4 href="http://en.wikipedia.org/wiki/Latency_%28audio%29"><dfn>Latency</dfn></a>
5 is a system's reaction time to a given stimulus. There are many factors that
6 contribute to the total latency of a system. In order to achieve exact time
7 synchronization all sources of latency need to be taken into account and
11 <h2>Sources of Latency</h2>
13 <h3>Sound propagation through the air</h3>
15 Since sound is a mechanical perturbation in a fluid, it travels at
16 comparatively slow <a href="http://en.wikipedia.org/wiki/Speed_of_sound">speed</a>
17 of about 340 m/s. As a consequence, an acoustic guitar or piano has a
18 latency of about 1–2 ms, due to the propagation time of the sound
19 between the instrument and the player's ear.
22 <h3>Digital-to-Analog and Analog-to-Digital conversion</h3>
24 Electric signals travel quite fast (on the order of the speed of light),
25 so their propagation time is negligible in this context. But the conversions
26 between the analog and digital domain take a comparatively long time to perform,
27 so their contribution to the total latency may be considerable on
28 otherwise very low-latency systems. Conversion delay is usually below 1 ms.
31 <h3>Digital Signal Processing</h3>
33 Digital processors tend to process audio in chunks, and the size of that chunk
34 depends on the needs of the algorithm and performance/cost considerations.
35 This is usually the main cause of latency when using a computer and the one that
36 can be predicted and optimized.
39 <h3>Computer I/O Architecture</h3>
41 A computer is a general purpose processor, not a digital audio processor.
42 This means the audio data has to jump a lot of fences in its path from the
43 outside to the CPU and back, contending in the process with some other parts
44 of the system vying for the same resources (CPU time, bus bandwidth, etc.)
47 <h2>The Latency chain</h2>
50 Note! the rest of this document assumes the use of jackd for the audio
51 backend. While many of the concepts are true, the specifics may be different.
54 <img src="/images/latency-chain.png" alt="Latency chain">
61 The numbers are an example for a typical PC. With professional gear and an
62 optimized system the total round-trip latency is usually lower. The important
63 point is that latency is always additive and a sum of many independent factors.
66 Processing latency is usually divided into <dfn>capture latency</dfn> (the time
67 it takes for the digitized audio to be available for digital processing, usually
68 one audio period), and <dfn>playback latency</dfn> (the time it takes for
69 In practice, the combination of both matters. It is called <dfn>round-trip
70 latency</dfn>: the time necessary for a certain audio event to be captured,
71 processed and played back.
74 It is important to note that processing latency in Ardour is a matter of
75 choice. It can be lowered within the limits imposed by the hardware (audio
76 device, CPU and bus speed) and audio driver. Lower latencies increase the
77 load on the system because it needs to process the audio in smaller chunks
78 which arrive much more frequently. The lower the latency, the more likely
79 the system will fail to meet its processing deadline and the dreaded
80 <dfn>xrun</dfn> (short for buffer over- or under-run) will make its
81 appearance more often, leaving its merry trail of clicks, pops and crackles.
85 The digital I/O latency is usually negligible for integrated or
86 <abbr title="Periphal Component Interface">PCI</abbr> audio devices, but
87 for USB or FireWire interfaces the bus clocking and buffering can add some
91 <h2>Low Latency use cases</h2>
94 Low latency is <strong>not</strong> always a feature one wants to have. It
95 comes with a couple of drawbacks: the most prominent is increased power
96 consumption because the CPU needs to process many small chunks of audio data,
97 it is constantly active and can not enter power-saving mode (think fan noise).
98 Since each application that is part of the signal chain must run in every
99 audio cycle, low-latency systems will undergo <dfn>context switches</dfn>
100 between applications more often, which incur a significant overhead.
101 This results in a much higher system load and an increased chance of xruns.
104 For a few applications, low latency is critical:
107 <h3>Playing virtual instruments</h3>
109 A large delay between the pressing of the keys and the sound the instrument
110 produces will throw off the timing of most instrumentalists (save church
111 organists, whom we believe to be awesome latency-compensation organic systems.)
114 <h3>Software audio monitoring</h3>
116 If a singer is hearing her own voice through two different paths, her head
117 bones and headphones, even small latencies can be very disturbing and
118 manifest as a tinny, irritating sound.
