panel Connections.
Pro Tools | Carbon Pre Back Panel Connections.
Pro Tools | Carbon Front Panel.
Connect Power
Connect the included power cable to Pro Tools | Carbon or Pro Tools | Carbon Pre. Then connect the cable to a grounded AC power outlet. It is recommended that you use a grounded power switch or power conditioner.
Connect Ethernet
Make the following connections with the included CAT6 Ethernet cable(s).
For longer cable runs you can use CAT6 Ethernet cables up to 100 feet.
A direct Network Interface connection between Carbon and your computer is required. Network equipment such as routers, hubs, and
switches are not supported.
Pro Tools | Carbon
• Connect Pro Tools | Carbon Ethernet Port 1 directly to your computer using the included Ethernet cable.
Pro Tools | Carbon Pre
• If you are using a single Pro Tools | Carbon Pre instead of a Pro Tools | Carbon, connect Ethernet Port 1 directly to your computer using the included Ethernet cable.
In AVB mode, Pro Tools treats Carbon Pre as a generic AVB I/O and cannot determine converter latency or channel labeling.
Pro Tools | Carbon Expanded Systems
• Connect Pro Tools | Carbon Ethernet Port 1 directly to your computer using the included Ethernet cable.
• Connect Pro Tools | Carbon Pre Ethernet Port 1 to Ethernet Port 2 on the main Carbon unit.
• If you have a second Pro Tools | Carbon Pre, connect its Ethernet Port 1 to Ethernet Port 2 of the first Carbon Pre.
Thunderbolt Adapters
If your computer only has Thunderbolt ports, use an AVB-capable Thunderbolt to Ethernet adapter, such as the Sonnet Thunderbolt
AVB Adapter or adapters from Apple.
Thunderbolt 2
Use an AVB-capable Thunderbolt 2-to-Gigabit Ethernet adapter, such as the Apple Thunderbolt to Gigabit Ethernet
Adapter.
Thunderbolt 3 (USB-C)
Use an AVB-capable Thunderbolt 3-to-Gigabit Ethernet adapter, such as the Apple Thunderbolt 3 (USB-C) to
Thunderbolt 2 Adapter connected to the Apple Thunderbolt to Gigabit Ethernet Adapter.
Not all Thunderbolt to Ethernet adapters are AVB-capable. For the latest compatibility information and system requirements, visit
www.avid.com/carbon-support.
Installation and Setup
7
When using Pro Tools | Carbon with EUCON peripherals (such as S1), use a dedicated Network Interface with your Mac for
Pro Tools | Carbon. For more information, see the EUCON Networking Guidelines.pdf.
Connect Audio
Make sure that your sound system is powered off. Make the appropriate analog and digital audio cable connections for your system. In
addition to the digital and analog inputs and outputs on the back panel, there are two quarter-inch jacks for instrument input on the front
panel. The front panel of Pro Tools | Carbon also provides four 1/4-inch headphone jacks.
If you are using Pro Tools | Carbon Pre as a standalone mic pre or as a standalone ADAT AD/DA converter, see Pro Tools | Carbon Pre
Standalone Modes for example configurations.
Connect Clock Sync
If you are installing Pro Tools | Carbon or Pro Tools | Carbon Pre in a system with multiple audio interfaces and/or a synchronization
peripheral, make the appropriate Word Clock connections using shielded BNC cables (not included) or connections for clocking over
ADAT using optical cables (not included).
With Pro Tools | Carbon Expanded systems, Pro Tools | Carbon Pre unit(s) receive clocking from the AVB network and do not require
additional synchronization using Word Clock or ADAT connections.
When Pro Tools | Carbon Pre is used in standalone ADAT mode, the Carbon Pre and all other interfaces should be synchronized using
either Word Clock or ADAT.
Connect a Footswitch
(Pro Tools | Carbon Only)
You can connect an optional footswitch (not included) to the back of Pro Tools | Carbon (1/4-inch jack) to toggle talkback on and off.
Both momentary/latching and normally open/normally closed footswitches are supported.
Register your Pro Tools | Carbon or Carbon Pre
Pro Tools | Carbon and Pro Tools | Carbon Pre units include a unique Registration card with a redemption code and a QR code that lets
you register the unit. Registering lets you access Pro Tools software and bundled plug-ins (Pro Tools | Carbon only), Avid Carbon Central software, and PDF documentation through your online Avid Master Account.
Registration card
Installation and Setup
8
To register and access Pro Tools | Carbon and Carbon Pre–related downloads through your Avid Master Account:
1 Locate the Registration card.
2 Do one of the following:
• With your mobile device, scan the QR code on the Registration card. Follow the on-screen instructions and then continue with the
next step.
•Visit https://www.avid.com/register and continue with the next step.
3 Log in to your Avid Master Account. If you do not already have an Avid Master Account, create a new one and log in.
4 Enter the redemption code on the Registration card and click Register. If you scanned the QR code, your redemption code is entered
automatically.
5 Select your iLok.com account and click Use This Account, or create a new iLok account by following the on-screen instructions (for
Pro Tools | Carbon only).
You are directed to the
My Products page for your Avid Master Account.
Download Documentation and Software
Once you have registered Pro Tools | Carbon and/or Pro Tools | Carbon Pre, you can download PDF documentation, Avid Carbon Central software, and any additional software and other assets to which you are entitled from your Avid Master Account.
If you purchased Pro Tools | Carbon and are an existing customer who already owns an eligible Pro Tools product, you may choose
between getting an additional Pro Tools license or extending the duration of the term of your current product.
Download and Review PDF Documentation
Download and review PDF documentation for Pro Tools | Carbon and Pro Tools software from your Avid Master Account. Be sure to
consult any Read Me documentation for the latest known issues.
Download and Install Avid Carbon Central Software
You can get Avid Carbon Central software automatically from Avid Link or from your online MyAvid account.
To download Avid Carbon Central software from your online MyAvid account:
1 From the Mac where you will be installing Avid Carbon Central, log in to your Avid Master Account (if you are not already).
2 Under My Products, locate and click your product in the Products list.
3 Click the View Software Download Links & Product Details link to show download links for all included software installers and
PDF documentation.
4 Download the Avid Carbon Central installer.
5 Locate and launch the downloaded installer.
6 Follow the on-screen instructions to complete the installation.
It is also possible to connect a single Pro Tools | Carbon or Pro Tools | Carbon Pre device as an AVB audio interface to you computer
without additional software. For more information about connecting without Avid Carbon Central, see Appendix B, “Core Audio
Devices”.
Download and Install Pro Tools Software
(Included with Pro Tools | Carbon or Sold Separately)
You can get Pro Tools software automatically from Avid Link or from your online MyAvid account.
To download Pro Tools software from your online MyAvid account:
1 From the computer where you will be installing Pro Tools, log in to your Avid Master Account (if you are not already).
2 Under My Products, locate and click Pro Tools | Carbon in the Products list.
Installation and Setup
9
3 Click the View Software Download Links & Product Details link to show download links for all software installers and PDF doc-
umentation included with Pro Tools | Carbon.
4 Download the Pro Tools installer.
5 Locate and launch the downloaded installer.
6 Follow the on-screen instructions to complete the installation.
7 Download and install plug-ins and sound libraries bundled with Pro Tools | Carbon from your Avid Master Account (you can also do
this using the Avid Link desktop application that is installed with Pro Tools).
Starting Up or Shutting Down Your System
To ensure that the components of your Pro Tools system communicate properly with each other, it is advised that you power them on
in the following order.
Start up your Pro Tools system in this order:
1 Make sure all your equipment (including your computer) is off.
2 Mute your Pro Tools | Carbon monitor speakers.
3 Lower the volume of all output devices in your system.
4 Turn on any external hard drives.
5 Turn on any control surfaces (such as S1).
6 Turn on any MIDI devices or synchronization peripherals.
7 Power on Pro Tools | Carbon and any Pro Tools | Carbon Pre devices in your system. Wait at least fifteen seconds for your system
hardware to initialize.
The front panel display on Pro Tools | Carbon may contain some inconsistencies, such as incorrect colors or fields not illuminating,
until the device firmware has been updated by Pro Tools or Avid Carbon Central. See Launch Pro Tools and Avid Carbon Central.
8 Turn on your computer. Note that Avid Carbon Central auto-launches on login to your computer by default.
9 Launch Pro Tools or any third-party audio or MIDI applications.
10 Unmute your Pro Tools | Carbon monitor speakers.
Shut down your Pro Tools system in this order:
1 Quit Pro Tools and any other running applications. To quit Pro Tools, choose Pro Tools > Quit.
2 Mute your Pro Tools | Carbon monitor speakers.
3 Turn off or lower the volume of all output devices in your system.
4 Turn off your computer.
5 Turn off Pro Tools | Carbon and any Pro Tools | Carbon Pre devices in your system (press and hold the power button for 2 seconds).
6 Turn off any MIDI devices or synchronization peripherals.
7 Turn off any control surfaces (such as S1).
8 Turn off any external hard drives.
Installation and Setup
10
Avid Carbon Central
Avid Carbon Central software lets you set up your Pro Tools | Carbon or Pro Tools | Carbon Expanded system for use with
Pro Tools and other Core Audio–compatible audio applications. Avid Carbon Central is required to set up a Pro Tools | Carbon
Expanded system.
Launch Avid Carbon Central
Use Avid Carbon Central software to configure connected Pro Tools | Carbon and Carbon Pre devices in your system for use with
Pro Tools or other Core Audio–compatible software.
To launch Avid Carbon Central:
1 Ensure that Pro Tools | Carbon and/or any Pro Tools | Carbon Pres are powered on and correctly connected using CAT5e or better
Ethernet cables.
2 Download and install Avid Carbon Central software from your Avid Master Account or Avid Link.
3 Launch Carbon Central.
Avid Carbon Central application icon
Avid Carbon Central software with no devices connected
The installer configures Avid Carbon Central to automatically launch at user log-in. While Avid Carbon Central is running, it
may be accessed through the menu bar.
Avid Carbon Central 11
If you have already been using Pro Tools | Carbon without Avid Carbon Central, you must deselect Pro Tools | Carbon in the
Audio MIDI Setup (AMS) Network Device Browser. While you can still use AMS with a single Pro Tools | Carbon or Pro Tools
| Carbon Pre unit, AMS will not allow you to set up a Pro Tools | Carbon Expanded system. For information on setting up a single Pro Tools | Carbon or Pro Tools | Carbon Pre unit in AMS without using Avid Carbon Central, see
Core Audio Devices.
If you are using an endpoint protection security application, such as CrowdStrike, your system administrator must report the
Avid Carbon Central app with your security software as a known safe application.
Configuring Avid Carbon Central
Avid Carbon Central lets you select Primary (Pro Tools | Carbon) and Expander (Pro Tools | Carbon Pre) units that you can then
configure for use with Pro Tools or other Core Audio–compatible audio applications.
To enter Configuration mode:
Click the Configure button.
When Avid Carbon Central is launched for the first time, it opens Configuration mode by default.
Avid Carbon Central software in Configuration mode
Avid Carbon Central 12
To select a Primary Carbon device:
1 Enter Configuration mode.
2 Click the A | Primary menu and select the ID for your Pro Tools | Carbon device.
Avid Carbon Central software, selecting A | Primary Carbon device
To select an Expander Carbon Pre device:
1 Enter Configuration mode.
2 Click the B | Expander menu and select the ID for your first Pro Tools | Carbon Pre device if you have one.
Avid Carbon Central software, selecting B | Expander Carbon Pre device
3 Click the C | Expander menu and select the ID for your second Pro Tools | Carbon Pre device if you have one.
To identify the selected Interface:
Click the device menu for the interface you want to identify and choose Identify.
The
AVID badge on the corresponding device flashes.
To remove a Pro Tools | Carbon or Pro Tools | Carbon Pre from Avid Carbon Central:
Click the device menu for the interface you want to remove from Avid Carbon Central and select none.
To exit Configuration mode and save your changes:
Click the Apply button.
To exit Configuration mode without saving your changes:
Click the Cancel button.
Avid Carbon Central 13
Clocking
With Pro Tools | Carbon Expanded systems, Pro Tools | Carbon Pre devices receive high quality AVB network clock from the primary Pro Tools | Carbon device, and no additional clock settings are required. The Primary Pro Tools | Carbon device in a Pro Tools
| Carbon Expanded system, or a single Pro Tools | Carbon Pre device if used as a stand-alone AVB interface can be clocked to the
internal or from an external clock source (Word Clock or ADAT). To record or monitor signals from an external digital source, use
Avid Carbon Central to select the correct clock source. In most other cases, leave the primary Pro Tools | Carbon device set to its
Internal clock. Then, configure external devices to follow the internal clock of Pro Tools | Carbon.
To change the clock source:
1 Click the Configure button.
2 Click the device menu for the Primary Carbon device.
3 Select the desired clock source from the Clocking menu.
Avid Carbon Central software, selecting the clock source
When using a single Carbon device you can also set clock source in AMS. For more information, see Core Audio Devices.
Avid Carbon Central 14
AVB Configuration
Choose the appropriate AVB configuration for your I/O needs. It is important to note that these configurations indicate the input
and output channels available to the Playback Engine in Pro Tools, not the physical I/O capacity of your Carbon system (for more
information, see
To select the AVB configuration in Avid Carbon Central:
1 Enter Configuration mode.
2 Click the A | Primary menu and select the desired option for the AVB Configuration submenu.
System Usage).
Avid Carbon Central software, selecting the AVB Configuration
Pro Tools | Carbon provides multiple AVB configurations as follows:
• 28x56 (44.1–96 kHz)
• 56x56 (44.1–96 kHz)
• 56x84 (44.1–96 kHz)
• 28x42 (44.1-192 kHz)
• 28x56 / 14x14 (44.1-192 kHz)
• 42x56 / 14x14 (44.1-192 kHz)
By default, Pro Tools | Carbon Expanded supports up to 96 kHz. To use Pro Tools | Carbon Expanded at 192 kHz you must
select an AVB Configuration that supports 192 kHz.
When using a single Carbon device you can also set the AVB configuration in AMS, see
AVB Device Configuration.
Avid Carbon Central 15
Device Information
Avid Carbon Central provides information for each device to the right of its interface image.
.
Avid Carbon Central software, device information for A | Primary and B | Expanded
ID
Displays the device ID for the connected interface.
Firmware
Status
Displays the version of the firmware.
Shows the status of the connected device.
Avid Carbon Central cannot connect to a device that is acquired by AMS in the Network Device Browser and shows the status
“Acquired in AMS” for devices that need to be de-acquired from Network Device Browser.
Core Audio I/O
Lets you enable or disable the connected device for use with Core Audio–compatible audio software. Select this option to use the connected device with other Core Audio–compatible audio software. You may want to uncheck this option to save
system CPU resources if you do not need to use the device with other Core Audio applications. This setting does not affect the ability of Pro Tools to use the device.
Avid Carbon Central 16
Firmware Update
If any Carbon or Carbon Pre device in your system requires a firmware update, Avid Carbon Central notifies you in the Device Information section for that device, and prompts you to update the device.
To update the firmware of any Carbon or Carbon Pre device in your system:
1 Click the Update Firmware button.
2 Once the firmware update has completed, click OK to reboot all updated devices.
Avid Carbon Central software showing a Carbon Pre requiring a firmware update
Avid Carbon Central in the macOS Menu Bar
Avid Carbon Central application icon in the macOS Menu bar
Avid Carbon Central also appears in the macOS Menu bar and provides the following commands:
Show/Hide
Start/Stop
panded, respectively. While stopped, Pro Tools | Carbon Expanded may also be started using the Reset button in the Avid Carbon
Central window
About
Central.
Quit
Click the CC icon in the macOS Menu bar and choose Show or Hide to show or hide Avid Carbon Central.
Click the CC icon in the macOS Menu bar and choose Stop or Start to stop or start running Pro Tools | Carbon Ex-
Click the CC icon in the macOS Menu bar and choose About to get information about the installed version of Avid Carbon
Click the CC icon in the macOS Menu bar and choose Quit to stop running Avid Carbon Central and quit the application.
