Specifications

Chapter 23: Punch Recording Modes 497
To make more voices available for punch
recording:
 Identify tracks that are not record-enabled, and
do not need to be heard while recording, and do
any of the following:
• Set voice assignments for tracks to Off.
• Make tracks inactive.
• Group all Native (AAX and RTAS) plug-ins be-
fore DSP (AAX and TDM) plug-ins.
Voices that are in use by other tracks, but not
record-enabled, may be “stolen” during punch re-
cording as necessary.
When any punch recording mode is enabled, voice
playback priority is as follows (from highest to
lowest playback priority):
• Tracks with assigned voices that are not
record-enabled.
• Tracks with assigned voices that are record-en-
abled.
• Tracks with Dynamically Allocated Voicing that
are not record-enabled.
• Tracks with Dynamically Allocated Voicing that
are record-enabled.
If a session has plenty of available voices, you
should have no trouble punch recording tracks us-
ing Dynamically Allocated Voicing. However, if
you are running out of voices, and want to ensure
that a track is heard when punch recording, assign
it a voice.
Dynamically Allocated Voicing
When punch recording with a Pro Tools|HD sys-
tem configured for its maximum number of voices,
make sure to set the voice assignment for each au-
dio track to
Dyn (for Dynamically Allocated Voic-
ing). This ensures that Pro Tools handles the distri-
bution of voices between each set of voices
automatically. For example, for a 192-voice con-
figured Pro Tools|HD Accel system, Dynamically
Allocated Voicing distributes voices evenly across
four sets of voices (1–48, 49–96, 97–144, and
145–192).
If you do not use Dynamically Allocated Voicing,
the voices must be evenly distributed between all
DSP engines. For example, to use QuickPunch on
32 tracks without Dynamically Allocated Voicing,
tracks 1–16 must be assigned to voices 1–16 and
tracks 17–32 must be assigned to voices 33–48.
Delay Compensation and
DestructivePunch Mode
When using DestructivePunch to punch in on an
existing recording, make sure the Delay Compen-
sation settings are the same as when the original
file was recorded. If they differ, the punched-in au-
dio will not be time-accurate to the original record-
ing.
 If Delay Compensation was inactive when re-
cording the original file, it should be deactivated
while using DestructivePunch.
 If Delay Compensation was active when record-
ing the original file, it should be kept active while
using DestructivePunch.
To ensure that the Delay Compensation path on re-
cord tracks remains consistent while using De-
structivePunch, you need to prevent Pro Tools
from using the Low Latency monitoring path when
record tracks switch to Input monitoring.