It's 1024 always if nothing is record enabled.Įdit: inherent latency of a digital mixing desk on stage is between 1-2ms usually. Which is why it's so dumb seeing people "test" pro tools native systems with a bunch of tracks, nothing record enabled and talking about the buffer size. But anything not record-enabled should be buffered as much as is required. Your record enabled tracks will be running at your buffer size. It's even easier these days due to dual buffer in basically every single DAW. All native with effects and no complaints. I've recorded big bands with orchestras with headphone mixes all ITB. If you're worried, get an RME and never worry about it ever again. Not even milliseconds, samples! I'm not sure why everyone thinks this is a big issue. A massive amount of very useful plugins have no or 1 samples of delay. I've never had a single complaint unless I used a plugin with too much delay. Motu 424 PCI system for years, A+H GSR24m for years, HD, HDX on occasion (actually worse, because there were no decent effects that were DSP, and it physically stops you using native effects, and when you force it, you now have a double trip through the onboard dsp mixer) RME at my home studio, which is golden. I've only tracked natively with effects, since the day I started working for money in 2009.
My question is how do audio engineers approach this issue in a home studio setting?Īssuming you're between options 1 and 2, should you invest in a $1000+ DSP Audio Interface or invest that money into computer performance to achieve lower latency? Still, this doesn't seem to be a viable solution. Due to nature of the effects, the inevitable latency allegedly won't be noticed. Usually in large projects and when using an average computer, you will experience significant latency, making vocal recording pretty much impossible.ĭirect monitoring: By blending the direct raw audio from the mic to the DAW's playback, you achieve zero latency, but the vocals sound dull and uninspiring.ĭirect monitoring + Wet FX: Some people are creating an FX track that plays back just the wet signal of, say, reverb and delay effects. Input monitoring: Audio passes from the mic, to the audio interface, to the computer, and back to the audio interface and to your headphones. However, after some research, I have discovered the following ways in which most people achieve this:ĭSP Audio Interface: Using a DSP audio interface with in-build processors, like the UAD Apollo Twin, handles the processing of the vocal effects inside the audio interface, hence reducing the monitoring latency. Recording vocals while monitoring with effects is definitely essential in music recording.
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