Avid Carbon Central 17
Avid Carbon Central software running Pro Tools | Carbon Expanded
Avid Carbon Central 18
Pro Tools | Carbon Front Panel Operation
1 5
3
4
7
14 15
17
20 24 25
9 10 18 2322214
6
8 13
11 12 16
19a 19b
19c
2
The front panel of Pro Tools | Carbon provides indicators and controls for input settings and monitoring functions.
Pro Tools | Carbon Front Panel
The front panel of Pro Tools | Carbon provides various jacks, controls, and indicators. To the left of the segmented I/O Meters are controls and indicators for inputs, as well as 2 instrument input jacks. To the right of the I/O Meters are controls and indicators for monitoring outputs, as well as 4 headphone jacks.
Pro Tools | Carbon front panel
1 INST inputs 1 and 2 (mono 1/4-inch unbalanced) — Connect instruments, such as guitars or keyboards. The INPUT setting automat-
ically switches to
(back panel inputs 1 and 2) while an instrument is plugged into either of the front panel
2 Talkback Mic — The built-in talkback mic is located within a small hole to the right of the INST inputs. In Pro Tools, you can route
INST when a 1/4-inch cable is connected to the INST input jack. You can still switch the inputs to MIC or LINE
INST inputs.
the Talkback signal to any output using an Auxiliary Input track. To use the talkback mic with third-party audio software, use the AVB
channel for the talkback mic (for AVB channel mappings, see Core Audio Devices).
3 NET indicator — Indicates the status of the AVB connection to host computer (Avid Carbon Central or Network Device Browser).
It lights white when the device is connected using AVB and recognized by your computer.
4 EXT indicator — Indicates status of the external clock. It lights green when either ADAT or Word Clock is the selected clock source
and the clock is valid. It flashes green when either ADAT or Word Clock is the selected clock source and clock is not valid (internal
clocking is used instead).
5 Power button — The power button lights amber when connected to power, but not powered on. It lights white when powered on. It
is unlit when power is disconnected. Press and hold the button for two seconds to power off the unit.
6 Input Level Strip and Input Source — Displays the input source (MIC, LINE, or INST) for the selected input channel. The Input Level
Strip displays the amount of gain (preamp) applied to the selected input channel. The Input Level Strip LEDs light green when the
selected input channel is set to
nel is set to
INST. When an input channel is set to LINE and the preamp is bypassed, the Input Level Strip fully lights. Increase the
MIC, yellow when the selected input channel is set to LINE, and amber when the selected input chan-
gain for the selected input channel by turning the encoder dial (7) clockwise—the LEDs light from left to right.
7 Input Encoder — Turn to adjust input gain for the selected input channel. Press the encoder to cycle through and select input channels
for encoder control focus. The Channel Number indicator for the selected channel lights green over the I/O Meters (14). You can also
press and hold the encoder while turning it clockwise or counter-clockwise to select channels. Linked channels are selected as a stereo
input pair when cycling through channels.
For more information on configuring inputs, see Configuring Inputs.
When Output metering is enabled, the input section is disabled and the relevant buttons are unlit except for the Talkback button.
Pressing any button or input encoder in the input section switches back to Input metering and re-activates the input section.
Pro Tools | Carbon Front Panel Operation
19
8 Talkback button — A single press latches Talkback on (unmute the Talkback mic input). Press the button again to unlatch and turn
Talkback off (mute the Talkback mic input). Press and hold the
engage. The button flashes red when Talkback is engaged.
Talkback button to engage Talkback temporarily and release to dis-
DIM (24) is engaged while the talkback mic is active. You can also use a
Footswitch to engage and disengage Talkback (see Footswitch).
9 Z button — Press to cycle through the available impedance settings (Variable Z) for the selected input (the Z button changes color
to indicate the impedance setting for the input):
MIC inputs 5–8 on the back panel.
•
Variable impedances for Mic channel inputs 5–8
Impedance Color
5k Ohm White (default)
50k Ohm Cyan
1k Ohm Fuchsia
•
INST inputs 1–2 on the front panel
Variable impedances for Instrument channel inputs 1–2
Impedance Color
1M Ohm White (default)
230k Ohm Cyan
90k Ohm Blue
70k Ohm Violet
32k Ohm Fuchsia
Use Variable Z on INST inputs when connecting guitar or bass with passive pickups. Variable Z alters the frequency response by
loading the pickups in the same manner as plugging in to different real amps or effects.
10 INPT (Input) button — Cycles between the available inputs for the selected channel: MIC, LINE, INST. Use the Input encoder button
(7) to select the desired input channel. The selected input channel lights above the I/O Meters (14).
11 LINK button — Links odd (left) and even (right) channel input pairs for stereo linking. When linked, preamp controls affect both
channels identically. The even channel inherits the settings of the odd channel settings when linked. When enabled, the
LINK button
lights green.
12 Ø button — Toggles the polarity of the selected input channel. The button lights amber when the polarity is inverted.
13 48V— Press to enable or disable phantom power for the selected MIC input. Phantom power can only be enabled when there is an
XLR connection for the selected input. When phantom power is enabled for the selected input, the
48V button lights red. If there is
an XLR connection for the selected input and phantom power is disabled, the button lights white. The button is unlit when there is
no XLR connection, or if there is an XLR connection but the input is set to
INST or LINE and phantom power is disabled.
For linked channels, phantom power behaves as follows:
• If both linked channels have XLR connections, phantom power works the same as with one channel.
• If only the first linked channel has an XLR connection, the
• If only the second linked channel has an XLR connection, the
48V button lights white but pressing the button has no effect.
48V button does not light.
• If either XLR connection is broken while phantom power is enabled on linked channels, phantom power is disabled for that channel.
• If the connection to the second linked channel is broken, the
48V button lights red and phantom power is disabled for the second
channel.
• If the connection to the first linked channel is broken, the
48V button does not light and phantom power remains on for the second
channel.
Unlike other input channel parameters, phantom power is not restored when the device is powered off and back on. This protects
connected microphones and equipment which may be configured differently when the device is powered back on.
Pro Tools | Carbon Front Panel Operation
20
14 I/O Meters — 9-segment LED meters display peak metering with peak hold (3 seconds) for input or output channels. Above each me-
ter are Channel Number indicators for each I/O channel. Channel Number indicators for the selected channel (or channel pairs when
stereo linked) light green. Non-selected channels light white.
15 OUT button — Press to select analog output metering.
16 Meter button — Can be used to reset the device settings (see Default Device Settings).
17 IN button — Press to select analog input metering.
18 Stereo Monitor Meter — This 9-segment LED stereo meter displays peak metering with peak hold for the output level of the selected
monitor or headphone output. Meter levels are pre-fader (showing the signal level before the monitor output control).
19 A, B, and C buttons — These three buttons are assigned to control the Main (MON L–R), Alt 1 (LINE 1–2), and Alt 2 (LINE 3–4)
monitor sets respectively. The buttons light white if the corresponding monitor set is available (enabled in the Pro Tools Hardware
Setup). The
A button lights green when selected, the B button yellow, and the C button amber. If a monitor set is not enabled in the
Pro Tools Hardware Setup, the corresponding button is unlit and the monitor set cannot be selected. Press the corresponding button
to select the desired monitor set and mute the other sets. Additionally, the
C button can be configured to enable/disable surround mon-
itoring (see Surround Monitoring).
For information on enabling monitor sets in the Pro Tools Hardware Setup, see Monitors.
20 Output Encoder — Turning the knob increases or decreases the signal level for the monitor outputs or the selected headphone output.
All of the monitor sets use a single level control, whereas the level for each of the headphone outputs can be controlled independently.
Press the Output Encoder to change control to the next available monitor set or headphone output. Press and hold the Output Encoder
while rotating to cycle control through the available monitor sets or headphone outputs.
21 Output Level Strip and Monitor Indicators — The Output Level Strip shows the output level applied by the Output Encoder (20) for
the selected monitor set or headphone output. The numbers below the Input Level Strip indicate which monitor set or headphone output is selected for control.
22 Monitor (Speaker icon) button — Press the Monitor button to select a monitor set for front panel control. While a monitor set is se-
lected, press the Output Encoder (20) to cycle through enabled monitor sets (monitor sets are enabled in the Pro Tools Hardware
Setup, see Monitors), or press and hold the encoder while turning it to change the selection. Turn the Output Encoder to increase or
decrease the output level for the selected monitor set. Press the Monitor button while a monitor set is selected to mute or unmute the
monitor output. The output section indicators turn red when the monitor output is muted. The Monitor button (22) is color coded to
indicate the currently selected monitor set:
Selected Monitor Set Color
Main (A) Green
Alt 1 (B) Yellow
Att 2 (C) Amber
Surround (C) Purple
Monitor output muted Red
23 Headphone button — Press the Headphone button to select a headphone output for front panel control. When a headphone output
is selected, press the Output Encoder (20) to cycle through the connected headphone outputs, or press and hold the encoder while
turning it to change the selection. Turn the Output Encoder to increase or decrease the output gain for the selected headphone output.
Headphone outputs can only be selected when headphones are actually plugged into the corresponding headphone jack. If no headphones are currently plugged in, the HP 1 output is selected. Pro Tools routing to headphone outputs is configured in the Hardware
Setup (see Headphone Sources). The Headphone button (23) is color coded to indicate the currently selected headphone set:
Pro Tools | Carbon Front Panel Operation
21
Selected Headphone Output Color
HP 1 Cyan
HP 2 Blue
HP 3 Violet
HP 4 Fuchsia
24 DIM button — Press to dim (attenuate) the signal level of the selected monitor set by the amount (in dB) configured in the Pro Tools
Hardware Setup (see Main Page). The default Dim value is –15 dB. When enabled, the button lights amber. When disabled, the button
lights white.
25 Headphone outputs 1–4 (stereo 1/4-inch).
DIM does not apply to Headphone outputs.
Configuring Inputs
You can select the input (microphone, line, or instrument) and configure the input settings for channels 1–8 (front panel instrument inputs or back panel mic/line inputs) on the front panel of Carbon.
Input configurations can also be made from Pro Tools software with Mic Pre view in the Mix or Edit windows. For more information,
see Pro Tools Mic Preamps Control.
To select the input source for any analog input channel:
1 Press the Input Encoder (7) to cycle though and select any of input channels 1–8 as the source.
Rotate the Input Encoder while it is depressed to quickly scroll to the desired input channel.
2 Press the INPT button (10) to select MIC (back panel), LINE (back panel), or INST (front panel, input channels 1–2 only) for the se-
lected channel.
INST is only available if a 1/4-inch cable is connected to the corresponding INST input jack on the front panel.
To adjust the input gain for any analog input channel:
1 Press the Input Encoder (7) to cycle though input channels 1–8 and select the desired channel you want to adjust.
2 Turn the encoder (7) to boost or attenuate the input gain for the selected channel.
It is not possible to adjust input gain for LINE inputs if the preamp gain is bypassed for that input (see Line Input Gain).
To link (or unlink) input channels:
1 Press the Input Encoder (7) to cycle though input channels 1–8 and select one of the channels you want in the linked pair. Input chan-
nels can only be linked in adjacent odd and even pairs (1 and 2, 3 and 4, 5 and 6, or 7 and 8).
2 Press the LINK button (9) so that it is lit (linked) or so that it is unlit (unlinked).
The selected input channel and its neighbor are linked. For example, if you selected input channel 3, channels 3 and 4 are linked; or if
you selected input channel 8, channels 7 and 8 are linked.
You cannot link inputs across units in a Pro Tools | Carbon Expanded system.
To select the impedance for Instrument input channels 1–2:
1 Press the Input Encoder (7) to cycle though and select input channel 1 or 2.
2 Ensure that the selected input channel is set to INST.
3 Press the Z button (11) to cycle through and select the desired impedance for the selected channel.
It is expected to have higher input gain levels with higher impedance settings.
Pro Tools | Carbon Front Panel Operation
22
To select the impedance for the selected MIC input channel (channels 5–8 only):
1 Press the Input Encoder (7) to cycle though and select an input channel (5–8 only).
2 Ensure that the selected input channel is set to MIC.
3 Press the Z button (11) to cycle through and select the desired impedance for the selected channel.
To switch polarity for the selected input channel (1–8):
1 Press the Input Encoder (7) to cycle though and select an input channel.
2 Press the Ø button (12) to toggle polarity for the selected channel.
To enable phantom power for the selected input channel:
1 Press the Input Encoder (7) to cycle though and select an input channel.
2 Ensure that the selected input channel is set to MIC and that an XLR cable is plugged into the physical input.
3 Press the 48V button (13) to toggle phantom power on and off for the selected channel.
Device Reset
If you encounter a problem with Pro Tools | Carbon and Avid customer support advises that you reset the device, you can reset to the
default device settings or revert to the default firmware image.
Default Device Settings
If necessary, you can restore the default system settings (such as preamp gain, monitor gain, and so on).
To restore the default system settings for Pro Tools | Carbon:
1 Lower the volume on all output devices and mute your speakers.
2 Power off the unit.
3 Press and hold the Meter button for 5 seconds while powering on the unit.
4 Release the Meter button.
5 All buttons illuminate green for approximately 10 seconds.
The device settings are now reset.
Default Firmware Image
To reset Pro Tools | Carbon to its default firmware image:
1 Lower the volume on all output devices and mute your speakers.
2 Power off the unit.
3 Press and hold the Dim button for 10 seconds while powering on the unit.
4 Release the Dim button.
5 All buttons illuminate green for approximately 10 seconds.
6 The unit shuts down for approximately 10 seconds and then reboots.
7 All buttons illuminate green for approximately 10 seconds.
The default firmware is now loaded on the unit. Launch Pro Tools or Avid Carbon Central to update the firmware to the matching version.
Pro Tools | Carbon Front Panel Operation
23
Custom Brightness
You can adjust the brightness of the Carbon front panel, which is useful if you want to match the brightness of your other studio gear.
To adjust the brightness of the Carbon front panel:
Press and hold the meter button and release after four seconds to cycle through four different front panel brightness modes for Car-
bon.
Pro Tools | Carbon Front Panel Operation
24
Pro Tools | Carbon Back Panel Connections
53
4
1
6
8
9
10
2 7
Pro Tools | Carbon Back Panel
Pro Tools | Carbon back panel
1 IEC power connector.
2 ADAT Out 1 and 2.
3 ADAT In 1 and 2.
4 Word Clock In and Out (BNC).
5 Footswitch — the footswitch can be used for toggling talkback on and off (see Footswitch).
6 Ethernet 1 and 2 (AVB) — Two RJ45 Ethernet ports for control and AVB.
7 Main Monitor Out L and R (TRS balanced 1/4-inch).
8 Line In 1–8 (DB25).
9 Line Out 1–8 (DB25).
10 Mic/Line Inputs 1–8 (combined XLR/TRS 1/4-inch).
Digital I/O Connections
Optical ADAT
Pro Tools | Carbon provides two pairs of optical ADAT in and out ports for a total of 16 channels of ADAT I/O at 44.1/48 kHz,
8 channels at 88.2/96 kHz, and 4 channels at 176.4/192 kHz. Audio channels are split across both ADAT ports at all sample rates.
Alternately, in the Pro Tools Hardware Setup, you can set either or both pairs of the optical ADAT in and out ports to send
and receive stereo optical S/PDIF instead of ADAT signal. For more information, see Optical I/O Page.
ADAT channels by port at different sample rates
Sample Rate ADAT Port 1 In ADAT Port 2 In ADAT Port 1 Out ADAT Port 2 Out
44.1/48 kHz 1–8 1–8 1–8 1–8
88.2/96 kHz 1–4 1–4 1–4 1–4
176.4/192 kHz 1–2 1–2 1–2 1–2
Pro Tools | Carbon Back Panel Connections 25
Optical S/PDIF channels by port at different sample rates
8-channel Analog In 8-channel Analog Out
Sample Rate ADAT In: Port 1 ADAT In: Port 2 ADAT Out: Port 1 ADAT Out: Port 2 Total Channels
44.1/48 kHz 1–2 1–2 1–2 1–2 4 In, 4 Out
88.2/96 kHz 1–2 1–2 1–2 1–2 4 In, 4 Out
Analog I/O Connections
Monitor L–R Outputs
The Monitor L–R outputs on the back panel are independent of Line Out 1–8 (DB25). Use 1/4-inch TRS (balanced) or 1/4-inch TS
(unbalanced) cables to connect these line level outputs to loudspeakers for stereo monitoring. These outputs can be configured to
operate at +4 dBu or –10 dBV, and have a maximum operating level of +24 dBu.
