Her home studio, crucially, included an eight-track recorder that Carlos had built herself (because she was unable to afford a factory-made machine), using parts from Ampex and EMI recorders, with the addition of Ampex's patented "Sel-Sync" system, which enabled recorded signals to be monitored via the record head, rather than the playback head, thus permitting multiple tracks to be kept in perfect synchronisation. Carlos was also one of the earliest adopters of the Dolby noise reduction system, which she used for her final two-track masters.
Her home studio, crucially, included an eight-track recorder that Carlos had built herself (because she was unable to afford a factory-made machine), using parts from Ampex and EMI recorders, with the addition of Ampex's patented "Sel-Sync" system, which enabled recorded signals to be monitored via the record head, rather than the playback head, thus permitting multiple tracks to be kept in perfect synchronisation. Carlos was also one of the earliest adopters of the Dolby noise reduction system, which she used for her final two-track masters.