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
+ (delay) between the time a noise is made and the time that it will
come back from the recorder.
</p>
<p>
can have approximately 3 ms of latency, due to the time the sound
takes to travel from the instrument to the musician's ears. Latency below
5 ms should be suitable for a professional recording setup. Because
- 2 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>
+ 2 ms are already used in the A/D/A process, extremely low
+ <dfn>buffer sizes</dfn> must be used in the 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.
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
+ the computer, avoiding the system latency.
+</p>
+<p>
+ In either case, the monitoring hardware may be digital or analog. And in
+ the digital case there will still be the A-D-A conversion latency of
1–2 ms.
</p>
+