manual/include/latency-considerations.html

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<p>
In the days of analog tape recording, the routing of monitor signals was
performed with relays and other analog audio switching devices. Digital
recorders have the same feature, but may impart some
<a
href="@@latency-and-latency-compensation"><dfn>latency</dfn></a>
(delay) between the time you make a noise and the time that you hear it
come back from the recorder.
</p>
<p>
The latency of <em>any</em> conversion from analog to digital and back to
analog is about 1.5&ndash;2&nbsp;ms. Some musicians claim that even the
basic <abbr title="Analog to Digital to Analog">A/D/A</abbr> conversion
time is objectionable. However even acoustic instruments such as the piano
can have approximately 3&nbsp;ms of latency, due to the time the sound
takes to travel from the instrument to the musician's ears. Latency below
5&nbsp;ms should be suitable for a professional recording setup. Because
2&nbsp;ms are already used in the A/D/A process, you must use extremely low
<dfn>buffer sizes</dfn> in your workstation <abbr title="Input/Output">I/O</abbr>
setup to keep the overall latency below 5ms. Not all
<a href="@@the-right-computer-system-for-digital-audio">computer audio systems</a>
are able to work reliably at such low buffer sizes.
</p>
<p>
For this reason it is sometimes best to route the monitor signal
through an external mixing console while recording, an approach taken by
most if not all professional recording studios. Many computer I/O devices
have a hardware mixer built in which can route the monitor signal "around"
the computer, avoiding the systemlatency.<br>
In either case, the monitoring hardware may be digital or analog. And in
the digital case you will still have the A-D-A conversion latency of
1&ndash;2&nbsp;ms.
</p>