Mic/Line Inputs XLR/TRS Combo Jacks 1–8
Both the XLR/TRS combo jacks and DB25 inputs can be used for simultaneous connection of mic and line cables to the same input
channel. This allows mic and line inputs to be switched without cable re-patching. 1/4-inch connections to the combo jacks always
use the Line input, while XLR connections always use the Mic input. If a 1/4-inch connection is made to a combo jack, that connection takes precedence over the DB25 connection for that channel input.
The preamp gain on Line inputs 1–8 can be bypassed on a channel-by-channel basis in the Pro Tools Hardware Setup (see Line I/O
Page).
Analog I/O 25-pin D-sub Connectors
Pro Tools | Carbon uses 25-pin D-sub connectors on the back panel for both analog line input (channels 1–8) and analog line output
(channels 1–8).
The DB25 line inputs 1–8 are normalled to the TRS combo jacks. If a DB25 line input is active and a 1/4-inch cable is plugged into
the combo jack for the same input channel, the DB25 input is disconnected and the combo jack input is used instead.
The DB25 outputs can be configured to operate at +4 dBu or –10 dBV, and have a maximum operating level of +24 dBu (see Line
I/O Page).
Footswitch
A latching or momentary footswitch can be connected to the back of Pro Tools | Carbon and can be used to engage or disengage
Talkback. Both momentary/latching and normally open/normally closed footswitches are supported. Footswitch polarity is automatically detected when Pro Tools | Carbon is powered on.
Pro Tools | Carbon Back Panel Connections 26
Pro Tools | Carbon Pre Front Panel Operation
1
3
4
5
12 13
7 8
2
4
6 11
9 10
15
16
3
14
17
Pro Tools | Carbon Pre Front Panel
The front panel of Pro Tools | Carbon Pre provides various jacks, controls, and indicators. To the left of the segmented I/O Meters are
controls and indicators for inputs, as well as 2 instrument input jacks. To the right of the I/O Meters are controls and indicators for clock
and sample rate settings. The front panel also provides access to a hardware reset button (paper clip not included).
Pro Tools | Carbon Pre front panel
1 INST inputs 1 and 2 (mono 1/4-inch unbalanced) — Connect instruments, such as guitars or keyboards. The INPUT setting automat-
ically switches to
(back panel inputs 1 and 2) while an instrument is plugged into either of the front panel
INST when a 1/4-inch cable is connected to the INST input jack. You can still switch the inputs to MIC or LINE
INST inputs.
2 NET indicator — Indicates the status of the AVB or network connection to host computer. It lights white when the device is connected
using AVB and recognized by your computer (Avid Carbon Central or Network Device Browser), it lights purple when the preamps
are being controlled by Pro Tools. It also lights white if there is both an AVB connection and the device preamps are being controlled
by Pro Tools.
3 Power button — The power button lights amber when connected to power, but not powered on. It lights white when powered on. It
is unlit when power is disconnected. Press and hold the button for two seconds to power off the unit.
4 Input Level Strip and Input Source — Displays the input source (MIC, LINE, or INST) for the selected input channel. The Input Level
Strip displays the amount of gain (preamp) applied to the selected input channel. The Input Level Strip LEDs light green when the
selected input channel is set to
nel is set to
INST. When an input channel is set to LINE and the preamp is bypassed, the Input Level Strip fully lights. Increase the
MIC, yellow when the selected input channel is set to LINE, and amber when the selected input chan-
gain for the selected input channel by turning the encoder dial (7) clockwise—the LEDs light from left to right.
5 Input Encoder — Turn to adjust input gain for the selected input channel. Press the encoder to cycle through and select input channels
for encoder control focus. The Channel Number indicator for the selected channel lights green over the I/O Meters (12). You can also
press and hold the encoder while turning it clockwise or counter-clockwise to select channels. Linked channels are selected as a stereo
input pair when cycling through channels.
For more information on configuring inputs, see Configuring Inputs.
When Output metering is enabled, the input section is disabled and the relevant buttons are unlit. Pressing any button or input
encoder in the input section switches back to Input metering and re-activates the input section.
6 • (“user”) button — Press to enable or disable line input gain for the selected channel (or channels if linked). The button lights white
when line input gain is enabled (default) and yellow when line input gain is bypassed.
Pro Tools | Carbon Pre Front Panel Operation
27
7 Z button — Press to cycle through the available impedance settings (Variable Z) for the selected input (the Z button changes color
to indicate the impedance setting for the input):
MIC inputs 5–8 on the back panel.
•
Variable impedances for Mic channel inputs 5–8
Impedance Color
5k Ohm White (default)
50k Ohm Cyan
1k Ohm Fuchsia
•
INST inputs 1–2 on the front panel
Variable impedances for Instrument channel inputs 1–2
Impedance Color
1M Ohm White (default)
230k Ohm Cyan
90k Ohm Blue
70k Ohm Violet
32k Ohm Fuchsia
Use Variable Z on INST inputs when connecting guitar or bass with passive pickups. Variable Z alters the frequency response by
loading the pickups in the same manner as plugging in to different real amps or effects.
8 INPT (Input) button — Cycles between the available inputs for the selected channel: MIC, LINE, INST. Use the Input encoder button
(5) to select the desired input channel. The selected input channel lights above the I/O Meters (12).
9 LINK button — Links odd (left) and even (right) channel input pairs for stereo linking. When linked, preamp controls affect both
channels identically. The even channel inherits the settings of the odd channel settings when linked. When enabled, the
LINK button
lights green.
10 Ø button — Toggles the polarity of the selected input channel. The button lights amber when the polarity is inverted.
11 48V— Press to enable or disable phantom power for the selected MIC input. Phantom power can only be enabled when there is an
XLR connection for the selected input. When phantom power is enabled for the selected input, the
48V button lights red. If there is
an XLR connection for the selected input and phantom power is disabled, the button lights white. The button is unlit when there is
no XLR connection, or if there is an XLR connection but the input is set to
INST or LINE and phantom power is disabled.
For linked channels, phantom power behaves as follows:
• If both linked channels have XLR connections, phantom power works the same as with one channel.
• If only the first linked channel has an XLR connection, the
• If only the second linked channel has an XLR connection, the
48V button lights white but pressing the button has no effect.
48V button does not light.
• If either XLR connection is broken while phantom power is enabled on linked channels, phantom power is disabled for that channel.
• If the connection to the second linked channel is broken, the
48V button lights red and phantom power is disabled for the second
channel.
• If the connection to the first linked channel is broken, the
48V button does not light and phantom power remains on for the second
channel.
Unlike other input channel parameters, phantom power is not restored when the device is powered off and back on. This protects
connected microphones and equipment which may be configured differently when the device is powered back on.
12 I/O Meters — 9-segment LED meters display peak metering with peak hold (3 seconds) for input or output channels. Above each me-
ter are Channel Number indicators for each I/O channel. Channel Number indicators for the selected channel (or channel pairs when
stereo linked) light green. Non-selected channels light white.
Pro Tools | Carbon Pre Front Panel Operation
28
13 OUT button — Press to select analog output metering. When AD/DA mode is enabled, IN and OUT buttons are both illuminated.
14 CLK (Clock) button — In stand-alone mode, press the CLK button to select the desired clock source: INT (Internal), NET (host com-
puter/DAW),
15 IN button — Press to select analog input metering. When AD/DA mode is enabled, IN and OUT buttons are both illuminated.
16 SR (Sample Rate) button — In stand-alone mode, press the SR button to select the desired sample rate. When clock source is WC
NET, the sample rate is detected and selected automatically. When the clock source is set to ADAT 1, Pro Tools | Carbon Pre can
or
WC (Word Clock), or ADAT 1 (input).
only detect whether the incoming sample rate is either 44.1/88.2/176.4 or 48/96/192 kHz. Mismatched sample rates are ignored. For
example, when the clock source is set to
ADAT 1, sample rates of 48/96/192 kHz cannot be selected if 44.1/88.2/176.4 kHz is de-
tected.
17 Reset button — The unit can be reset to its factory image by using a paperclip to press the Reset button in the pinhole on the front
panel when powering on the unit (see Device Reset).
Configuring Inputs
You can select the input (microphone, line, or instrument) and configure the input settings for channels 1–8 (front panel instrument inputs or back panel mic/line inputs) on the front panel of Carbon Pre.
Input configurations can also be made from Pro Tools software with Mic Pre view in the Mix or Edit windows. For more information,
see Mic Preamps View Controls.
To select the input source for any analog input channel:
1 Press the Input Encoder (5) to cycle though and select any of input channels 1–8 as the source.
Rotate the Input Encoder while it is depressed to quickly scroll to the desired input channel.
2 Press the INPT button (8) to select MIC (back panel), LINE (back panel), or INST (front panel, input channels 1–2 only) for the se-
lected channel.
INST is only available if a 1/4-inch cable is connected to the corresponding INST input jack on the front panel.
To adjust the input gain for any analog input channel:
1 Press the Input Encoder (5) to cycle though input channels 1–8 and select the desired channel you want to adjust.
2 Turn the encoder (5) to boost or attenuate the input gain for the selected channel.
It is not possible to adjust input gain for LINE inputs if the preamp gain is bypassed for that input (see Line Input Gain).
To link (or unlink) input channels:
1 Press the Input Encoder (5) to cycle though input channels 1–8 and select one of the channels you want in the linked pair. Input chan-
nels can only be linked in adjacent odd and even pairs (1 and 2, 3 and 4, 5 and 6, or 7 and 8).
2 Press the LINK button (9) so that it is lit (linked) or so that it is unlit (unlinked).
The selected input channel and its neighbor are linked. For example, if you selected input channel 3, channels 3 and 4 are linked; or if
you selected input channel 8, channels 7 and 8 are linked.
To select the impedance for Instrument input channels 1–2:
1 Press the Input Encoder (5) to cycle though and select input channel 1 or 2.
2 Ensure that the selected input channel is set to INST.
3 Press the Z button (7) to cycle through and select the desired impedance for the selected channel.
It is expected to have higher input gain levels with higher impedance settings.
Pro Tools | Carbon Pre Front Panel Operation
29
To select the impedance for the selected MIC input channel (channels 5–8 only):
1 Press the Input Encoder (5) to cycle though and select an input channel (5–8 only).
2 Ensure that the selected input channel is set to MIC.
3 Press the Z button (7) to cycle through and select the desired impedance for the selected channel.
To switch polarity for the selected input channel (1–8):
1 Press the Input Encoder (5) to cycle though and select an input channel.
2 Press the Ø button (10) to toggle polarity for the selected channel.
To enable phantom power for the selected input channel:
1 Press the Input Encoder (5) to cycle though and select an input channel.
2 Ensure that the selected input channel is set to MIC and that an XLR cable is plugged into the physical input.
3 Press the 48V button (11) to toggle phantom power on and off for the selected channel.
Device Reset
If you encounter a problem with Pro Tools | Carbon Pre and Avid customer support advises that you reset the device, you can reset to
the default device settings or revert to the default firmware image.
Default Device Settings
If necessary, you can restore the default system settings (such as preamp gain, monitor gain, and so on).
To restore the default system settings for Pro Tools | Carbon Pre:
1 Lower the volume on all output devices and mute your speakers.
2 Power off the unit.
3 Press and hold the CLK button for 5 seconds while powering on the unit.
4 Release the CLK button.
5 All buttons illuminate green for approximately 10 seconds.
The device settings are now reset.
Default Firmware Image
To reset Pro Tools | Carbon Pre to its default firmware image:
1 Lower the volume on all output devices and mute your speakers.
2 Power off the unit.
3 Use a paper clip (or similar) to press and hold the Reset button (17) on the front panel of the unit.
4 Power on the unit.
5 Release the Reset button (17) and place the paper clip in a safe place.
The default firmware is now loaded on the unit. Launch Pro Tools to update the firmware to the matching version.
Pro Tools | Carbon Pre Front Panel Operation
30
Pro Tools | Carbon Pre Back Panel Connections
3
4
1
5
7
6
8
2
Pro Tools | Carbon Pre Back Panel
Pro Tools | Carbon Pre back panel
1 IEC power connector.
2 ADAT Out 1 and 2.
3 ADAT In 1 and 2.
4 Word Clock In and Out (BNC).
5 Ethernet 1 and 2 (AVB) — Two RJ45 Ethernet ports for control and AVB.
6 Line Out 1–8 (DB25).
7 Line In 1–8 (DB25).
8 Mic/Line Inputs 1–8 (combined XLR/TRS 1/4-inch).
Digital I/O Connections
Optical ADAT
Pro Tools | Carbon Pre provides two pairs of optical ADAT in and out ports for a total of 16 channels of ADAT I/O at 44.1/48 kHz,
8 channels at 88.2/96 kHz, and 4 channels at 176.4/192 kHz. Audio channels are split across both ADAT ports at all sample rates.
ADAT channels by port at different sample rates
Sample Rate ADAT Port 1 In ADAT Port 2 In ADAT Port 1 Out ADAT Port 2 Out
44.1/48 kHz 1–8 1–8 1–8 1–8
88.2/96 kHz 1–4 1–4 1–4 1–4
176.4/192 kHz 1–2 1–2 1–2 1–2
Pro Tools | Carbon Pre Back Panel Connections 31
Optical S/PDIF Input
8-channel Analog In 8-channel Analog Out
Carbon Pre supports optical S/PDIF input. Each ADAT IN port will automatically detect whether the incoming optical signal is in
S/PDIF or ADAT format.
Optical S/PDIF channels by port at different sample rates
Sample Rate ADAT In: Port 1 ADAT In: Port 2 Tot a l Chann e l s
44.1/48 kHz 1–2 1–2 4 In
88.2/96 kHz 1–2 1–2 4 In
Analog I/O Connections
Mic/Line Inputs XLR/TRS Combo Jacks 1–8
Both the XLR/TRS combo jacks and DB25 inputs can be used for simultaneous connection of mic and line cables to the same input
channel. This allows mic and line inputs to be switched without cable re-patching. 1/4-inch connections to the combo jacks always
use the Line input, while XLR connections always use the Mic input. If a 1/4-inch connection is made to a combo jack, that connection takes precedence over the DB25 connection for that channel input.
Analog I/O 25-pin D-sub Connectors
Pro Tools | Carbon Pre uses 25-pin D-sub connectors on the back panel for both analog line input (channels 1–8) and analog line
output (channels 1–8).
The DB25 line inputs 1–8 are normalled to the TRS combo jacks. If a DB25 line input is active and a 1/4-inch cable is plugged into
the combo jack for the same input channel, the DB25 input is disconnected and the combo jack input is used instead.
With Pro Tools 2023.6, the Line Out Reference Level for Carbon Pre devices in a Carbon Expanded system can be configured to
either +4 dBu or –10 dBv using Hardware Setup in Pro Tools. The outputs default to +4 dBu when resetting the device.
With Pro Tools 2022.10 to 2023.3, the DB25 outputs operate at +4 dBu, and have a maximum operating level of +24 dBu.
Pro Tools | Carbon Pre Back Panel Connections 32
Configuring Pro Tools
Once you have made the necessary cable connections for your studio and have configured Avid Carbon Central software, launch
and configure Pro Tools:
1 Launch Pro Tools. If the Dashboard appears, click Cancel to proceed without opening or creating a session.
2 Configure the Playback Engine the Playback Engine (see Playback Engine).
3 Configure Pro Tools | Carbon in the Hardware Setup (see Hardware Setup).
4 Configure I/O Setup (see I/O Setup).
Launch Pro Tools
Pro Tools software is included with Pro Tools | Carbon. You can purchase a Pro Tools subscription from Avid separately if needed.
After you have installed Pro Tools software, bundled plug-ins, and sound libraries, and have correctly configured Avid Carbon
Central software, launch Pro Tools. When launching Pro Tools for the first time, you are prompted to Activate your Pro Tools software license and licenses for any newly installed plug-ins. Follow the on-screen instructions to activate your iLok licenses. You
may also be prompted to update the firmware for any connected Pro Tools | Carbon and Carbon Pre devices in your system.
