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Record in low-latency mode, with direct monitoring when using third-party audio inter
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superburtm
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#1
6th November 2011
Old 6th November 2011
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Record in low-latency mode, with direct monitoring when using third-party audio inter

Let's discuss. Latency is my biggest hang up with Pro Tools.

Does this mean If Im using PT10 with a Apogee Rosetta 800 I can monitor right off the interface? What kind of latency does this amount to?
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14th December 2011
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10th March 2012
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Bump again. I wanna know this too.
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10th March 2012
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How is the Rosetta 800 connected to the computer?

The Low latency mode of PT10 makes way for the use of a 3rd party software mixing solution,
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10th March 2012
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I was psychologically prepared for a big latency battle as a new PT "user."

The expected titanic struggle has not developed. At all. I'm using a Mackie Onyx Blackbird, which has its own software mixer - What Roc was getting at.

The basic trick is you turn off PT input monitoring [in the Track menu] when recording the first or guide track. Then you turn it on for overdubs, while muting the track[s] you're recording.

I'm having no problem doubling vocals, for example. I need to spend more time with virtual instruments before I declare the battle completely won, but the little I've tried indicates that's gonna be OK, too.

I'm not sure that helps you with your interface, but it's a rationale for having an interface that can track at "zero latency" or whatever minute amount of milliseconds that translates to in the real world. You did say that "latency is your biggest hangup."
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13th March 2012
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Virtual instruments are the issue. Still not as low latency as I would like.
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17th March 2012
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man i thought this latency thing was fixed ..???//
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17th March 2012
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I'm new to pro tools and pt10 is my first! I am familiar with logic and use an lynd aurora 16are pci to my mac pro! However, when my stereo track is record enables I can't hear the signal level im seeing ?! In order to hear it I must set the output to a particular bus, then select stereo mains as my output from there!? Way confusing because I've trie the auto input monitoring and it does nothing !
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17th March 2012
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software monitoring in Logic must be enabled / ... If VI's could be monitored directly in the LYNX mixer or whatever your choice of Low Latency Mixer is .. that would be nice ...
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17th March 2012
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well im going to try making the buffer smaller i;ll let you know if i can get the delay down
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18th March 2012
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well i seemed to have got the vocal monitoring latency under control .In the playback engine i have set the sampels to 32
delay comp. Maxx
7 processors 99% cpu
Latency monitoring off ..that just shuts of the channel lol
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18th March 2012
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Quote:
Originally Posted by troggg View Post
I was psychologically prepared for a big latency battle as a new PT "user."

The expected titanic struggle has not developed. At all. I'm using a Mackie Onyx Blackbird, which has its own software mixer - What Roc was getting at.

The basic trick is you turn off PT input monitoring [in the Track menu] when recording the first or guide track. Then you turn it on for overdubs, while muting the track[s] you're recording.

I'm having no problem doubling vocals, for example. I need to spend more time with virtual instruments before I declare the battle completely won, but the little I've tried indicates that's gonna be OK, too.

I'm not sure that helps you with your interface, but it's a rationale for having an interface that can track at "zero latency" or whatever minute amount of milliseconds that translates to in the real world. You did say that "latency is your biggest hangup."
when i mute the track while recording i don't hear it.The input monitoring switch seems to change nothing??
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18th March 2012
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Let me try and help you. I would also refer to the PT10 manual if you get caught up. It's helpful, and took me a few minutes to let it all soak into my brain. Much like the Jameson and Guinness I am sweating out right now. Now, please bare with me. I have given up coffee for a few days, so again, you might want to refer to the manual, as my head is foggier than the first scene in Mission Impossible.

---

"Input Only Monitoring" Mode with Pro Tools means that when a track is record armed, and in record, it will only monitor the tracks inputs, and any previously recorded material on the track will not play. "Auto Input Monitoring" Mode with Pro Tools means that when a track is record armed, and playing, it will play the previously recorded material on that track, up until the machine is dropped into record and then you will be monitoring the inputs.

There is no "Selectable Input Monitoring" track/button feature of PT10. Its only in HD10. The "Low Latency Mode" of PT10 shuts off the record armed track from playing back, while any tracks are armed and dropped into record, so that your Interfaces 3rd party Mixer can route the signal to your designated outputs.

If you are in Auto Input mode, the previously recorded material will playback, until you drop the machine into record. If you are in Input Mode, and there is previously recorded material there, it will not playback anything. With the LLM of PT10 native, Latency from Pro Tools is escaped in the monitor path, so long as that armed tracks feed the stereo output of your interfaces software mixing solution. It does the work for you.

Hope this helps, and good luck with it.
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19th March 2012
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well what good does it do to silence the track your recording.Thats what you want to hear .
Thanks for your explaination .I understaand it much better.
What i think i'm going to do is try to get some shorter cables.My vocal chain is around 60 ft.So that should help if i get rid of 40 ft.
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19th March 2012
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Quote:
Originally Posted by jdman18 View Post
I'm new to pro tools and pt10 is my first! I am familiar with logic and use an lynd aurora 16are pci to my mac pro! However, when my stereo track is record enables I can't hear the signal level im seeing ?! In order to hear it I must set the output to a particular bus, then select stereo mains as my output from there!? Way confusing because I've trie the auto input monitoring and it does nothing !

how do you have you speaker system hooked up.Does the mix go back to your Aroura and then to your monitor speakers?
Thats the way you shoulod be setup
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19th March 2012
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Quote:
Originally Posted by mikeyman View Post
well what good does it do to silence the track your recording.Thats what you want to hear .
Thanks for your explaination .I understaand it much better.
What i think i'm going to do is try to get some shorter cables.My vocal chain is around 60 ft.So that should help if i get rid of 40 ft.
Let me explain it further, to clear up your misunderstanding.

