These requirements should be applied to all audio interfaces for live performances, however, what about the more specific requirements that you may have, such as the number of inputs and outputs… Well, we’re going to split the following recommendations by the number of outputs available. Durable and strong chassis construction.High-quality hardware, and thus clarity of sound.We believe that an audio interface suited for a live performance must meet the following requirements Well, we’ve tried our very best to lay out all of the information below, based on your requirements of the audio interface itself, in a live environment. With hundreds of model of audio interface to choose from, and several reliable brands to favour, how do you go about choosing which brand and model of an interface is right for you? Maybe ill dig in to the HAPI range of products later on.There are many aspects to consider when choosing the best audio interface for live performances. I can get has low as 2.1 ms Latency 48KHz. DJ (LR) and a microphone using the Antares access auto tune plugin (0 samples low latency plugin). I recently adquired the Merging Anubis and planning on doing some live things with Reaper and Anubis. rpp.įor complex routing ideas you might check a, search in forum or youtube.Ĭan you tell us what converters are you using ? After 1 hour fun, you might have a few minutes (2-3 minutes) better, original, interesting parts which you might want to keep, just save as. If you have nothing left after all deletion, just record again, that is the fun part of it.
#Liveprofessor latency plus
Plus you can record into Reaper if you want, which I do.Įxample: Sequetron midi sequencer by Phil Tipping (which is best midi sequencer on earth, without a doubt, if you know a better one, you have to prove it, write here _ as midi looper and experimentation field, slaved to Reaper via midi clock, it could be any hardware sequencer as well, its midi output going into Reaper, playing sounds+fx, recording all tracks output (not input) during performance/experimentation/fun, later you can select better parts, using Reapers excellent ripple editing for all tracks, basically just deleting areas which you did not like without long discussions. Stability wise I tested reaper in broadcast live situations and so far it holds its ground. So I would like to have a clean interface specifically designed for routing und adding plugins into it. Like Live Professor, Waves Plugin Server.īut Reaper can do more for me espacially with 3d Audio in mind.
#Liveprofessor latency windows
(Make sure your Windows services are stripped down to the bare minimum, if you use Windows)Īctually I would like to view Reaper as a pure Plugin Host where I can send stuff into, process it and get it out. Short answer: yes, use it for your purpose, you'll never find a better and more reliable solution. Multitrack-recording records the raw signal pre-FX, so the FX can be changed afterwards entirely when mastering. The (actually with cable measured) 5.6 ms roundtrip latency (ASIO-Buffer size = 64 samples) was not yet noticed by the musicians, otherwise they complain, especially percussionists get confused from noticeable delay in the monitor path. I run microphone correction plugins in every channel, and speaker-correction plugins in every monitor and main output.
With good VST channel strips you can achieve better and more flexible sound processing capabilities than with any hardware based digital mixer. Hardware is moderate, just a silent notebook, fan always off) (At home I run Reaper more than 2 weeks uninterrupted just as low-latency host for the room correction plugin for all computer audio playback. That usecase is perfect for reaper, because it's stability guarantees uninterrupted performance for 12 hours and more, using it as FOH mixer, and stage monitor mixer and multitrack-recorder at the same time. Actually I would like to view Reaper as a pure Plugin Host where I can send stuff into, process it and get it out.
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