Pro Tools Studio or Pro Tools Ultimate is required to use DSP mode with Pro Tools | Carbon and Pro Tools | Carbon Expanded systems. Otherwise, Pro Tools | Carbon and Pro Tools | Carbon Pre can be used as Core Audio devices just like with
other Core Audio–compatible audio applications. You can use Ethernet for Pro Tools Mic Pre control with Pro Tools | Carbon
and Pro Tools | Carbon Pre regardless.
To launch Pro Tools:
1 Double-click the Pro Tools icon in the Applications folder or single-click the icon in the Dock.
Pro Tools application icon
2 When prompted to Activate your Pro Tools software license, follow the on-screen instructions.
3 If you are prompted to update Pro Tools | Carbon Firmware, do so by following the on-screen instructions.
iLok Authorization
Once you have registered Pro Tools | Carbon and downloaded and installed software from your Avid Master Account, use iLok License Manager to authorize iLok Cloud or your physical USB iLok (purchased separately) with your entitlements. When launching
Pro Tools for the first time, you are prompted to Activate your software license using your registered iLok account.
Firmware Update
Required firmware updates are included with Pro Tools software. When you first launch a new version of Pro Tools you may be
prompted to update the firmware for any connected Pro Tools | Carbon and Carbon Pre devices in your system. If prompted, follow
the on-screen instructions to update Pro Tools | Carbon and Carbon Pre firmware.
Configuring Pro Tools 33
Playback Engine
To select the Pro Tools | Carbon device appropriate to your system configuration as the Playback Engine for Pro Tools:
1 Launch Pro Tools if it is not already running.
2 Choose Setup > Playback Engine.
Playback Engine dialog: Pro Tools | Carbon Expanded selected
3 Select one of the following as the as the Playback Engine according to your system configuration:
• Pro Tools | Carbon Expanded
• Pro Tools | Carbon
• Pro Tools | Carbon Pre: I/O
If you are using Avid Carbon Central, the Playback Engine appears as Pro Tools | Carbon Expanded even if you have only a
single Pro Tools | Carbon device connected.
If you are using Carbon Pre as an ADAT converter or standalone mic preamp, select the appropriate Playback Engine for your
system configuration. For example, select HDX if you are using Carbon Pre with a MTRX Studio or HD I/O connected to HDX.
Configuring Pro Tools 34
4 Configure the rest of the Playback Engine dialog as desired.
For most installations, the default settings are recommended. You can optimize performance later by returning to the Playback
Engine dialog.
5 Click OK.
To open the Playback Engine dialog when launching Pro Tools, press and hold the N key.
Hardware Setup
When Pro Tools | Carbon is connected to your Pro Tools system, the Hardware Setup provides three pages specifically for setting
up Pro Tools | Carbon or Pro Tools | Carbon Pre in a Pro Tools | Carbon Expanded system. There are no specific controls in the
Hardware Setup for a stand-alone Pro Tools | Carbon Pre.
There are no specific controls in Hardware Setup with Pro Tools 2022.10 to 2023.3 for Pro Tools | Carbon Pre in an Expanded
System.
Pro Tools | Carbon Hardware Setup
To configure Pro Tools | Carbon in the Hardware Setup dialog:
1 Launch Pro Tools if it is not already running.
2 Choose Setup > Hardware.
3 Configure the settings for Pro Tools | Carbon, which are described in detail below.
Hardware Setup, Pro Tools | Carbon
Configuring Pro Tools 35
4 Click OK when you are done to close the Hardware Setup dialog.
When a monitor set is enabled, the audio signal from the respective physical outputs is attenuated. When a monitor set is not
enabled, the audio signal from the respective physical outputs is not attenuated. This is indicated in the Hardware Setup by a
“!” to the right of the monitor set icon. Do not connect speakers directly to physical outputs where a monitor set is not enabled.
Doing so will result in a very loud, unattenuated output level.
Peripherals
The Peripherals list displays the connected Pro Tools | Carbon (or Pro Tools | Carbon Pre) unit.
Note that only the Pro Tools | Carbon primary device is shown in the Peripherals list for Pro Tools | Carbon Expanded systems
in Pro Tools 2022.10 to 2023.3.
Clock Source/Carbon Central
Click Audio MIDI Setup to see the clock source settings for Pro Tools | Carbon. With Carbon Expanded systems, this button is la-
Carbon Central. Either Carbon Central or Audio MIDI Setup can be used to set the clock source.
beled
Sample Rate
Displays the current Sample Rate for Pro Tools | Carbon.
Retain Mic Pre Settings
To retain the current Mic Pre settings for Pro Tools | Carbon when switching between different sessions, enable the Retain Mic Pre
Settings
option.
Firmware
Displays the Firmware version for the Pro Tools | Carbon. The letter suffix indicates which version of the main board is installed
in the chassis. Different board versions may have slightly different specifications.
Main Page
Click the Main tab in the Hardware Setup to view the Main page.
Hardware Setup, Pro Tools | Carbon Main page
Configuring Pro Tools 36
Monitors
The Monitors section lets you enable or disable the following Monitor options:
Main (MON L–R)
When enabled, the Main monitor set can be selected for monitoring on the front panel of Pro Tools | Carbon.
The Main monitor uses the Monitor L–R outputs on the back panel. Headphone mirroring is not available when
is disabled.
Alt 1 (LINE 1–2)
When enabled, the Alt 1 monitor set can be selected for monitoring on the front panel of Pro Tools | Carbon.
Alt 1 uses channels 1 and 2 of the DB25 line outputs on the back panel.
Alt 2 (LINE 3–4)
When enabled, the Alt 2 monitor set can be selected for monitoring on the front panel of Pro Tools | Carbon.
Alt 2 uses channels 3 and 4 of the DB25 line outputs on the back panel.
Surround Mon
more information see
With Pro Tools | Carbon, you can mirror the main stereo analog monitoring output with optical S/PDIF output for external
digital metering (such as with a Logitek Ultra VU Bargraph Meter). For more information, see
Digital Metering
When enabled, the surround monitor set can be selected for monitoring on the front panel of Pro Tools | Carbon. For
Surround Monitoring.
Analog Monitoring with
.
Carbon front panel details:
• Output metering shows the pre-trim level.
• Outputs for all enabled monitor sets are muted when they are not selected.
• When cycling through monitor sets, the trim level remains the same.
For more information on configuring the I/O Setup for surround monitoring, refer to the Pro Tools Reference Guide.
Headphone Sources
Main (MON L–R)
The Headphone Sources section lets you select the source for each of the four headphone outputs on the front panel of
Pro Tools | Carbon.
MON L–R
When this option is selected, the corresponding headphone output mirrors the signal of the currently selected Stereo
Monitor set. If no Stereo Monitor set is enabled, the headphone output mirrors the signal of the MON L–R outputs on the back
panel.
This is useful when you want the listener to hear the same audio material as the main mix in both Pro Tools and Core Audio output.
HP 1–4
When a source is set to a headphone output (HP 1–4), any Pro Tools track (or other Core Audio software audio channel)
that is routed to that Headphone output passes audio to that Headphone output.
This is useful when you want the listener to hear different audio material from the main mix in Pro Tools and Core Audio output,
such as for a unique cue mix.
Function Switch Assignments
The Function Switch Assignments section shows whether or not the control assignments for the front panel buttons are enabled.
If a control assignment is not available, such as if Alt 2 (3–4) is disabled, the button on the front panel is unlit and the corresponding
icon in the Hardware Setup is grayed out.
Talkback Mic Gain
Adjust the knob or type a value (in dB) to set the talkback mic gain for when Talkback is engaged. Talkback mic gain can be set
to the following fixed values: 0, 6, 12, 18, 24, 30, or 36 dB. It defaults to 30 dB.
Dim Amount
Adjust the knob or type a value (in dB) to set the Dim level for when the DIM button is pressed on the front panel or when Talkback
is engaged.
Configuring Pro Tools 37
Line I/O Page
Click the Line I/O tab in the Hardware Setup to view the Line I/O page. You can set whether each of the Line input channels bypass
input gain control. You can also set the reference level (+4 dBu or –10 dBV) for each of the analog outputs.
Hardware Setup, Line I/O page
Line Input Gain
Select On to apply input gain control to the corresponding Line input (either XLR/TRS or DB25 inputs). Select Bypass to bypass
the input preamp for the corresponding Line input channel. Enable
source, and the most transparent signal path is desired. For any linked input pairs, the
Bypass when connecting an external preamp or line-level
Line In Gain setting is linked. You can also
bypass (or unbypass) Line input gain from Mic Preamps view on tracks in the Mix or Edit windows.
For Pro Tools | Carbon Pre, press the “user” (dot) button on the front panel (or use the Carbon Expanded Hardware Setup)
to enable or disable line input gain for the selected channel (see
Line Output Reference Level
Pro Tools | Carbon Pre Front Panel).
Select either +4 dBu or –10 dBV as the reference level for each analog output: MON L–R (TRS outputs) and LINE 1–8 (DB25 outputs). When connecting balanced audio gear, use +4 dBu. When connecting unbalanced audio gear, use –10 dBV.
Standalone Pro Tools | Carbon Pre line outputs are always configured for +4 dBu reference level. All Carbon devices default to
+4 dBu.
Optical I/O Page
Click the Optical I/O tab in the Hardware Setup to view the Optical I/O page.
Hardware Setup, Optical I/O page
Configuring Pro Tools 38
Optical In Format (Detected)
Pro Tools | Carbon and Pro Tools | Carbon Pre automatically detect the digital format of the incoming signal on optical ports 1 and
2 (labeled ADAT In 1 and 2 on the back panel). The detected format is displayed for each port:
Optical Out Format
ADAT, S/PDIF, or N/A.
Pro Tools | Carbon provides two pairs of optical in and out ports (labeled ADAT Out 1 and 2 on the back panel). The Optical I/O
page of the Hardware Setup lets you set the digital format of each output port to either
ADAT or Optical S/PDIF. When set to
ADAT, each port provides up to 8 channels of digital audio depending on the sample rate. When set to Optical S/PDIF, each port
provides 2 channels of digital audio up to 96 kHz.
ADAT channel routing by port at different sample rates
Sample Rate ADAT In: Port 1 ADAT In: Port 2 ADAT Out: Port 1 ADAT Out: Port 2 Total Channels
44.1/48 kHz 1–8 1–8 1–8 1–8 16 In, 16 Out
88.2/96 kHz 1–4 1–4 1–4 1–4 8 In, 8 Out
176.4/192 kHz 1–2 1–2 1–2 1–2 4 In, 4 Out
Optical S/PDIF channel routing by port at different sample rates
Sample Rate ADAT In: Port 1 ADAT In: Port 2 ADAT Out: Port 1 ADAT Out: Port 2 Total Channels
44.1/48 kHz 1–2 1–2 1–2 1–2 4 In, 4 Out
88.2/96 kHz 1–2 1–2 1–2 1–2 4 In, 4 Out
The default ADAT 1 and 2 channel names in I/O Setup do not change when S/PDIF is selected. For example, select ADAT 1–2
In/Out on Pro Tools tracks for routing Optical S/PDIF audio. However, channel names can be edited in I/O Setup to display
“Optical S/PDIF 1–2” when the S/PDIF format is selected, if desired.
Sample Rate
The Sample Rate indicator displays the current sample rate of the session for reference. The interface sample rate is determined
by Pro Tools or Core Audio. When Pro Tools is running, the sample rate is set by Pro Tools. When Pro Tools is closed, the sample
rate for Pro Tools | Carbon can be set in AMS. Pro Tools and third-party Core Audio applications cannot use different sample rates
for Pro Tools | Carbon at the same time. The default sample rate for Pro Tools | Carbon is 48 kHz.
Do not attempt to change the device sample rate using AMS or a third-party Core Audio application while Pro Tools is running.
Clock Source in Audio MIDI Setup
You can set the Clock Source for Pro Tools | Carbon, Pro Tools | Carbon Pre, or Pro Tools | Carbon Expanded systems in the Audio
window of AMS, which can be accessed from the Hardware Setup dialog. The
Clock Source defaults to the internal clock. If other
digital devices are connected to Pro Tools | Carbon that can be set to follow the internal clock of Pro Tools | Carbon, you can leave
Pro Tools | Carbon set to the default Internal option. However, if you need Pro Tools | Carbon to follow an external clock source,
such as a connected synchronization peripheral that generates Word Clock or a digital device that sends clock over ADAT optical,
you will need to set Pro Tools | Carbon to follow that clock source.
You can also set the Clock Source in Avid Carbon Central (see
Clocking), which is recommended for Pro Tools | Carbon
and Pro Tools | Carbon Expanded systems. AMS is only required for stand-alone Carbon Pre.
To select the appropriate Clock Source for Pro Tools | Carbon:
1 Do one of the following:
• In macOS, launch Audio MIDI Setup.
• In Pro Tools, choose
Setup > Hardware and click Audio MIDI Setup.
2 Choose Window > Show Audio Devices.
3 Select Pro Tools | Carbon: Reserved for Pro Tools in the Audio Device list.
Configuring Pro Tools 39
4 From the Clock Source selector, select the clock source that Pro Tools | Carbon should follow:
• Internal (default)
• Word Clock
• ADAT 1
• ADAT 2
Selecting the Clock Source for Pro Tools | Carbon in AMS
Each possible internal and external Clock Source is listed once for each AVB input stream in the current Pro Tools | Carbon AVB
configuration (such as
In 1–28 or Reserved 1–28). There is no functional difference between the listed options for each individual
internal or external Clock Source.
Ensure that
Internal is selected if you are not clocking to an external source. If you need to clock to an external source, ensure that
the proper cable connections are robust and that the external clock source is providing clock data at the appropriate sample rate,
then select the Clock Source that matches your system configuration.
Pro Tools | Carbon Pre Hardware Setup
With Pro Tools 2023.6 or later, the Hardware Setup provides controls for Pro Tools | Carbon Pre in Expanded Systems. There are
no settings for stand-alone Carbon Pre or for Carbon Pre in Expanded systems with versions of Pro Tools prior to 2023.6.
Hardware Setup, Pro Tools | Carbon Pre settings
Configuring Pro Tools 40
Line In Gain
Select On to apply input gain control to the corresponding Line input (either XLR/TRS or DB25 inputs). Select Bypass to bypass
the input preamp for the corresponding Line input channel. Enable
source, and the most transparent signal path is desired. For any linked input pairs, the
Bypass when connecting an external preamp or line-level
Line In Gain setting is linked. You can also
bypass (or unbypass) Line input gain from Mic Preamps view on tracks in the Mix or Edit windows.
Line Out Reference Level
Select either +4 dBu or –10 dBV as the reference level for each analog output: MON L–R (TRS outputs) and LINE 1–8 (DB25 outputs). When connecting balanced audio gear, use +4 dBu. When connecting unbalanced audio gear, use –10 dBV.
I/O Setup
Configure the Pro Tools I/O Setup for input and output routing for Pro Tools | Carbon.
At higher sample rates, the number of available ADAT Inputs and Outputs are reduced for each port. At 88.2/96 kHz, only ADAT
channels 1–4 are available, and at 176.4/192 kHz, only ADAT channels 1–2 are available. Unavailable ADAT channels are indicated in italic text in the Input, Output, Bus, and Insert pages of the I/O Setup.
Input Setup
Pro Tools | Carbon provides Mic, Line, Instrument, ADAT, and Talkback mic inputs. Pro Tools | Carbon Pre provides Mic, Line,
and Instrument inputs when used in a Pro Tools | Carbon Expanded system. When used as a dedicated AVB interface ADAT I/O
is also available.
I/O Setup, Input page with Carbon Expanded system
Configuring Pro Tools 41
Output Setup
In addition to line and ADAT outputs, Pro Tools | Carbon has a dedicated Main stereo monitor output, two additional Alternate
stereo monitor output paths (line outputs 1–4), optional surround monitor output (line outputs and monitor outputs, depending on
the selected surround monitor channel width), and four dedicated Headphone outputs. Pro Tools | Carbon Pre provides line outputs
when used in a Pro Tools | Carbon Expanded system. When used as a dedicated AVB interface the ADAT I/O is also available.
