No worries, it’s easy to do and. If yours doesn’t show this then you might have an older MacBook or other Apple Mac product and might then need to have a separate audio cable hooked up to your TV. Look for your Audio (Built In) and make sure that there’s an HDMI / DIsplayPort Output option, like so: Mine’s ready to go, as you can see.If you want to connect directly to the mac, use an USB cable. No need to bring an external.Hi Ryan, it depends whether your work with a mixer or not and it also depends on the version of your mac. The Problem With Zero LatencyENABLES YOU TO DIRECTLY MONITOR YOUR AUDIO - The mics built-in stereo 1/8 headphone output ensures zero-latency monitoring. And the good news is that you absolutely can do this. But I get this question a lot: “Can I monitor my zero latency vocal recordings through reverb?” It’s a great question because many singers perform better with a small amount of reverb in their headphones.
How Do You Use Samson Usb Audio Andrewa Mac Product AndThe Reverb WorkaroundFortunately there is an incredibly simple solution to the reverb issue. Unless you want to hear that recorded track with a bit of reverb, in real time. This is generally not a problem. The only problem is now you have to mute the track in your DAW so you don’t hear both the real time signal and the signal coming from your DAW. It never leaves the analog domain so you hear it with no delay. When you make the send pre fader, it will send as much or as little of the vocal to the rever as you want, even though the vocal track is muted in your DAW. In our case the fader is muted, so the send would be muted if it were post fader. What this means is that the send follows after whatever the fader does. By default in Pro Tools sends are set to POST-fader. Then I take the vocal track and use a send to route a copy of the vocal to the reverb track.Now, the key here is to make this vocal send PRE-fader. I typically setup a stereo auxiliary track (or bus) in Pro Tools and place the reverb plugin on that track. Paragon ntfs for mac time machineNext I create a “reverb” track that is made up of an available bus with a reverb plugin inserted in. I make sure it is muted of course because I’m listening to the zero latency version of my vocal through my software mixer. I create the audio track in my DAW and arm it for recording. I can even adjust the type or amount of reverb on the plugin itself. If things are too wet, I turn it down. If the singer needs more verb, I simply grab that auxiliary track and turn it up. I can then control the amount of reverb heard in the headphone mix by turning up or down the reverb track’s fader. This feature is generally found on more expensive interfaces, although the Focusrite Saffire is a pretty inexpensive example of an interface with DSP monitoring.If the latency (pre-A/D, thru the DSP, to post-D/A) is less than 3ms you probably won’t notice it. That’s pretty doggone close to “zero”.But if the interface provides live monitoring of DSP effects then there is A/D and D/A overhead. The latency on the analog side would be *way* under a millisecond (in the microsecond to nanosecond range). If the interface was bi-directional, the signal from the DAW (post D/A) was summed with the pass-thru analog signal at the output. I do not think it means what they think it means” :^Originally, interfaces advertising “zero latency” piped an analog input (just after the preamp, before the A/D converter) directly to the analog output. But the biggest unknown is how efficient your particular interface is when getting data into and out of the computer via USB, Firewire or PCI/Thunderbolt. Larry (above) uses a 64 sample buffer, which is 1.5 ms 44.1KHz (less at higher sample rates) and he doesn’t notice the delay. For reference, the sound from an acoustic guitar on your lap takes about 2 ms to get to your ears.When you go through your DAW for processing, you add transfer latency as well as a set number of samples of buffer delay. I guess one option here would be to place a headphone amp in my workflow. Basically, let’s say I move that dial to about 50%, to hear 50% direct input, 50% Cubase output, my overall volume in my headphones goes down dramatically. I tried playing with that, and while it makes total sense to use it just like that, I find that when I do that (and I tried many times) is that I end up not hearing enough overall volume in my in-ears. But the definition of “zero” may really be “a few milliseconds”… ReplyThank you, yes that is the same unit. Which is why even (or especially) cheap interfaces are now adding “zero-latency monitoring” capability. I am using Digital Performer 7 (about to install DP8 this week). As you stated, I believe I am using the reverb via a Pre Fader send. ReplyThanks for your response. However, even with the setting to “lowest”, it’s bugging me enough, so I don’t think I’m getting what they’re saying I should be getting (definitely not 1.1 ms). I read online that the default normal setting is in fact 256 samples (nominally 6ms latency at a 44.1kHz sample rate), while the others are 1024, 512, 128 and an unusual 49 samples (1.1ms latency at 44.1kHz). I set up a pre-fader send on the vocal track to Bus 1-2.I created a new stereo audio track named reverb. Now, the key here is to make this vocal send PRE-fader.”I have my vocal track, which uses the Analog 1 input on my MBox 3. Then I take the vocal track and use a send to route a copy of the vocal to the reverb track. Thanks for your hard work and great advice.I would like to check if I’m doing what you suggest correctly when you say “setup a stereo auxiliary track (or bus) in Pro Tools and place the reverb plugin on that track. The performance has not changed, ultra low latency is just a better description of what is going on.Hi pretty new to audio world.i’m going to buy a new audio interface shortly but not sure what one as of yet ,been using my laptops internal interface.a way of using zero/near zero latency comfort reverb for recording vocals is pretty high up on my list.i’m not sure i’ll be able to manage the technique you were talking about above.is it possible that i could achieve zero or near zero latency comfort reverb by putting a cheap reverb FX rack between my microphone and my mic pre amp?or can you think of any other way i could do it with the reverb FX rack.as i said i’m not sure what interface i’ll be buying yet,so if you have different ideas of ways you might achieve this using the FX rack with the different interface Configurations it would be of a great help.Also a small amount of the interfaces ive been looking at have SPDIF connections and some of the multi/reverb FX racks have SPDIF connections on them too is it possible to do this using the SPDIF connections?Could you do your best to answer both questions because i’m completely undecided on both purchases.It would be such a big help to finally get this cleared up.I just upgraded to PT 11 from an M-Audio version: A bit overwhelmed with all the options, but your site has been outstanding. This process adds some latency, but it is so little that it is indistinguishable by the human ear. This is where I’ll put my reverb plugin.When I’m recording the vocal I’ll set the level to adhere to the -18 db peak you recommend.I think I’ll be able to increase the volume and the reverb the singer hears by using the fader and the reverb plugin.Am I understanding this correctly? What’s confusing me is the idea that the vocal track is muted.
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