The first "professional" control room I worked in had a console that had inputs and outputs and no "normalized" connection to recorders, microphones, preamps, etc. You patched everything to get signals through the console, audio to the records, and signal processing (e.g., equalization and compression) to get the session done. You had to know signal flow and you had to know signal processing parameters to record. It was 1964 and at Motown Records in Detroit.
Pro Tools today reminds me of that very old fashioned control, room. You have to know signal flow and you have to know signal processing parameters to do a good recording or mix with Pro Tools. You have to do the digital electronic equivalent of patching everything by "selecting," "inserting" and "assigning" inputs, outputs and plug-in software programs in Pro Tools.
Many producers are more accustomed to the marvelous digital console, be it Yamaha, Tascam, Roland, Korg, etc., that have well thought out default parameters to accept signals, provide signal processing with useable starting parameters and send the outputs to the place you would normally want to send (to the recorders). With Pro Tools, you have to think (and know) to even get a signal.
What will help is a template session.
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