Sure, you may not have any delay inducing plugins on the master and print tracks, but if you don't want them to have an affect on the "under the hood" delay compensation, you should bypass the delay compensation on those two tracks.ĭelay compensation can work properly when you think about mixing in layers. Pro Tools is trying to compensate for what goes through them too, but what you hear in real-time is not where Pro Tools would spot the audio if printed to the print track. You've discovered that things get dicey when compensated tracks are routed through auxes and input monitored audio tracks. The biggest thing to understand is that Pro Tools cannot compensate correctly for all the possible routings that can exist in the Pro Tools mixer. THAT SHOULDN'T BE HAPPENING RIGHT? ( I fixed it with a time adjuster plugin set to exactly 4155 samples and printed through the time adjuster so my final composite is in time with the rest of my session) but shouldn't delay compensation be taking care of issues like this. Also even when the track was routed to OUT1-2 but I would hide and disable the OLD SOLO track the NEW SOLO would go out of sync when routed to OUT1-2. I thought it was a bug with a new version of PT but when I rolled back to 2018.7 same thing kept happening.
However now I see that everything I recorded (since I was recording based on what I was hearing) became out of time as soon as I routed the NEW SOLO track to the MASTER track. Now I though "Delay compensation" which is obviously ON would take care of it. However the new track I was recording on and the "old solo" track I had the Pitch 2 plugin on were routed directly to OUT1-2. Now my entire session was routed to the aforementioned "Master" aux track. the pitch plug and an eq plug I put on the old solo track caused 4155 samples of latency. I wanted to replay the GTR Solo note for note, so I imported the original track and put the Avid Pitch II plugin on it just so I could hear the old version in the new key so it is faster to relearn it. The previous version was a whole step lower than the key I chose for the new version. Now, I was recording a song based on a previous version I did a while back. The PRINT track is routed to my direct "OUT1-2" The input monitoring on the print track is always on so I can hear the session. So I usually route all my tracks to an AUX called "Master" and the MASTER to a Stereo Audio track called "PRINT".
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