I/O Setup, Output page with Carbon Expanded system
Main and Alt Monitor Paths
The Main monitor output path and the two Alt monitor paths can be enabled or disabled in the Hardware Setup. When enabled, each
appears color coded in the Output page of the I/O Setup. Each stereo monitor path has a fixed output assignment:
Main
The Main monitor path is always assigned to the 1/4-inch TRS stereo monitor outputs.
Alt 1
The Alt 1 monitor path is always assigned to the DB25 line outputs 1–2.
Alt 2
The Alt 2 monitor path is always assigned to the DB25 line outputs 3–4.
Surround
Headphone Outputs
For information about surround monitoring, see Surround Monitoring.
Each Headphone output can be assigned to either mirror the Main monitor path or use its own dedicated path.
AFL/PFL Path and Pro Tools | Carbon
The AFL/PFL Path is used only for AFL and PFL Solo Modes. If you do not intend to use Pro Tools AFL and PFL Solo Mode features, disable the
AFL/PFL Path to make more system resources available for other audio routing and processing tasks.
Configuring Pro Tools 42
Surround Monitoring
(Pro Tools Ultimate or Studio 2023.6 or later only)
Pro Tools | Carbon supports surround monitoring from 6 channels (such as 5.1) up to 10 channels (such as 5.1.4 or 7.1.2) with
Pro Tools Ultimate and Studio versions 2023.6 or later. Use the Main Monitor Out L and R (TRS balanced 1/4-inch) and Line Out
1–8 (DB-25) for 6 to 10 channel monitoring configurations. Be sure to disable stereo Monitor paths in the Hardware Setup for full
surround channel monitoring capabilities.
In the Hardware Setup and I/O Setup, Pro Tools indicates any stereo or surround speaker setups but provides no control over the
selection of the speaker set. Outputs are muted for any non-active, selected speaker sets.
To configure Carbon for surround monitoring:
1 Choose Setup > Hardware.
2 In the Monitors section on the Main page for Carbon, do the following:
• Deselect any monitor paths that you will not be using. Selected stereo monitors take away from the available surround monitoring path width.
• Select the desired Surround speaker set at the bottom of the
Monitors section.
Hardware Setup, selecting Surround output path
3 Enable the selected Surround Mon path.
Hardware Setup, Main (MON L–R) and 8 Ch Surround monitoring selected
4 Click OK to close the Hardware Setup dialog.
Configuring Pro Tools 43
Available speaker sets:
•
6 Ch Surround: Line out 3–8 (not available if Alt 2 monitor set is enabled)
•
8 Ch Surround: Line out 1–8 (not available if Alt 1 monitor set is enabled)
•
10 Ch Surround: MON L–R & Line 1-8 (not available if Main monitor speaker set is enabled)
Surround speaker sets must not overlap with enabled stereo speaker sets. For example, if Alt 1 monitor set (Line out 1–2) is
enabled then 8-channel surround and 10-channel surround cannot be selected, and vice versa.
To enable (or disable) surround monitoring with Carbon:
1 Configure the Hardware Setup and I/O Setup for the desired surround monitoring configuration.
2 Press the C button on the front panel of Carbon. SUR is displayed under the Output Level Strip.
3 Press the Output encoder, or press and rotate the Output encoder, to switch to the next enabled monitor set.
4 Control the global level for surround monitoring using the Output encoder. Note that there is only one attenuation level on the
device for all monitor sets.
Surround Paths in the I/O Setup
The I/O Setup is where you define the surround format you want to use. The defaults assigned to each 6, 8, and 10-channel surround
path orders, The surround path may be configured for any format up to the number of surround channels. For example, an 8-channel
surround paths can be configured for 7.1, 6.1, LCR, and so on, but not for 7.1.2. For example, a 6-channel surround path filters out
any formats greater than a 6-channel path width. You can also re-order the channels within the surround monitoring path as desired.
When no stereo monitor set is enabled, the surround monitor path is automatically selected as the output monitor path. When both
stereo and surround monitor sets are enabled then you can select either of those paths for the output monitor path.
I/O Setup, Output tab with stereo monitoring on L-R outputs and 7.1 monitoring on the 8-channel DB-25 outputs
Configuring Pro Tools 44
I/O Setup, Bus tab with stereo monitoring on L-R outputs and 7.1 monitoring on the 8-channel DB-25 outputs
Analog Monitoring with Digital Metering
With Pro Tools | Carbon, you can mirror the main stereo analog monitoring output to the optical S/PDIF output for hardware metering with an external digital metering device.
To configure Pro Tools | Carbon for analog monitoring with an external digital metering device:
1 In Hardware Setup (Setup > Hardware), set one of the ADAT ports to Optical S/PDIF.
Hardware Setup, Optical Out Format set to S/PDIF for both ports
2 Click OK to close the Hardware Setup.
3 Connect that ADAT port to your external metering device.
Configuring Pro Tools 45
4 On the Bus page of the I/O Setup (Setup > I/O > Bus), do the following:
• Hold the Control key (Mac) or Start key (Windows).
• Click on the assigned monitor output (
•Select
ADAT 1: 1-2 or ADAT 2: 1-2 (depending on which ADAT port is set to S/PDIF and is connected to your metering de-
MON L-R) in the Mapping to Output column.
vice) to multi-assign the monitor path outputs.
Once assigned, Pro Tools audio output is routed to both pairs of outputs.
I/O Setup Bus page, setting MON L-R bus to both MON L-R and ADAT 1: 1-2 outputs
5 Click OK to close the I/O Setup.
This Pro Tools | Carbon routing configuration only works with Pro Tools software. It is not supported with other Core Audio
applications using Pro Tools | Carbon.
Configuring Pro Tools 46
DSP Mode for Low-Latency Monitoring
DSP Mode Auto enabled
DSP Mode Safe enabled
Native Mode
DSP Mode enabled
DSP Mode ensures that low-latency monitoring is maintained during recording with Pro Tools | Carbon. You can enable or disable
DSP Mode on a track-by-track basis. DSP Mode can be enabled for Audio, Auxiliary Input, Instrument, Routing Folder, and Master
Fader tracks. For tracks with DSP Mode enabled, all plug-ins on the track switch from Native to DSP (if a DSP version is available),
and all track inputs and outputs, including sends, run on the HDX DSP mixer in Pro Tools | Carbon itself. To ensure the lowest possible latency for monitoring, DSP and Native plug-ins cannot be active on the same track while DSP Mode is enabled. Any Native-only plug-ins are automatically bypassed in DSP Mode.
You can also use DSP Mode on audio tracks that are not record-armed or input-enabled if you want to offload Native processing
on the host CPU to HDX DSP processing on Pro Tools | Carbon when mixing.
While Pro Tools | Carbon Pre does not have any on-board DSP of its own, it can take advantage of the DSP in the primary
Pro Tools | Carbon unit when using Carbon Pre in a Pro Tools | Carbon Expanded system.
The following DSP Mode states are possible, as indicated by the DSP Mode icon:
Native Mode (DSP Mode Disabled)
All plug-ins on the track are Native only.
DSP Mode Enabled
versions switch to DSP while Native only plug-ins are bypassed. The entire signal path for the track runs on the DSP mixer in
Pro Tools | Carbon.
DSP Mode Auto Enabled
DSP Mode. When DSP Mode is automatically enabled on a track, the DSP Mode button turns dim green.
DSP Mode Safe
When DSP Mode is disabled on a track it is in Native Mode and the DSP Mode button is gray.
When DSP Mode is enabled on a track, the DSP Mode button turns bright green. All Native plug-ins with DSP
If any track is part of the signal chain of another track that is set to DSP Mode, it is automatically set to
When DSP Mode Safe is enabled on a track, DSP Mode will not be automatically enabled on that track.
DSP Mode button states
DSP Mode for Low-Latency Monitoring 47
Enabling DSP Mode
Enable DSP Mode on tracks for low-latency monitoring during recording or input monitoring. With DSP Mode enabled:
Protecting low latency is the highest priority.
The track and its entire signal chain run on the HDX DSP in Pro Tools | Carbon.
Any plug-ins on the track that are not available in DSP format are bypassed.
HEAT is not supported on audio tracks in DSP Mode. In the Mix window, HEAT is bypassed for all audio tracks in DSP Mode.
To enable DSP Mode on a track, do one of the following:
In the Mix or Edit window, click the DSP Mode button on the track so that it lights bright green.
Track DSP Mode button enabled: in the Edit window (left) and in the Mix window (right)
In the Mix or Edit window, right-click the DSP Mode button on the track and select DSP Mode.
Right-click the Track name in the Track List, or in the Edit or Mix window, and select DSP Mode. The DSP Mode button is not
shown when the
Track Height is set to Small, Mini, or Micro in the Edit window. In this case, use this method to enable (or dis-
able) DSP Mode, or do so in the Mix window.
Right-click a track name to enable DSP Mode in the Edit window
DSP Mode for Low-Latency Monitoring 48
Enabling DSP Mode Safe
Use DSP Mode Safe to prevent DSP Mode from being automatically enabled on a track. This is useful if you want to route any
audio from a DSP Mode–enabled track with any plug-ins that are only available in Native format. For example, you might want to
send audio from a DSP Mode–enabled audio track to a DSP Mode Safe–enabled Auxiliary Input track for processing with a reverb
plug-in that is only available as a Native plug-in. DSP Safe Mode can also be useful if you just need to avoid using DSP for plug-ins
on a track for any reason.
To enable DSP Mode Safe on a track, do one of the following:
Right-click the Track name in the Track List, or in the Edit or Mix window, and select DSP Mode Safe.
Enabling DSP Mode Safe on a track in the Mix window
In the Mix or Edit window, right-click the DSP Mode button on the track and select DSP Mode Safe.
In the Mix or Edit window, Command-click the DSP Mode button on the track.
Tracks in DSP Mode provide ultra-low-latency monitoring, whereas tracks in Native Mode introduce latency when monitoring
live inputs. Consequently, live audio monitored both through tracks in DSP Mode and tracks in Native Mode (including DSP
Mode Safe-enabled tracks) may not be aligned.
Indicators for DSP Plug-ins, Inserts, Sends, and Outputs
DSP-Compatible Badge for Plug-ins
For plug-ins that are available in both Native and DSP formats, the DSP-Compatible Badge appears to the right of plug-in name
in the Plug-in Insert selector. Plug-ins without this badge are only available in Native format and, if inserted on a track, are automatically bypassed when DSP Mode is enabled on that track.
DSP-Compatible Badge
DSP Mode for Low-Latency Monitoring 49
DSP Mode Insert Indicator
Insert Selector dot
DSP Mode enabled
DSP Mode enabled
DSP Mode auto-enabled
DSP Mode enabled,
plug-in inactive due to
insufficient resources
Plug-in Insert selectors change color to indicate whether DSP plug-ins are inserted on a track that is DSP Mode enabled or DSP
Mode auto-enabled, or if a plug-in has been made inactive due to insufficient DSP resources.
DSP Mode Insert indicator color coding
DSP Mode Color
Enabled Green
Auto-enabled Dark Green
Inactive due to insufficient resources Dark Orange
Insert DSP Mode indicators
Plug-in Format Indicator in Plug-in Windows
The Plug-in Format indicator is color coded to indicate whether DSP plug-ins are inserted on a track that is DSP Mode–enabled or
DSP Mode–auto enabled, or if a plug-in has been made inactive due to insufficient DSP resources. Similarly, with Dynamics
plug-ins, the Key Input selector turns dark orange to indicate that there are insufficient DSP resources.
DSP Mode enabled
DSP Mode automatically enabled
DSP Mode for Low-Latency Monitoring 50
DSP Mode, DSP plug-in inactive due to insufficient DSP resources
DSP Mode, Key Input inactive due to insufficient DSP resources
Send Selector DSP Mode Indicator
When a Send is made inactive due to insufficient DSP resources, the Send selector appears dark orange and any text is italicized.
DSP Mode-enabled, send inactive due to insufficient resources
Output View Selector DSP Mode Indicator
When a track output is made inactive due to insufficient DSP resources, the Output View selector appears dark orange and any text
is italicized.
DSP Mode-enabled, track output inactive due to insufficient resources
DSP Mode for Low-Latency Monitoring 51
System Usage
The System Usage window in Pro Tools provides a Pro Tools | Carbon pane that lets you monitor the number of available AVB
Input and Output channels in use, and how much DSP is being used by plug-ins and the mixer.
System Usage window, Pro Tools | Carbon pane
Input Channels
Output Channels
DSP Meters
Shows the number of AVB channels dedicated to audio streams from Pro Tools | Carbon to Pro Tools.
Shows the number of AVB channels dedicated to audio streams from Pro Tools to Pro Tools | Carbon.
Show how much of the 8 HDX DSPs on Pro Tools | Carbon are being used by the mixer and DSP plug-ins.
Pro Tools reserves certain channels for internal communication. As a result, the number of Output Channels shown in the System
Usage window is always two fewer than the number of channels shown in AMS.
A larger or smaller AVB configuration can be selected in Avid Carbon Central (see AVB Configuration) or AMS (see AVB Device
Configuration) to suit your input and output channel requirements.
DSP Mode Preferences
The Enable DSP Mode when Tracks with Hardware Inputs are Record-Armed Input-Enabled preference automatically sets audio tracks to DSP Mode when they are record-armed or input-enabled. This ensures low-latency monitoring using DSP Mode for
all live signal paths. This option is enabled by default.
Any track that is automatically DSP Mode-enabled due to this preference remains DSP Mode-enabled until it is manually set to
Native Mode or if the Disable DSP Mode when Disabling Record/Input option is enabled.
Disable DSP Mode when Disabling Record/Input preference automatically disables DSP Mode when disengaging Record
The
Arm and TrackInput Monitor on a track. This option is disabled by default.
To enable (or disable) DSP Mode preferences:
1 Choose Setup > Preferences > Operation.
2 In the Record section, select (or deselect) the Enable DSP Mode when Tracks with Hardware Inputs are Record-Armed/
Input-Enabled
3 In the Record section, select (or deselect) the Disable DSP Mode when Disabling Record/Input option.
4 Click OK.
DSP Mode for Low-Latency Monitoring 52
option.
Workflow Example: Recording in DSP Mode for Low-Latency Monitoring
The following workflow example uses DSP Mode for recording a singer with DSP plug-in processing and low-latency monitoring.
This example session is made up of the following tracks (see the graphic on the next page):
• 3 mono audio tracks for vocals, guitar, and bass. Each track has EQ and dynamics plug-ins, and the vocal track also has a
slap-back delay.
• 2 stereo audio tracks, one for electric piano and another for drum loops. Each track has EQ and dynamics plug-ins.
• 1 stereo Auxiliary Input track for reverb processing.
• 2 Master Fader tracks, one for control room monitoring and the other for the singer’s headphones. Each has a limiter on it.
• 1 mono Auxiliary Input track for the built-in talkback mic.
The following diagram shows the physical studio connections for this workflow example. While this workflow example only reviews recording vocals in DSP Mode with a dedicated headphone mix, you can just as easily have independent headphone mixes
for the rest of the band.
Physical studio connections
DSP Mode for Low-Latency Monitoring 53
Adjust the Mix for Recording
Start playback to set the levels and panning of the instruments to get the mix you want in the control room monitors. Set the send
levels from each track to balance the headphone mix. Input-enable the vocal track and use the talkback mic to communicate with
the singer and adjust the headphone mix to the singer’s liking. Once the singer is happy with the headphone mix, you are ready to
record some vocals.
Session with the band already recorded
DSP Mode for Low-Latency Monitoring 54
Record with Low-Latency Monitoring
Enable DSP Mode on the vocal track. Notice that all tracks that are part of the signal chain for the vocal track have DSP Mode enabled automatically: the reverb Auxiliary Input track and both Master Fader tracks. All plug-ins on these tracks switch from Native
to DSP format (any Native only plug-ins on any of these tracks are automatically bypassed).
Record-arm the vocal track, and when the singer is ready, start recording. The singer will hear themselves in the mix with virtually
no latency.
