![]() Just keep in mind where your delays are and which elements need to be delayed and go from there. This is a bare bones example, but you can use the same principles as your routing schemes become more complex with busses and other audio tracks. What you've done is isolated Audio 2 from the delay comp scheme so that Audio 2, which has no hardware inserts on it, has the same amount of delay compensation as Audio 3, which does. You'll notice it turns blue and goes to 2351 (the same number as Audio 3). ![]() Now, Control + Command Click on the bottom number of Audio 2 (Track Compensation Indicator). This is because Audio 2 is not being delayed to match the hardware insert on Audio 3. You'll hear a delay between the two tracks. You'll see Audio 1 and Audio 2 are all 0 and Audio 3 shows 2351 in the top slot (Delay Indicator).ĭrop a piece of audio onto Audio 1 and play it. ![]() Now, look at the Delay Compensation numbers in the Mix Window. ![]() It's easiest to describe it with an example, so try this:ģ) Set the Input of Audio 2 to Bus 1-2 and Input enable itĤ) Create a Stereo Send on Audio 1, send it to Bus 3-4 and set it to unity gainĥ) Set the Input of Audio 3 to Bus 3-4 and Input enable itĦ) Insert a hardware pair on Audio 3 (you can use a patch cable between outputs and inputs to pass audio) Second - you have to manage Delay Compensation in Pro Tools on a track by track basis - not just turn it on and off globally. (PT mode only aligns the Inputs and Outputs list, not Inserts.) Apollo's MON out uses output pair 1-2, so you have to make this adjustment to line up your hardware inserts. With Apollo, you need to go to I/O Setups in Pro Tools, select the inserts tab and drag the entire set over one pair so that Insert 1-2 is using I/O 3-4, Insert 3-4 is using I/O 5-6 etc. There are actually two things to be aware of when using hardware inserts with Pro Tools and third party interfaces such as Apollo.įirst - you do need to make sure your inserts are lined up. There is an option to keep it on auto (recommended) or you can manually adjust it by switching it to manual or none (completely disables latency compensation). You'll only get those lower figures quoted when using a DAW that is running without a dual safety buffer system.Gannon posted this at UA forum a few years ago: Galaxy 64 DIGI IN (outputs of Pro Tools) and DIGI OUT (inputs of Pro Tools) You can manually adjust the latency compensation inside the HDX section of the Control Panel. Logic and Cubase with Asio Guard are the same. It needs to go through that buffer, being DSP. Why is UAD talking about 300.īecause Pro Tools has 1024 sample dual buffer playback engine, so the UAD effect is 1024 samples plus whatever else it is. When using Studer Tape it's 3000 something. When I insert a simple 1176, PT shows a delay compensation of 1079. Therefore, they require more compensation to remain perfectly synchronized with other tracks.Īlthough the latency added by these UAD plug-ins is negligible (typically between 0 – 300 samples Does the Cura scripting works on an Ender 3 S1 Pro without flashing to a custom firmware I noticed he has a third file in his Cura folder called Ender-5. The problem explained: Enable Delay compensation and also check the according options in I/O Settings (input and output). When these UAD plug-ins are used in a DAW, additional latency is induced in the signal path. Although my personal tests where made with Pro Tools 10 HD with 192 I/O and Pro Tools 12 native with RME Fireface UC, there is absolutely no different behavior in most recent versions with new Avid I/Os, neither HDX or native. Some UAD plug-ins introduce additional latency to achieve sonic design goals (for example, upsampling). Trying to understand the Protools value (in the mixer)
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