The LLM stops the armed tracks input stream playback, because at a higher buffer [or even a low one sometimes] someone could notice the amount of latency through the system, and your 3rd party software "input mixing" solution provides the near zero latency monitoring.

This might be preferred to use, instead of monitoring through the Pro Tools System [LLM OFF] It is in place, so that you can run the Buffer Size Higher, and track without latency. Running a higher buffer size, allows you to allocate more DSP for processing power inside the session, because it is dynamic allocation.

Also, sure, a shorter cable is always a good thing from a mic to preamp, but I seriously don't think you are having a latency issue with a 60ft balanced mic cable.
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19th March 2012
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I thank you
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23rd April 2012
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So is there any way for me to hear my record enabled track while tracking!? Regardless of which selection I make , the record enabled track can only be monitored while tracking if I set it to a bus audition track? Seems extremely complex to simply monitor my record enabled track!
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23rd April 2012
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Quote:
Originally Posted by jdman18 View Post
So is there any way for me to hear my record enabled track while tracking!? Regardless of which selection I make , the record enabled track can only be monitored while tracking if I set it to a bus audition track? Seems extremely complex to simply monitor my record enabled track!
Let me see if I can clear up your confusion. This is a tricky one to explain. If you have a powerful machine, you might never even need to turn on LLM, because you can run the buffers low, and achieve very low latency through Pro Tools, even while using lots of processing. I only really use LLM on my older laptop, once in a blue moon, when I use it for recording. On my 8-core, I have never even turned it on.

The way LLM works is that instead of monitoring the input stream through Pro Tools, through any amount of buffer size, you utilize the "Direct Monitoring" Routing Mixer Facility of your chosen Hardware Interface/ADAConverter Analog I/O Unit. In Pro Tools, All your record armed tracks are assigned to feed one pair of outputs on the Mixer.

The inputs to your Interface are then meant to feed the same output assignment with your interfaces software mixer. The record armed inputs in Pro Tools are muted, so that your direct monitoring interfaces Software Mixer can take over and provide a near zero feed.

This allows engineers to blend the incoming signal with pre recorded tracks from Pro Tools. The Pro Tools Mixer, does all the work for you, as you drop in and out of record, and in and out of record arming tracks, and you can overdub and punch on tracks with pre recorded material easily, without latency issues.

Good luck with it,
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23rd April 2012
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Quote:
Originally Posted by Roc Mixwell View Post
Let me see if I can clear up your confusion. This is a tricky one to explain. If you have a powerful machine, you might never even need to turn on LLM, because you can run the buffers low, and achieve very low latency through Pro Tools, even while using lots of processing. I only really use LLM on my older laptop, once in a blue moon, when I use it for recording. On my 8-core, I have never even turned it on.

The way LLM works is that instead of monitoring the input stream through Pro Tools, through any amount of buffer size, you utilize the "Direct Monitoring" Routing Mixer Facility of your chosen Hardware Interface/ADAConverter Analog I/O Unit. In Pro Tools, All your record armed tracks are assigned to feed one pair of outputs on the Mixer.

The inputs to your Interface are then meant to feed the same output assignment with your interfaces software mixer. The record armed inputs in Pro Tools are muted, so that your direct monitoring interfaces Software Mixer can take over and provide a near zero feed.

This allows engineers to blend the incoming signal with pre recorded tracks from Pro Tools. The Pro Tools Mixer, does all the work for you, as you drop in and out of record, and in and out of record arming tracks, and you can overdub and punch on tracks with pre recorded material easily, without latency issues.

Good luck with it,
you need an interface that you can monitor from.Not all of them do it.
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23rd April 2012
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Quote:
Originally Posted by jdman18 View Post
So is there any way for me to hear my record enabled track while tracking!? Regardless of which selection I make , the record enabled track can only be monitored while tracking if I set it to a bus audition track? Seems extremely complex to simply monitor my record enabled track!
go into playback engine and lower the buffer size to 256 and see if the delay is gone
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23rd April 2012
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Quote:
Originally Posted by mikeyman View Post
go into playback engine and lower the buffer size to 256 and see if the delay is gone
There should still be a bit'o latency when using 256 samples, so using the LLM with your Interfaces Near Zero Latency Mixer, should easily be a better choice.
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23rd April 2012
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Quote:
Originally Posted by Roc Mixwell View Post
There should still be a bit'o latency when using 256 samples, so using the LLM with your Interfaces Near Zero Latency Mixer, should easily be a better choice.
how do i set my lynx Aes16e to near zero latcency mixer? thanks Mike
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24th April 2012
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Quote:
Originally Posted by mikeyman View Post
how do i set my lynx Aes16e to near zero latcency mixer? thanks Mike
You utilize the Hardware Routing Matrix of the AES16e's control panel. You can route any inputs to any outputs.
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