Recording vocals in DSP Mode for low-latency monitoring
DSP Mode for Low-Latency Monitoring 55
Use DSP Mode Safe to Record with Native Reverb
Let’s assume that you have a Native-only reverb plug-in that you really like. You can still record vocals with virtually no latency
in their monitor mix while still using your favorite Native-only reverb plug-in to process all of the audio tracks. Enable DSP Mode
Safe on the reverb track and set the wet/dry mix on the reverb plug-in to 100% wet. Enable DSP Mode on the vocal track—DSP
Mode is enabled for all tracks in the signal chain of the vocal track except for the reverb track. Record-arm the vocal track and when
the singer is ready, start recording. There will be latency on the reverb track, but given the nature of reverb processing it won’t really be noticeable. The important thing is that the talent won’t hear any latency in the mix with their performance.
Session configured for recording vocals, but with Auxiliary Input track in DSP Mode Safe for Native reverb processing
For complete information about recording and mixing in Pro Tools, refer to the Pro Tools Reference Guide, which can be
accessed from the Help menu in Pro Tools.
DSP Mode for Low-Latency Monitoring 56
Tips for Using DSP Mode
To ensure optimal workflows in DSP Mode:
Use input and output gain controls on Native-only plug-in inserts to make up for any undesirable changes in signal level when
switching between Native Mode and DSP Mode.
Since DSP Mode does not reduce latency for tracks that are not part of a live signal path, avoid enabling DSP Mode on tracks
that are not part of the signal chain for recording and input monitoring. However, note that DSP Mode can be used to offload
plug-in processing from the CPU when mixing without consequence.
To avoid unnecessarily enabling DSP Mode automatically on tracks that are fed by other channels of a multi-channel bus, use
dedicated mono bus paths instead of mono sub-paths of stereo busses when routing mono audio signals with tracks in DSP
Mode. You will need to specifically create mono bus paths in I/O Setup since the default bus paths will always be stereo with
mono sub-paths.
Avoid routing unrelated signals to the channels of a multichannel bus. For example, avoid routing a guitar signal to the left chan-
nel and a bass signal to the right channel of the same stereo bus.
DSP Mode for Low-Latency Monitoring 57
Pro Tools Mic Preamps Control
Pro Tools lets you control Pro Tools | Carbon and Pro Tools | Carbon Pre mic preamps from mono and stereo tracks in Pro Tools
sessions using Mic Preamps view. Mic Preamps control is available on Mono and Stereo Audio, Auxiliary Input, Instrument, and
Routing Folder tracks.
Mic Preamps View
To show (or hide) Mic Preamps view in the Mix window, do one of the following:
Select (or deselect) View > Mix Window Views > Mic Preamps.
Click the Mix Window View selector, and select (or deselect) Mic Preamps.
Mic Preamps view, Mix window
To show (or hide) Mic Preamps view in the Edit window, do one of the following:
Select (or deselect) View > Edit Window Views > Mic Preamps.
Click the Edit Window View selector, and select (or deselect) Mic Preamps.
Mic Preamps view, Edit window
Pro Tools Mic Preamps Control 58
Mic Preamps View Controls
Header
Preamp Window button
Input Type selector
Stereo Link button
Polarity button
48V selector
Variable Z selector
Gain control
Preamp slot and channel number
Mic Preamps view provides the same set of controls in both the Mix and Edit windows.
Mic Preamp view controls
To retain the current Mic Pre settings for Pro Tools | Carbon when switching between different sessions, enable the Retain
Mic Pre Settings option in the Hardware Setup (Setup > Hardware).
Header (Mix Window Only)
This indicates which MIC PRE channel on Pro Tools | Carbon is being controlled. This corresponds to the selected input channel
for the track.
Preamp Slot and Channel Number (Mix Window Only)
This displays the Mic Preamp slot and channel number.
Input Type Selector
Select an available Input Type for the preamp on that channel: Mic, Line, or Inst. If there is no instrument cable plugged into the
physical input, the
Inst option is unavailable.
Preamp Window Button
Indicates the currently selected Input Type (Mic, Line, or Inst). Click to open a floating Mic Preamp window for the channel.
Mic Preamp windows: Mic, Inst, and Line (left to right)
Pro Tools Mic Preamps Control 59
Click the red Target button in the upper right corner of the window to toggle focus on or off. When unfocused, additional Preamp windows can be opened.
Stereo Link Button
Indicates the current link state for pairs of channels. Click to link or unlink the corresponding stereo pair of channels (1–2, 3–4,
5–6, 7–8). For stereo tracks, each channel can be independently controlled when unlinked.
Preamp controls for a stereo track can be linked or unlinked. When unlinked, a Link button and Channel button appear. Click the
Channel button (such as 1 or 2) to toggle control between odd and even channels. Click the Link button to link channels and display
the Stereo Link button (for example, Link 1–2). The even channel inherits the settings from the odd channel when linked. Click the
Stereo Link button again to disable stereo link and show the Link and Channel buttons.
Variable Z Button
Indicates the current impedance setting. Click to select from the available impedance options for the selected Input Type. Variable
Z is only available for connected variable Z inputs.
Polarity Button
Indicates the current polarity setting. Click the button to toggle polarity.
Gain Indicator and Mini Fader
The Gain indicator features a mini fader to adjust gain to the input signal. The gain range for each input (Mic, Line, and Instrument)
is +3–60 dB, adjustable in 1 dB increments.
Bypass Line Input Gain
When input type is set to Line, you can right-click on the Gain indicator and select (or deselect) Bypass Line Input Gain. When
bypassed, the gain value text is dimly lit and italicized. This setting is mirrored in the
Setup > Hardware).
(
Line I/O page of the Hardware Setup dialog
48V Selector (Mic Only)
Click the 48V button and select 48V or Off from the pop-up menu to enable or disable phantom power. The 48V button lights when
phantom power is enabled. +48 is not available when a mic is not plugged into the corresponding input.
Pro Tools | Carbon Pre Mic Preamps Setup
When using Pro Tools | Carbon or Pro Tools | Carbon Expanded, no special setup is required for Mic Preamp control. However,
additional setup is required for Mic Preamp control when using Pro Tools | Carbon Pre as a standalone AVB device, Mic Preamp,
or ADAT AD/DA converter.
To setup Pro Tools to control Pro Tools | Carbon Pre Mic Preamps over Ethernet:
1 Ensure that the Pro Tools | Carbon Pre device is connected to your computer using Ethernet.
2 Choose Setup > Peripherals.
3 Click the Mic Preamps tab.
4 Select the Carbon Pre device in the Type column (do this for each Carbon Pre in your system). The corresponding Receive From
and Send To options are set automatically to
Ethernet.
Pro Tools Mic Preamps Control 60
Peripherals, Mic Preamps tab
5 Click OK.
6 Choose Setup > I/O.
7 Click the Mic Preamps tab.
Peripherals, Mic Preamps tab
8 Click in the first channel on the grid for the corresponding Pro Tools | Carbon Pre unit. Repeat this step for a second Carbon Pre
if there is one in the system.
9 Click OK.
Pro Tools is now configured to control the preamps on your Pro Tools | Carbon Pre.
Any Pro Tools | PRE™ or Pro Tools | Carbon Pre assignments to analog inputs 1–8 override Carbon preamp control on that
channel. For example, if you map Pro Tools | PRE channels to analog inputs 1–4 then Pro Tools | PRE control appears for tracks
with those inputs, and Carbon preamp controls appear only for tracks with inputs 5–8.
Pro Tools Mic Preamps Control 61
Pro Tools | Carbon Pre Standalone Modes
Pro Tools | Carbon Pre
964530300294856
WORD CLOCK
LOOP SYNC
PRIMARY PORT
EXPANSION PORT
IN
OUT
AC ~ 100-240V;50-60HZ; A
S/PDIF
IN
OUT
AES/EBU
INPUT
AES/EBU
OUTPUT
OPTICAL
IN
OUT
ACCESSORY
1234567
8
ANALOG INPUT
+4 dBu BALANCED
-10 dBV BALANCED
123
45678
ANALOG OUTPUT
BALANCED
DIGITAL I/O
AES/EBU
ADAT
IN
TDIF I/O
ADAT
OUT
Pro Tools HD I/O
Pro Tools | Carbon Pre can be used as a standalone 8-channel ADAT AD/DA converter, as a standalone 8-channel microphone
preamp, or as a standalone Core Audio AVB audio interface.
For signal routing diagrams, see Pro Tools | Carbon Pre Signal Routing.
ADAT Mode
ADAT mode is automatically enabled when your Carbon Pre is not in AVB mode or AD->DA mode. In ADAT mode the analog
inputs are routed to the ADAT outputs and the ADAT inputs are routed to the analog outputs. This lets you use your Carbon Pre
as a standalone 8-channel AD/DA converter.
To use Carbon Pre as a standalone AD/DA converter:
1 Connect TOSLINK from the ADAT output(s) of the Carbon Pre to ADAT input(s) of your audio interface.
2 Verify that the Carbon Pre is in ADAT mode (the AD->DA light is not illuminated), see Pro Tools | Carbon Pre Front Panel
Operation
3 Configure the Carbon Pre clocking to match the clock source of your audio interface—synchronize one device to the other using
Word Clock or ADAT.
While Pro Tools | Carbon Pre is synchronized to the Word Clock output of your audio interface, the Pro Tools | Carbon Pre
device sample rate follows the sample rate of your audio interface.
.
Pro Tools | Carbon Pre example standalone ADAT AD configuration with HD I/O on a HDX system
Pro Tools | Carbon Pre Standalone Modes 62
4 Ensure that the Carbon Pre sample rate matches that of the audio interface.
964530300294856
WORD CLOCK
LOOP SYNC
PRIMARY PORT
EXPANSION PORT
IN
OUT
AC ~ 100-240V;50-60HZ; A
S/PDIF
IN
OUT
AES/EBU
INPUT
AES/EBU
OUTPUT
OPTICAL
IN
OUT
ACCESSORY
1234567
8
ANALOG INPUT
+4 dBu BALANCED
-10 dBV BALANCED
123
45678
ANALOG OUTPUT
BALANCED
DIGITAL I/O
AES/EBU
ADAT
IN
TDIF I/O
ADAT
OUT
Pro Tools | Carbon Pre
Pro Tools HD I/O
5 Access the audio channels of the Carbon Pre using the ADAT inputs of your audio interface.
6 If you want to control the Mic Preamps from Pro Tools, ensure that Ethernet is connected for control data (but not for AVB audio
streaming).
AD->DA Mode (8-channel Mic Preamp)
Pro Tools | Carbon Pre can be used as a standalone 8-channel analog mic preamp device. When AD->DA mode is enabled, analog
inputs 1–8 are routed to both analog outputs 1–8 and the ADAT outputs. ADAT inputs are muted, but
clock source. AVB inputs and outputs are disabled while the device is in
SR button, and the clock source (INT, WC, or ADAT1) can be changed by pressing the CLK button.
ing
To use Carbon Pre as an analog mic preamp:
1 Connect the DB-25 output of your Carbon Pre to the line inputs of your audio interface or mixer.
2 Enable AD->DA mode on your Carbon Pre.
3 (Optional) Set your Carbon Pre sample rate to 192 kHz for the highest quality audio signal.
4 Access the audio channels of your Carbon Pre using the Line inputs of your audio interface or mixer.
5 If you want to control the Mic Preamps from Pro Tools, ensure that Ethernet is connected for control data (but not for AVB audio
AD->DA mode. The sample rate can be changed by press-
streaming).
ADAT1 is available as a
Pro Tools | Carbon Pre example standalone mic preamp configuration with an HD I/O in an HDX system
Pro Tools | Carbon Pre Standalone Modes 63
To enable AD->DA mode:
Press and hold the SR button for 2 seconds then release. Both the SR button and the AD->DA LED light violet, and the IN and
OUT meter buttons light green.
To disable AD->DA mode:
Press and hold the SR button for 2 seconds then release. The lights for the SR button and the AD->DA LED turn off, and the
IN and OUT meter buttons light green.
If a valid AVB connection is made when
If no valid AVB connection is made when
AD->DA mode is disabled, then AVB mode is automatically enabled.
AD->DA mode is disabled, then ADAT mode is automatically enabled.
Standalone AVB Mode
In Standalone AVB mode, Pro Tools | Carbon Pre appears as a generic Core Audio interface (Pro Tools | Carbon Pre: I/O). In
Standalone AVB mode, Pro Tools | Carbon Pre provides 8 channels of analog I/O and up to 16 channels of ADAT I/O.
Configure your Pro Tools | Carbon Pre in AMS for use as a standalone Core Audio AVB audio interface. For more information,
AVB Connections and Settings).
see
Pro Tools | Carbon Pre Standalone Modes 64
Appendix A: Specifications
Specifications subject to change.
