Thanks for a great video! I would like to add my 2 cents here, as there is some important stuff left out that is often misunderstood and should be part of the discussion. It's important to note that Pro Tools handles audio buffering differently to other DAWs in that it has TWO types of buffer: a low latency domain buffer and high latency domain buffer. The buffer size set in the playback engine only refers to the low latency domain, used for monitoring inputs during tracking and any Aux Inputs set to physical inputs on your interface. This should be set as low as you possible without causing glitches. However, after tracking all your audio tracks will automatically work in the high latency domain, and automatically compensate for the delay. It is not necessary to switch to a high buffer size during mixing in Pro Tools. The buffer size your system can handle depends on your CPU, not Ram. Of course DSP accelerated systems introduce significantly less latency - but not zero latency. Finally, if you can monitor mics through your hardware (like the input/playback blend on small soundcards), you can stop Pro Tools from automatically monitoring a channel by enabling Low Latency Monitoring from the Options menu. As of PT 2019.6 this is disables input monitoring on all inputs and lets you monitor the true zero latency from your hardware, but without your plugins. For musicians, zero latency tracking is far better than a 1ms delay with a bit of EQ and compression.
This comment is actually better than the whole video which is just commenting on a million times documented and commented simple buffer change every studio is doing on a daily basis for decades. Not really sure what this video is all about. But this inside about Pro Tools is very interesting. Thanks.
@@nepomukism This video is to help the individuals that care less about the nuts and bolts of Pro Tools and more about how to get things to work in their set-up so they can do what's actually important: make music.
I did the firmware update (4,1 to 5,1) MacPro 2009 and the funny thing is that the latency in Pro Tools 11.3.7 went down considerably. I can now easily set the latency to 64 samples or even 32 samples in a large session (48 audio tracks with tons of effects) instead of 512 at 48 KHz. 256 samples at 48 Khz usually works for a guitarist or drummer to record at but higher than that it's almost impossible. At the moment I use eleven-rack as the audio interface (USB 2). My Digi 003 rack+ has stopped working (fire wire 400) but I will fix it soon. Then I upgraded the dual quad core processors at 2.26 GHz to dual six core at 3.33 GHz. I'm surprised that the firmware did such a huge difference. I still use Yosemite because PT 11 could have issues with El Capitan or higher. I'm also keeping the ATI 4870. It's a DAW.
Using Pro Tools 2022 and a while back suddenly the latency became a major issue even with it set at its lowest setting can’t work out why. Oddly if I engage low latency monitoring I lose the signal completely?
That likely means that 512 is the maximum option you have. I'm not sure if that limitation is a result of your interface, computer or both but it could be time for an upgrade! Hope this helps.
What if you track on a low buffer size with a lot of UAD plugins? Would the hardware handle all of the processing so that even if you have a lot of those UAD plugins activated, it wouldn’t affect the latency and CPU crashes?
Despite UAD running off of the hardware, I've still personally had latency issues with it. I could be wrong - but I think it simply boils down to your internal RAM more than anything. I should say though I am running a much older version of Mac OS and this may be a factor. End of the day, focus on recording at a low buffer size and if the amount of plugins you have enabled is causing a problem, try to deactivate and/or remove them until you are done recording. Once you're doing recording, you can re-enable them and adjust the sounds to where you like. Hope this helps.
Great vid thanks brother! Would you happen to know why in my DAW reaper, it says 8x1024 instead of 1024 or 512? I dont think its relevant but id like to know thanks
Wish I could help but I’ve never used Reaper before as I am a Pro Tools guy. It could perhaps be based on how much RAM you have in your computer? Ie 8GB? Truthfully though that’s a guess and I’m not sure at all. I’d bet if you do some looking on a Reaper forum you’ll get the answer somewhere. Good luck!!
@@5piece Im not sure how it affects my cpu/ram but I know that it means it samples at 8 x 1024 since at 44khz my latency is 186ms, 8192/44 000. I kinda messed in not getting the ryzen 5 instead of a newer i5 though since 2 extra cores wouldve definitely made a difference XD
I wouldn't call making beats necessary as "Producing". The term Producing or Music Producer aka Record Producer is used loosely in the wrong way. There are many Producer / Engineers that don't make beats at all esp Sylvia Massy and many other Producers that produce records in Rock, Metal, Country genres etc. Producing a record is different from making beats. A real Producer would assist the Artist in arranging the vocals, coaching them to help achieve a great vocal performance and pick the best takes, direct the musicians musical performances, may assist in the songwriting process or musical arrangements. The Producer is like a Movie Director of a movie or a coach. A Producer is there to help take an Artists song to the next level that understands an Artists vison and where to take that song to. All you need is a great ear to be a Producer as some Producers are hands on while some are hands off that comes from different backgrounds and talents. Sean Diddy Combs is not necessary the guy that makes beats but he knows how to push an Artist to get the right energy out of them during the Vocal Production process. He's the dude behind the board that calls the shots.
