Generally, it is preferable to work with an audio interface that allows for negligible latencies (a few milliseconds). This is useful when recording acoustic instruments which are monitored “through the air,“ when using an external mixing console for monitoring or when using an audio hardware interface with a “direct monitoring“ option that bypasses the computer so as to avoid latency.
Monitoring can be turned off altogether by choosing the Off option. X3 reunion keyboard layout Activator#
An “In“ monitoring setting can be easily recognized even when the In/Out section is hidden by the blue color of the track’s Activator switch. With this setting, output from the clips is suppressed. This setting effectively turns the track into what is called an “Aux“ on some systems: the track is not used for recording but for bringing in a signal from elsewhere.
To permanently monitor the track’s input, regardless of whether the track is armed or clips are playing, choose In. The default Auto-monitoring setting does the right thing for most straightforward recording applications: Monitoring is on when the track is armed (record-enabled) ( see Chapter 17), but monitoring is inhibited as long as the track is playing clips. The In/Out section offers, for every audio track and MIDI track, a Monitor radio button with the following three options: If the track’s output is set to “Master,“ you can hear the guitar signal, processed by whatever effects are used (and delayed by whatever latency the audio hardware interface incurs), over your speakers. Monitoring then means that the signal from your live guitar playing actually reaches the track’s output, via the track’s device chain. Suppose you have set up an audio track to receive its input signal from a guitar. “Monitoring,“ in the context of Live, means passing a track’s input signal on to the track’s output. In our “Ext.“ example, these would be the individual audio/MIDI inputs and outputs. If this signal type offers sub-selections or channels, they are available from the lower chooser, or the Input/Output Channel chooser. Within a chooser pair, the upper chooser selects the signal category (“Ext.,“ for instance, for external connections via an audio or MIDI interface), and is called the Input/Output Type chooser. Remember that instruments convert MIDI to audio ( see 4.8). All tracks have audio outputs, except for MIDI tracks without instruments. The lower chooser pair (“Audio/MIDI To“) selects the track’s output. The Monitor radio button selects the monitor mode: the conditions under which the track’s input is heard through the track. Return tracks receive their input from the respective sends ( see 16.4). Audio tracks have an audio input, and MIDI tracks have a MIDI input. The upper chooser pair (“Audio/MIDI From“) selects the track’s input. The Mixer’s In/Out Section and Mixer Section Selectors.įor every track that can play clips, the In/Out section has the same layout: 
Toggle its visibility using the I/O Mixer Section selector, or via the View menu’s In/Out option. The In/Out section can be independently shown or hidden from the Session and Arrangement Views. The mixer’s In/Out section is Live’s “patchbay.“ Most routing happens in the mixer’s track In/Out section, which offers, for every track, choosers to select a signal source and destination. In the context of Live, “routing“ is the setup of the tracks’ signal sources and destinations (i.e., their inputs and outputs).
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