Audio Specifications for Pro Tools | Carbon
Microphone Preamp Inputs
Back panel: XLR inputs 1–8
Frequency Response 20 Hz to 20 kHz, ±0.1 dB
Gain Range 3–60 dB in 1 dB steps
Equivalent Input Noise (EIN) –129 dBu (A-weighted)
Signal to Noise Ratio (SNR) –123.5 dB, –126 dB (A-weighted)
Dynamic Range 126 dB (A-weighted)
Total Harmonic Distortion (THD) 1 kHz @ –1 dBFS –105 dB (0.00056%)
Maximum Input Level +24 dBu
Crosstalk –145 dB @ 1 kHz
Phantom Power +48V
Connector Type 8 XLR (XLR/TRS Combo)
Line Inputs
Back panel: DB25 inputs 1–8 and 1/4-inch TRS inputs 1–8
Frequency Response 20 Hz to 20 kHz, ±0.1 dB
Gain Range 6–60 dB in 1 dB steps
SNR –122 dB, –125 dB (A-weighted)
Dynamic Range 123 dB, 125 dB (A-weighted)
THD 1 kHz @ –1 dBFS –106 dB (0.0005%)
Maximum Input Level +24 dBu
Crosstalk –145 dB @ 1 kHz
Connector Type 1/4-inch TRS Balanced (Combo XLR/TRS)
DB25 (Tascam wiring), normalled
Appendix A: Specifications 65
Line Inputs (True Bypass)
Back panel: DB25 inputs 1–8 and 1/4-inch TRS inputs 1–8
Frequency Response 20 Hz to 20 kHz, ±0.1 dB
Gain Range 0 dB fixed
SNR –123 dB, –126 dB (A-weighted)
Dynamic Range 123 dB, 126 dB (A-weighted)
THD 1 kHz @ –1 dBFS –113 dB (0.00022%)
Maximum Input Level +24 dBu
Crosstalk –145 dB @ 1 kHz
Connector Type 1/4-inch TRS Balanced (Combo XLR/TRS)
DB25 (Tascam wiring), normalled
Instrument Inputs
Front panel 1/4-inch TS inputs 1–2
Frequency Response 20 Hz to 20 kHz, ±0.1 dB
Gain Range 3–60 dB in 1 dB steps
SNR –120 dB, –122 dB (A-weighted)
Dynamic Range 123 dB, 125 dB (A-weighted)
THD 1 kHz @ –1 dBFS –103 dB (0.0007%)
Maximum Input Level +15.7 dBV
Crosstalk –145 dB @ 1 kHz
Connector Type 1/4-inch TS Unbalanced
Line Outputs
Back panel DB25 outputs 1–8
Frequency Response 20 Hz to 20 kHz, ±0.1 dB
SNR –124 dB (A-weighted)
Dynamic Range 124 dB (A-weighted)
THD 1 kHz @ –1 dBFS –110 dB (0.0003%)
Maximum Output Level +24 dBu
Crosstalk –135 dB @ 1 kHz
Output Impedance 100 ohm balanced (50 ohm per leg)
Connector Type DB25 (Tascam wiring)
Appendix A: Specifications 66
Monitor Outputs
Back panel 1⁄4-inch TRS outputs L–R
Frequency Response 20 Hz to 20 kHz, ±0.1 dB
SNR –126 dB (A-weighted)
Dynamic Range 126 dB (A-weighted)
THD 1 kHz @ –1 dBFS –110 dB (0.0003%)
Maximum Output Level +24 dBu
Crosstalk –135 dB @ 1 kHz
Output Impedance 100 ohm balanced (50 ohm per leg)
Connector Type 1⁄4-inch TRS Balanced
Headphone Outputs
Front panel 1/4-inch TRS stereo 1–4
Power 100 mW into 300 ohm; 200 mW into 32 ohm
Frequency Response 20 Hz to 20 kHz, ±0.1 dB
SNR –116 dB (A-weighted)
Dynamic Range 116 dB (A-weighted)
Total Harmonic Distortion + Noise Ratio 32 Ohm: –87 dB (0.0045%)
300 ohm: –100 dB (0.001%)
Connector Type 1⁄4-inch TRS Stereo
Digital I/O ADAT
Back panel optical ports 1 and 2
Format ADAT Digital Lightpipe with S/MUX
Supported Sample Rates 44.1, 48, 88.2, 96, 176.4, 192 kHz
Channel Assignments (44.1–48 kHz) Port 1 = Channels 1–8, Port 2 = Channels 1–8
Channel Assignments (88.2–96 kHz) Port 1 = Channels 1–4, Port 2 = Channels 1–4
Channel Assignments (176.4/192 kHz) Port 1 = Channels 1–2, Port 2 = Channels 1–2
Connector Type Optical TOSLINK
Appendix A: Specifications 67
Digital I/O Optical S/PDIF
Back panel optical ports 1 and 2
Format Optical S/PDIF
Supported Sample Rates 44.1, 48, 88.2, 96 kHz
Channel Assignments (44.1–48 kHz) Port 1 = Channels 1–2, Port 2 = Channels 1–2
Channel Assignments (88.2–96 kHz) Port 1 = Channels 1–2, Port 2 = Channels 1–2
Connector Type Optical TOSLINK
Audio Specifications for Pro Tools | Carbon Pre
Microphone Preamp Inputs
Back panel: XLR inputs 1–8
Frequency Response 20 Hz to 20 kHz, ±0.1 dB
Gain Range 3–60 dB in 1 dB steps
Equivalent Input Noise (EIN) –129 dBu (A-weighted)
Signal to Noise Ratio (SNR) –123.5 dB, –126 dB (A-weighted)
Dynamic Range 126 dB (A-weighted)
Total Harmonic Distortion (THD) 1 kHz @ –1 dBFS –105 dB (0.00056%)
Maximum Input Level +24 dBu
Crosstalk –145 dB @ 1 kHz
Phantom Power +48V
Connector Type 8 XLR (XLR/TRS Combo)
Line Inputs
Back panel: DB25 inputs 1–8 and 1/4-inch TRS inputs 1–8
Frequency Response 20 Hz to 20 kHz, ±0.1 dB
Gain Range 6–60 dB in 1 dB steps
SNR –122 dB, –125 dB (A-weighted)
Dynamic Range 123 dB, 125 dB (A-weighted)
THD 1 kHz @ –1 dBFS –106 dB (0.0005%)
Maximum Input Level +24 dBu
Crosstalk –145 dB @ 1 kHz
Connector Type 1/4-inch TRS Balanced (Combo XLR/TRS)
DB25 (Tascam wiring), normalled
Appendix A: Specifications 68
Line Inputs (True Bypass)
Back panel: DB25 inputs 1–8 and 1/4-inch TRS inputs 1–8
Frequency Response 20 Hz to 20 kHz, ±0.1 dB
Gain Range 0 dB fixed
SNR –123 dB, –126 dB (A-weighted)
Dynamic Range 123 dB, 126 dB (A-weighted)
THD 1 kHz @ –1 dBFS –113 dB (0.00022%)
Maximum Input Level +24 dBu
Crosstalk –145 dB @ 1 kHz
Connector Type 1/4-inch TRS Balanced (Combo XLR/TRS)
DB25 (Tascam wiring), normalled
Instrument Inputs
Front panel 1/4-inch TS inputs 1–2
Frequency Response 20 Hz to 20 kHz, ±0.1 dB
Gain Range 3–60 dB in 1 dB steps
SNR –120 dB, –122 dB (A-weighted)
Dynamic Range 123 dB, 125 dB (A-weighted)
THD 1 kHz @ –1 dBFS –103 dB (0.0007%)
Maximum Input Level +15.7 dBV
Crosstalk –145 dB @ 1 kHz
Connector Type 1/4-inch TS Unbalanced
Line Outputs
Back panel DB25 outputs 1–8
Frequency Response 20 Hz to 20 kHz, ±0.1 dB
SNR –124 dB (A-weighted)
Dynamic Range 124 dB (A-weighted)
THD 1 kHz @ –1 dBFS –110 dB (0.0003%)
Maximum Output Level +24 dBu
Crosstalk –135 dB @ 1 kHz
Output Impedance 100 ohm balanced (50 ohm per leg)
Connector Type DB25 (Tascam wiring)
Appendix A: Specifications 69
Digital I/O ADAT
Back panel optical ports 1 and 2
Format ADAT Digital Lightpipe with S/MUX
Supported Sample Rates 44.1, 48, 88.2, 96, 176.4, 192 kHz
Channel Assignments (44.1–48 kHz) Port 1 = Channels 1–8, Port 2 = Channels 1–8
Channel Assignments (88.2–96 kHz) Port 1 = Channels 1–4, Port 2 = Channels 1–4
Channel Assignments (176.4/192 kHz) Port 1 = Channels 1–2, Port 2 = Channels 1–2
Connector Type Optical TOSLINK
Digital I/O Optical S/PDIF
Back panel optical ports 1 and 2
Format Optical S/PDIF
Supported Sample Rates 44.1, 48, 88.2, 96 kHz
Channel Assignments (44.1–48 kHz) Port 1 = Channels 1–2, Port 2 = Channels 1–2
Channel Assignments (88.2–96 kHz) Port 1 = Channels 1–2, Port 2 = Channels 1–2
Connector Type Optical TOSLINK
Synchronization and Network Specifications
Synchronization
Connector Types Optical or BNC
Synchronization Sources Internal, AVB Ethernet, ADAT, Word Clock
Network Interface
Interface 1000BASE-T, RJ45 connector, 4-pair connection
Mechanical Specifications
Chassis standard 19”, 1 RU
Chassis depth, without connectors mounted 34.8 cm / 13.5”
Chassis body width 44.2 cm / 17.4”
Weight 4.45 kg / 9.8 lbs.
Appendix A: Specifications 70
Environmental Specifications
Operating Temperature 4–40º C / 39.2–140º F
Humidity 20–85% (non-condensing)
Appendix A: Specifications 71
Appendix B: Core Audio Devices
When using Audio MIDI Setup to connect Pro Tools | Carbon the device provides two separate AVB Audio Devices in the Audio Devices list in AMS:
When using Audio MIDI Setup to connect Pro Tools | Carbon Pre as a standalone AVB device the device provides one AVB Audio Device in the Audio Devices list in AMS:
Pro Tools | Carbon: I/O and Pro Tools | Carbon: Reserved for Pro Tools.
Pro Tools | Carbon Pre: I/O.
When using Avid Carbon Central to connect Pro Tools | Carbon Expanded Avid Carbon Central provides one
served
AVB Audio Device in the Audio Devices list in AMS. Avid Carbon Central also provides one I/O AVB Audio Device for each
Carbon | Expanded: Re-
device with Core Audio I/O selected.
You can also set the clock source and AVB configuration in Avid Carbon Central software (see Avid Carbon Central).
AVB Connections and Settings
Pro Tools | Carbon
Pro Tools | Carbon requires a direct connection to your computer using AVB Ethernet. The AVB Ethernet connection provides up to 56
input channels and 84 output channels of AVB audio between Pro Tools | Carbon and Pro Tools, and up to 28 input channels and 28 output channels of AVB audio between Pro Tools | Carbon and third-party Core Audio–compatible software. The number of available AVB
input and output channels is reduced at higher sample rates.
Before you can use Pro Tools | Carbon with your Mac, do each of the following:
Make sure you have met all the System Requirements (see System Requirements and Compatibility Information).
Make sure that you have connected Pro Tools | Carbon to your computer using a direct connection to one of the computer's
Ethernet ports or Thunderbolt ports using an AVB-capable Thunderbolt adapter (see Connect Ethernet).
Configure Avid Carbon Central or enable AVB in Audio MIDI Setup (see Enable AVB).
Select Pro Tools | Carbon as the Pro Tools Playback Engine (Setup > Playback Engine) (see Playback Engine).
Update Pro Tools | Carbon firmware when prompted. This is absolutely required for your system to perform properly
(see Firmware Update).
Pro Tools | Carbon Pre
Pro Tools | Carbon Pre in Standalone AVB mode requires a direct connection to your computer using AVB Ethernet. The AVB Ethernet
connection provides up to 24 input channels and 24 output channels of AVB audio between Pro Tools | Carbon Pre and Pro Tools or
third-party Core Audio–compatible software.
Before you can use Pro Tools | Carbon Pre with your Mac, do each of the following:
Make sure you have met all the System Requirements (see System Requirements and Compatibility Information).
Make sure that you have connected Pro Tools | Carbon Pre to your computer using a direct connection to one of the computer's
Ethernet ports or Thunderbolt ports using an AVB-capable Thunderbolt adapter (see Connect Ethernet).
Configure enable AVB in Audio MIDI Setup (see Enable AVB).
Select Pro Tools | Carbon Pre: I/O as the Pro Tools Playback Engine (Setup > Playback Engine) (see Playback Engine).
Update Pro Tools | Carbon Pre firmware when prompted. This is absolutely required for your system to perform properly
(see Firmware Update).
72
Enable AVB
To connect Pro Tools | Carbon or Pro Tools | Carbon Pre to a Mac computer without using Avid Carbon Central:
1 Make sure your Pro Tools | Carbon or Pro Tools | Carbon Pre device is connected by Ethernet to your computer and that both are pow-
ered on.
2 Go to Applications > Utilities and launch Audio MIDI Setup (AMS).
3 In Audio MIDI Setup, choose Window > Show Network Device Browser (or press Command+3). If the device is correctly con-
nected and powered-on, it appears in the Device list as
If Pro Tools | Carbon or Pro Tools | Carbon Pre does not appear in the Network Device Browser, double check the Ethernet cable connections and make sure that you are using an AVB-compatible connection (Ethernet port or qualified adapter) and that your Mac is
AVB-compatible. In addition to checking cable connections, you may need to disable any active VPN (depending on the specific VPN
configuration) or network proxy. For more information on troubleshooting Pro Tools | Carbon, visit www.avid.com/carbon-support.
4 Click to enable Pro Tools | Carbon or Pro Tools | Carbon Pre in the Device list.
Pro Tools | Carbon or Pro Tools | Carbon Pre.
Pro Tools | Carbon enabled as a network audio device in AMS
Setting Up Pro Tools | Carbon or Pro Tools | Carbon Pre for macOS System Sound Input and Output
You can use Pro Tools | Carbon or Pro Tools | Carbon Pre for macOS System Sound Input and Output. Select Pro Tools | Carbon: I/O
Pro Tools | Carbon: I/O Pre as the Sound Input device for recording audio with third-party Core Audio audio applications. Select
or
Pro Tools | Carbon: I/O or Pro Tools | Carbon: I/O Pre as the Sound Output device to play back third-party Core Audio audio appli-
cations and websites through the Main Monitor (MON L–R) outputs on the back of Pro Tools | Carbon as well as headphones that are
assigned to the Main Monitor output path (configured in the Pro Tools Hardware Setup) or through analog output channels 1 and 2 on
Pro Tools Carbon Pre.
You can use the Configure Speakers feature in AMS to change the Pro Tools | Carbon: I/O outputs that are used for macOS System
Sound or to configure the Pro Tools | Carbon: I/O for greater-than-stereo formats. For AVB channel mappings to Pro Tools | Carbon
physical outputs, see Core Audio Devices.
73
To set up Pro Tools | Carbon or Pro Tools | Carbon Pre for macOS System Sound Input and Output:
1 Launch the macOS System Preferences.
2 Open the Sound preferences.
3 Click the Input tab.
4 In the device list, select Pro Tools | Carbon: I/O or Pro Tools | Carbon Pre: I/O in the Device list.
5 Click the Output tab.
6 In the device list, select Pro Tools | Carbon: I/O or Pro Tools | Carbon Pre: I/O in the Device list.
Pro Tools | Carbon: I/O selected for macOS System Sound Output
Never use Pro Tools | Carbon: Reserved for Pro Tools or Carbon | Expanded: Reserved for the macOS System Sound or other
third-party audio applications. Only use Pro Tools | Carbon: I/O or Pro Tools | Carbon Pre: I/O for macOS System Sounds and
other third-party audio applications.
AVB Device Configuration in AMS
Pro Tools | Carbon provides six different device configurations for Pro Tools and third-party DAW input and output channels, while
Pro Tools | Carbon Pre provides three different device configurations for Pro Tools and third-party DAW input and output channels. The
selected configuration determines the maximum sample rate and the complexity of DSP Mode track routing that is possible in Pro Tools.
Certain configurations also affect the number of available channels when using the
I/O
device with third-party Core Audio applications. Use a smaller configuration to reduce the load on the host processor. Use a larger
Pro Tools | Carbon: I/O or Pro Tools | Carbon Pre:
configuration to increase mixing capacity in Pro Tools for more complex routing of low latency paths using DSP Mode.
For more information, see AVB Device Configuration.
74
Generic Core Audio I/O
When using Pro Tools | Carbon or Pro Tools | Carbon Pre with third-party Core Audio applications or for macOS system audio, the
Pro Tools | Carbon: I/O or Pro Tools | Carbon Pre: I/O device must be used. The available AVB input and output channels are deter-
mined by the selected AVB Device Configuration (see AVB Device Configuration).
To use Pro Tools | Carbon or Pro Tools | Carbon Pre for Mac System Sound Input and Output, select the “Pro Tools | Carbon: I/O”
or “Pro Tools | Carbon Pre: I/O” device in the Output and the Input pages of the Sound System Preferences.
Pro Tools | Carbon: I/O device selected in AMS
75
Reserved for Pro Tools
The Pro Tools | Carbon: Reserved for Pro Tools and the Pro Tools | Carbon Expanded: Reserved for Pro Tools devices are dedicated to Pro Tools. The available AVB input and output channels are determined by the selected AVB Device Configuration (see AVB
Device Configuration).
While you can select the Carbon | Expanded: Reserved device in certain third-party Core Audio applications, it is not supported.
Never use the “Pro Tools | Carbon: Reserved for Pro Tools” device for Mac System Sound Input or Output (System Preferences>
Sound). Only use the “Pro Tools | Carbon: I/O” or “Pro Tools | Carbon Pre: I/O” device for Mac System Sounds.
Pro Tools | Carbon: Reserved for Pro Tools device selected in AMS
AVB Device Configuration
Pro Tools | Carbon provides six different AVB device configurations for input and output channels with Pro Tools or third-party Core
Audio–compatible software. The selected configuration determines the maximum number of record-enabled input channels and the
maximum number of output channels in DSP Mode available in Pro Tools. Pro Tools | Carbon Pre provides three different AVB device
configurations for input and output channels with Pro Tools or third-party Core Audio–compatible software.
Certain configurations also affect the number of available channels when using the
I/O
device with third-party Core Audio applications. Use a smaller configuration to reduce the load on the host processor. Use a larger
configuration to increase mixing capacity in Pro Tools for more complex routing of low latency paths using DSP Mode.
Pro Tools | Carbon: I/O or Pro Tools | Carbon Pre:
76
To set the device configuration using Audio MIDI Setup:
1 Launch Audio MIDI Setup (AMS).
2 In the Audio Devices window, select Pro Tools | Carbon: Reserved for Pro Tools in the Audio Devices list.
3 Do one of the following:
• From the Configure Selected Device menu, choose
• Right-click Pro Tools | Carbon: Reserved for Pro Tools in the Audio Devices list and choose
Configure Device.
Configure Device.
Choosing Configure Device for Pro Tools | Carbon: Reserved for Pro Tools device
4 In the resulting AVB Audio Entity Configuration window, select Pro Tools | Carbon or Pro Tools | Carbon Pre.
If the AVB Audio Entity Configuration window does not appear automatically, choose Window > Audio Entity Configuration
(or press Command+1).