121 <h3>Live effects</h3>
123 Low latency is important when using the computer as an effect rack for
124 inline effects such as compression or EQ. For reverbs, slightly higher
125 latency might be tolerable, if the direct sound is not routed through the
131 Some sound engineers use a computer for mixing live performances.
132 Basically that is a combination of the above: monitoring on stage,
133 effects processing and EQ.
136 In many other cases, such as playback, recording, overdubbing, mixing,
137 mastering, etc. latency is not important, since it can easily be
141 To explain that statement: During mixing or mastering, one doesn't care
142 if it takes 10ms or 100ms between the instant the play button is pressed
143 and the sound coming from the speaker. The same is true when recording with a count in.
146 <h2>Latency compensation</h2>
148 During tracking it is important that the sound that is currently being
149 played back is internally aligned with the sound that is being recorded.
152 This is where latency compensation comes into play. There are two ways to
153 compensate for latency in a DAW, <dfn>read-ahead</dfn> and
154 <dfn>write-behind</dfn>. The DAW starts playing a bit early (relative to
155 the playhead), so that when the sound arrives at the speakers a short time
156 later, it is exactly aligned with the material that is being recorded.
157 Since we know that playback has latency, the incoming audio can be delayed
158 by the same amount to line things up again.
161 The second approach is prone to various implementation
162 issues regarding timecode and transport synchronization. Ardour uses read-ahead
163 to compensate for latency. The time displayed in the Ardour clock corresponds
164 to the audio signal that is heard on the speakers (and is not where Ardour
165 reads files from disk).
168 As a side note, this is also one of the reasons why many projects start at
169 timecode <samp>01:00:00:00</samp>. When compensating for output latency the
170 DAW will need to read data from before the start of the session, so that the
171 audio arrives in time at the output when the timecode hits <samp>01:00:00:00</samp>.
172 Ardour does handle the case of <samp>00:00:00:00</samp> properly but not all
173 systems/software/hardware that you may inter-operate with may behave the same.
176 <h2>Latency Compensation And Clock Sync</h2>
179 To achieve sample accurate timecode synchronization, the latency introduced
180 by the audio setup needs to be known and compensated for.
183 In order to compensate for latency, JACK or JACK applications need to know
184 exactly how long a certain signal needs to be read-ahead or delayed:
188 <img src="/images/jack-latency-excerpt.png" alt="Jack Latency Compensation">
190 Jack Latency Compensation
195 In the figure above, clients A and B need to be able to answer the following
200 How long has it been since the data read from port Ai or Bi arrived at the
201 edge of the JACK graph (capture)?
204 How long will it be until the data written to port Ao or Bo arrives at the
205 edge of the JACK graph (playback)?
210 JACK features an <abbr title="Application Programming Interface">API</abbr>
211 that allows applications to determine the answers to above questions.
212 However JACK can not know about the additional latency that is introduced
213 by the computer architecture, operating system and soundcard. These values
214 can be specified by the JACK command line parameters <kbd class="input">-I</kbd>
215 and <kbd class="input">-O</kbd> and vary from system
216 to system but are constant on each. On a general purpose computer system
217 the only way to accurately learn about the total (additional) latency is to
221 <h2>Calibrating JACK Latency</h2>
223 Linux DSP guru Fons Adriaensen wrote a tool called <dfn>jack_delay</dfn>
224 to accurately measure the round-trip latency of a closed loop audio chain,
225 with sub-sample accuracy. JACK itself includes a variant of this tool
226 called <dfn>jack_iodelay</dfn>.
229 Jack_iodelay allows to measure the total latency of the system,
230 subtracts the known latency of JACK itself and suggests values for
231 jackd's audio-backend parameters.
234 jack_[io]delay works by emitting some rather annoying tones, capturing
235 them again after a round trip through the whole chain, and measuring the
236 difference in phase so it can estimate with great accuracy the time taken.
239 The loop can be closed in a number of ways:
243 Putting a speaker close to a microphone. This is rarely done, as air
244 propagation latency is well known so there is no need to measure it.
247 Connecting the output of the audio interface to its input using a
248 patch cable. This can be an analog or a digital loop, depending on
249 the nature of the input/output used. A digital loop will not factor
250 in the <abbr title="Analog to Digital, Digital to Analog">AD/DA</abbr>
255 Once the loop has been closed, one must:
258 <li>Launch jackd with the configuration to test.</li>
259 <li>Launch <kbd class="input">jack_delay</kbd> on the command line.</li>
260 <li>Make the appropriate connections between the jack ports so the loop is closed.</li>
261 <li>Adjust the playback and capture levels in the mixer.</li>