The choice of AVB as a connection protocol drew comment, as did the lack of expandability, with no option to daisy‑chain units. Very specifically targeted at band recording, Carbon has just enough I/O, headphone amps and DSP to track a typical three‑ or four‑piece band with no additional hardware beyond mics, cables and headphones. But the release of a DSP‑based system aimed at the serious home recordist or project studio was in my opinion an entirely predictable event, as it neatly filled a hole in the Pro Tools product line. Avid’s return to in‑house manufacturing of audio hardware was a pleasant surprise (the recent MTRX and MTRX Studio were the result of partnerships with Digital Audio Denmark). The launch last year of Pro Tools | Carbon surprised many. The proliferation of DSP‑based systems aimed at exactly these markets from brands such as Universal Audio, Antelope and Apogee strongly suggest that the advantages of DSP systems are significant, but that HDX perhaps wasn’t the right product to meet the needs of these users. HDX always has been expensive, and the cost has made it largely out of reach for home recordists and even serious project studios. Since then, the old TDM systems have been superseded by HDX.
People have been predicting the death through irrelevance of DSP‑based Pro Tools systems since the release of Pro Tools LE back in 1999. As of June, the Hybrid Engine, first introduced with the Pro Tools | Carbon interface, will become available to all Pro Tools DSP users.
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