77
AVB Audio Entity Configuration window
5 From the Current Configuration selector, select the configuration that best suits your workflow.
• Pro Tools | Carbon:
• 28x56 (44.1–96 kHz)
• 56x56 (44.1–96 kHz)
• 56x84 (44.1–96 kHz)
• 28x42 (44.1–192 kHz)
• 28x56 / 14x14 (44.1–192 kHz)
• 42x56 / 14x14 (44.1–192 kHz)
• Pro Tools | Carbon Pre:
• 8x8 (44.1–192 kHz)
• 14x14 (44.1–192 kHz)
• 24x24 (44.1–192 kHz)
Do not select any of the “Expanded” configurations as these are only for use by Avid Carbon Central.
In Pro Tools, the System Usage window shows the number of available Input Channels and Output Channels for the selected
configuration, and how many are currently in use by the open session. See System Usage.
6 Quit the AVB Audio Configuration application (AVB Audio Configuration > Quit, or press Command+Q).
To set the device configuration using Avid Carbon Central, see Avid Carbon Central.
78
AVB Channel to Physical I/O Mappings for the Pro Tools | Carbon: I/O Device
The following table is for the Pro Tools | Carbon: I/O device with these AVB configurations:
• 28x56 (44.1–96 kHz)
• 56x56 (44.1–96 kHz)
• 56x84 (44.1–96 kHz)
AVB Channels
1–2 Mic/Line/Inst 1–2 Mon L–R Mic/Line/Inst 1–2 Mon L–R
3–4 Mic/Line 3–4 Line 1–2 Mic/Line 3–4 Line 1–2
5–6 Mic/Line 5–6 Line 3–4 Mic/Line 5–6 Line 3–4
7–8 Mic/Line 7–8 Line 5–6 Mic/Line 7–8 Line 5–6
9–10 ADAT 1 1–2 Line 7–8 ADAT 1 1–2 Line 7–8
11–12 ADAT 1 3–4 HP 1 ADAT 1 3–4 HP 1
13–14 ADAT 1 5–6 HP 2 — HP 2
15–16 ADAT 1 7–8 HP 3 — HP 3
17–18 ADAT 2 1–2 HP 4 ADAT 2 1–2 HP 4
19–20 ADAT 2 3–4 ADAT 1 1–2 ADAT 2 3–4 ADAT 1 1–2
21–22 ADAT 2 5–6 ADAT 1 3–4 — ADAT 1 3–4
23–24 ADAT 2 7–8 ADAT 1 5–6 — —
25–26 (25) Talkback
AVB In 1–28 AVB Out 1–28 AVB In 1–28 AVB Out 1–28
In 1–28 Out 1–28 In 1–28 Out 1–28
(26) —
44.1–48 kHz 88.2–96 kHz
Pro Tools | Carbon I/O Pro Tools | Carbon I/O
ADAT 1 7–8 (25) Talkback
(26) —
—
27–28 ADAT 2 1–2 ADAT 2 1–2
79
The following table is for the Pro Tools | Carbon: I/O device with this AVB configuration:
• 28x42 (44.1–192 kHz)
AVB
Channels
1–2 Mic/Line/Inst 1–2 Mon L–R Mic/Line/Inst 1–2 Mon L–R Mic/Line/Inst 1–2 Mon L–R
3–4 Mic/Line 3–4 Line 1–2 Mic/Line 3–4 Line 1–2 Mic/Line 3–4 Line 1–2
5–6 Mic/Line 5–6 Line 3–4 Mic/Line 5–6 Line 3–4 Mic/Line 5–6 Line 3–4
7–8 Mic/Line 7–8 Line 5–6 Mic/Line 7–8 Line 5–6 Mic/Line 7–8 Line 5–6
9–10 ADAT 1 1–2 Line 7–8 ADAT 1 1–2 Line 7–8 ADAT 1 1–2 Line 7–8
11–12 ADAT 1 3–4 HP 1 ADAT 1 3–4 HP 1 — HP 1
13–14 ADAT 1 5–6 HP 2 — HP 2 — HP 2
15–16 ADAT 1 7–8 HP 3 — HP 3 — HP 3
17–18 ADAT 2 1–2 HP 4 ADAT 2 1–2 HP 4 ADAT 2 1–2 HP 4
19–20 ADAT 2 3–4 ADAT 1 1–2 ADAT 2 3–4 ADAT 1 1–2 — ADAT 1 1–2
21–22 ADAT 2 5–6 ADAT 1 3–4 — ADAT 1 3–4 — —
23–24 ADAT 2 7–8 ADAT 1 5–6 — — — —
AVB In 1–28 AVB Out 1–28 AVB In 1–28 AVB Out 1–28 AVB In 1–28 AVB Out 1–28
In 1–14 Out 1–14 In 1–14 Out 1–14 In 1–14 Out 1–14
In 15–28 Out 15–28 In 15–28 Out 15–28 In 15–28 Out 15–28
44.1–48 kHz 88.2–96 kHz 176.4–192 kHz
Pro Tools | Carbon I/O Pro Tools | Carbon I/O Pro Tools | Carbon I/O
25–26 (25) Talkback
(26) —
27–28 ADAT 2 1–2 ADAT 2 1–2 ADAT 2 1–2
ADAT 1 7–8 (25) Talkback
(26) —
— (25) Talkback
(26) —
—
The following table is for the Pro Tools | Carbon: I/O device with these AVB configurations:
• 28x56 / 14x14 (44.1–192 kHz)
• 42x56 / 14x14 (44.1–192 kHz)
AVB
Channels
1–2 Mic/Line/Inst 1–2 Mon L–R Mic/Line/Inst 1–2 Mon L–R
3–4 Mic/Line 3–4 Line 1–2 Mic/Line 3–4 Line 1–2
5–6 Mic/Line 5–6 Line 3–4 Mic/Line 5–6 Line 3–4
7–8 Mic/Line 7–8 Line 5–6 Mic/Line 7–8 Line 5–6
9–10 ADAT 1 1–2 Line 7–8 ADAT 1 1–2 Line 7–8
11–12 ADAT 1 3–4 HP 1 — HP 1
13–14 (13) ADAT 2 1
AVB In 1–14 AVB Out 1–14 AVB In 1–14 AVB Out 1–14
Pro Tools | Carbon I/O Pro Tools | Carbon I/O Pro Tools | Carbon I/O Pro Tools | Carbon I/O
In 1–14 Out 1–14 In 1–14 Out 1–14
(14) Talkback
44.1–96 kHz 176.4–192 kHz
HP 2 (13) ADAT 2 1
(14) Talkback
HP 2
80
AVB Channel to Physical I/O Mappings for the Pro Tools | Carbon Pre: I/O Device
The following table is for the Pro Tools | Carbon Pre: I/O device with 24x24 (44.1–192 kHz) AVB configuration:
AVB
Channels
1–2 Mic/Line/Inst 1–2 Line 1–2 Mic/Line/Inst 1–2 Line 1–2 Mic/Line/Inst 1–2 Line 1–2
3–4 Mic/Line 3–4 Line 3–4 Mic/Line 3–4 Line 3–4 Mic/Line 3–4 Line 3–4
5–6 Mic/Line 5–6 Line 5–6 Mic/Line 5–6 Line 5–6 Mic/Line 5–6 Line 5–6
7–8 Mic/Line 7–8 Line 7–8 Mic/Line 7–8 Line 7–8 Mic/Line 7–8 Line 7–8
9–10 ADAT 1 1–2 ADAT 1 1–2 ADAT 1 1–2 ADAT 1 1–2 ADAT 1 1–2 ADAT 1 1–2
11–12 ADAT 1 3–4 ADAT 1 3–4 ADAT 1 3–4 ADAT 1 3–4 — —
13–14 ADAT 1 5–6 ADAT 1 5–6 — — — —
15–16 ADAT 1 7–8 ADAT 1 7–8 — — — —
17–18 ADAT 2 1–2 ADAT 2 1–2 ADAT 2 1–2 ADAT 2 1–2 ADAT 2 1–2 ADAT 2 1–2
19–20 ADAT 2 3–4 ADAT 2 3–4 ADAT 2 3–4 ADAT 2 3–4 — —
21–22 ADAT 2 5–6 ADAT 2 5–6 — — — —
23–24 ADAT 2 7–8 ADAT 2 7–8 — — — —
AVB In 1–24 AVB Out 1–24 AVB In 1–24 AVB Out 1–24 AVB In 1–24 AVB Out 1–24
44.1–48 kHz 88.2–96 kHz 176.4–192 kHz
The following table is for the Pro Tools | Carbon Pre: I/O device with 14x14 (44.1–192 kHz) AVB configuration:
AVB
Channels
1–2 Mic/Line/Inst 1–2 Line 1–2 Mic/Line/Inst 1–2 Line 1–2 Mic/Line/Inst 1–2 Line 1–2
AVB In 1–24 AVB Out 1–24 AVB In 1–24 AVB Out 1–24 AVB In 1–24 AVB Out 1–24
44.1–48 kHz 88.2–96 kHz 176.4–192 kHz
3–4 Mic/Line 3–4 Line 3–4 Mic/Line 3–4 Line 3–4 Mic/Line 3–4 Line 3–4
5–6 Mic/Line 5–6 Line 5–6 Mic/Line 5–6 Line 5–6 Mic/Line 5–6 Line 5–6
7–8 Mic/Line 7–8 Line 7–8 Mic/Line 7–8 Line 7–8 Mic/Line 7–8 Line 7–8
9–10 ADAT 1 1–2 ADAT 1 1–2 ADAT 1 1–2 ADAT 1 1–2 ADAT 1 1–2 ADAT 1 1–2
11–12 ADAT 1 3–4 ADAT 1 3–4 ADAT 1 3–4 ADAT 1 3–4 — —
13–14 ADAT 2 1–2 ADAT 2 1–2 ADAT 2 1–2 ADAT 2 1–2 ADAT 2 1–2 ADAT 2 1–2
81
Pro Tools | Carbon Pre Signal Routing
1
LINE IN
2 3 4 5 6 7 8 1
ADAT IN
2 3 4 5 6 7 8 1
ADAT IN
2 3 4 5 6 7 8
1
ADAT OUT ADAT OUT LINE OUT
8
7
6
5
4
3
2
1
8
7
6
5
4
3
2
1
8
7
6
5
4
3
2
1
44.1 & 48 kHz ADAT Mode
82
1
LINE IN
2 3 4 5 6 7 8
ADAT IN
1
ADAT IN
2 3 4 5 6 7 81 2 3 4 5 6 7 8
1
ADAT OUT ADAT OUT LINE OUT
8
7
6
5
4
3
2
1
8
7
6
5
4
3
2
1
8
7
6
5
4
3
2
1
44.1 & 48 kHz AD>DA Mode
83
1
LINE IN
2 3 4 5 6 7 8 1
ADAT IN
2 3 4 5 6 7 8 1
ADAT IN
2 3 4 5 6 7 8
1
ADAT OUT ADAT OUT LINE OUT
8
7
6
5
4
3
2
1
8
7
6
5
4
3
2
1
8
7
6
5
4
3
2
1
88.2 & 96 kHz ADAT Mode
84
1
LINE IN
2 3 4 5 6 7 8 1
ADAT IN
2 3 4 5 6 7 8 1
ADAT IN
2 3 4 5 6 7 8
1
ADAT OUT ADAT OUT LINE OUT
8
7
6
5
4
3
2
1
8
7
6
5
4
3
2
1
8
7
6
5
4
3
2
1
88.2 & 96 kHz AD>DA Mode
85
1
LINE IN
2 3 4 5 6 7 8 1
ADAT IN
2 3 4 5 6 7 8 1
ADAT IN
2 3 4 5 6 7 8
1
ADAT OUT ADAT OUT LINE OUT
8
7
6
5
4
3
2
1
8
7
6
5
4
3
2
1
8
7
6
5
4
3
2
1
176.4 & 192 kHz ADAT Mode
86
1
LINE IN
2 3 4 5 6 7 8 1
ADAT IN
2 3 4 5 6 7 8 1
ADAT IN
2 3 4 5 6 7 8
1
ADAT OUT ADAT OUT LINE OUT
8
7
6
5
4
3
2
1
8
7
6
5
4
3
2
1
8
7
6
5
4
3
2
1
176.4 & 192 kHz AD>DA Mode
87
Appendix C: Pin Out Diagrams
Ethernet, RJ45 Connector, Gigabit
Pro Tools | Carbon and Pro Tools | Carbon Pre connect to your Pro Tools system using Ethernet. Pro Tools both controls the unit over
Ethernet and streams audio over Ethernet using AVB (see Connect Ethernet).
Pin 1
BI_DA+
Pin 2
BI_DA–
Pin 3
BI_DB+
Pin 4
BI_DC+
Pin 5
BI_DC–
Pin 6
BI_DB–
Pin 7
BI_DD+
Pin 8
BI_DD–
DB25 Pin Out Connections Channels 1–8
Connections for the 25-pin D-sub connector are listed in the table below. The pinning is according to the proprietary Tascam standard.
Pin number Function Pin number Function
1 AIN/OUT 8 + 14 AIN/OUT 8 –
2 GND 15 AIN/OUT 7 +
3 AIN/OUT 7 – 16 GND
4 AIN/OUT 6 + 17 AIN/OUT 6 –
5 GND 18 AIN/OUT 5 +
6 DOUT 2/6 + 19 GND
7 AIN/OUT 4 + 20 AIN/OUT 4 –
8 GND 21 AIN/OUT 3 +
9 AIN/OUT 3 – 22 GND
10 AIN/OUT 2 + 23 AIN/OUT 2 –
11 GND 24 AIN/OUT 1 +
12 AIN/OUT 1 – 25 GND
13 N.C.
88
Appendix D: Network Port Usage
Required Access for Normal Operation
The following services are required for normal operation of Pro Tools | Carbon and Pro Tools | Carbon Pre. The actual ports that are used
in the reserved range may vary depending on the firmware version that is running on the device.
Port Protocol Purpose
5556 TCP Diagnostics
6655-6670 TCP Control and communication
5353 UDP mDNS Discovery and connection
In addition, Pro Tool | Carbon requires an mDNS service to be running on the connected Mac host.
mDNS is enabled by default on macOS.
Access for Customer Support
The following services are not required for normal operation of the device, but may be required for certain procedures requested by Avid
customer support. Services that are disabled by default may be enabled when following instructions from Avid customer support.
Port Protocol Purpose Enabled by Default
21 TCP FTP for device firmware repair No
22 TCP SSH and SFTP for troubleshooting and firmware repair Yes
23 TCP Telnet for device access and diagnostics No
80 TCP HTTP for device status information and log collection Yes
Network Security
Pro Tools | Carbon and Pro Tools | Carbon Pre should not be made visible to network devices beyond the Mac host. Do not connect Pro
Tools | Carbon to a bridged network interface on your Mac.
89
Appendix E: Running Carbon in Carbon Pre Mode
Pro Tools | Carbon can boot into Carbon Pre mode for use as a second or third peripheral in a Pro Tools | Carbon Expanded system, as
a standalone 8-channel mic preamp, or as a standalone ADAT AD/DA converter. When running in Carbon Pre mode, the Carbon unit
provides all features and internal routing of a Carbon Pre, but the Carbon DSPs, HP outputs, and MON L-R outputs are all inactive.
To switch between Carbon and Carbon Pre modes:
Hold down the INPT button on Carbon while powering on the unit to toggle Carbon between Carbon and Carbon Pre modes.
The selected mode persists until either
INPT is held again on boot, to toggle back to the other mode, or the Meter button is held on boot,
to reset the device to its default state.
The front panel of the Carbon illuminates as a Carbon Pre, and certain buttons and LEDs function as follows when running in
Carbon Pre mode:
• The Meter button acts as the clock source selection button, and the L output meter LEDs indicates clock source.
B button acts as the sample rate selection button, and the R output meter LEDs indicate sample rate.
• The
• The
A button LED indicates AD–>DA mode. Otherwise, the A and C buttons are inactive.
• The right rotary encoder, right LED strip, and Monitor, Headphone, and
The DIM button can always be used when power cycling the unit to reset the device firmware.
DIM buttons are all inactive.
90
For technical support go to
www.avid.com/support
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