Agreed - whoever is guiding the artist through the creative vision is the true producer of the song. However, producers nowadays come in many shapes and sizes, and their role evolves over time. Back in the day, producers hardly played anything and simply dictated and ensured the vision came together, right down to who's playing on the song and how the project's budget was spent. In many ways they were the coach, the assembler and the project manager above all else. Now producers are actually writing, playing and crafting the instrumental and melodies which ultimately guide the artist and often dictate what they do. Most artists are writing songs to beats first, not the other way around. These beat makers are still the producer simply because a lot of artists wouldn't go in a certain melodic direction without the producer (or beat maker in this case) causing them to go there. The engineer is certainly a producer by extension. When recording with artists, I am constantly coaching them and getting them to perform their song differently that originally intended. Meanwhile the person who crafted the beat is nowhere in sight for these sessions (sometimes by choice, sometimes not). This is more in line with your definition of a producer, and it is certainly valid. Overall I don't think its worth discrediting or correcting anyone - beat maker, engineer or whoever it is playing the role of producer - sometimes its multiple people at different stages. Even manages play producer. End of the day, anyone who contributes to the song's creation and dictates where it ends up sonically is acting as the producer. As long as the end product sounds good, that's what really counts!
@@5piece Well of course as a Record Producer comes from all types backgrounds and talents as I pointed out as some act and fulfill the role as an Engineer which is nothing new a common practice since the 70s and 80s. Some Producers are more hands on than others. Beat Maker is not a real job title in the music industy as *Programmer* was the original formal term used for some one that programs and sequences beats or backing instrumental tracks that worked with midi sequencing, electronic instruments and drum machines etc. They were never called Producer's. You still see Drum Programming, Programmed By, Sequencing, Keyboards and Synthesizers credits in album linear notes still to this day for instrumentation. You see Kenneth Babyface Edmonds and Max Martin credited all the time as a Producer for producing the song along with additional credits as Programmed By, Drum Programming, Keyboards, Writer etc. Producer's in Hip Hop, Pop or R&B are simply traditional Record Producers like Quincy Jones that are fulfilling the role as a Programmer/Writer and Musician that wears more than one hat. Like Dr. Dre said *"Once you finished making the beat, you have to produce the record" - Dr. Dre* making beats vs producing an Artist are two different things. Multi-Faceted Record Producers is becoming more common these days but again that's not really anything new since Quincy Jones wore multiple hats himself back in the 70s and 80s. Veteran Producer Ron Fair one of the oldest Record Producers in the business is a Record Producer, Musical Arranger, Recording Engineer, Executive Producer, A&R Executive, Record Executive, Musician that wears a ton of hats that's started off as a Musician and a Recording Engineer in the 70s. Jimmy Douglas that worked closely with Timbaland a lot was also a Record Producer and Recording Engineer that has production credits that dates back to the 70s. Really what's changing is the technology and tools we use not so much of the traditional Producer role that sees the whole creative process of a song from start to finish as that still remains the same to this day that directs and coaches the Artist etc. Recording budgets with labels have shrinked a lot which gives Producers an opportunity to fulfill more roles to keep the cost down. Many big traditional studios across the national are still closing doors as Studios are getting smaller.
No - it's not fool proof unfortunately. HDX is great for working with LOTS of tracks and may reduce latency problems for the most part, but latency in digital audio is unavoidable these days (for now).
@@Skiroy To clarify, when I record my Pro Tools has no latency either. I'm sure many HDX users have no latency issues as well. And despite what you said, many users do experience latency on Reaper, maybe not you specifically. Latency is a universal problem for all digital audio workstations. Regardless of what you're specifically using, they all have some latency. In this video I am showing you a common solution to latency with buffer size in Pro Tools, but this approach applies to ALL DAWs. I do this when I'm using Logic, Ableton, etc. There are other solutions, but this is the one I find most commonly treats the problem. I couldn't tell you why one is better or more effective than the other and price is no reflection of that - a Bentley can still break down even though it costs way more money than a Hyundai. I hope this helps.
