Lavry Latency Killer

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Product Description

The Lavry LK-1 Latency Killer™ is a real-time headphone cue mixer for use in generating a zero-latency cue mix signal while recording one or two channels of overdubs with a computer recording system.

Product Details

Unlike low-latency solutions; the LK-1 does not require the uses of a specific AD or DA converter, higher sample frequencies to minimize converter latency, low latency conversion with compromised audio performance; or make it difficult or impossible to add effects to the live signal in order to achieve low latency.

For monitoring the live sources, there are two line level analog inputs with Volume and Panning controls. Inputs for the Stereo Mix from the analog output of the recording software are also provided. These signals are mixed and output through two headphone outputs, which have separate Volume controls.

The signals can be sent without loss of quality to the recording inputs from loop outputs that are hard-wired to the Main (live) inputs. Similar loop outputs are also provided for the Stereo Mix inputs for connection to the normal monitoring inputs. This is an important difference when compared to an analog solution involving an inexpensive mixer or even a high-end professional console; because no additional circuitry which can degrade the signal quality is introduced in the recording path.

Two Effects Sends for each Main input with Volume and Panning controls allow outboard effects to be added to the Live signals in the headphone cue mix. There are also loop outputs on the Effects returns so the effects can be recorded on separate tracks, if desired. Recording the effects allows the same effects to be heard in the cue mix during playback of the previously recorded section prior to punch-in.

When used as recommended, the LK-1 settings or added Effects result in no change to the recorded Live tracks; because the loop outputs are hard-wired to the inputs. These settings and Effects are only heard in the headphone cue mix. The only exception occurs when the outboard Effects are recorded on separate tracks. In this case, the Volume and Panning of the Sends will impact only the recorded Effects tracks, because the Loop Output of the Effects Returns will reflect the results of these settings.

The LK-1 can be connected to any computer based recording system with standard cables, and accepts XLR as well as 1/4" connections on all critical inputs and outputs. There is no need to change any settings in the recording software aside from disabling input monitoring during recording, nor is it necessary to change buffer settings, limit the number of playback channels or the use of many high-quality plug-ins, or use higher sample frequencies when using the LK-1.

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Please refer to the LK-1 Operation Manual for detailed information on connections. Both XLR and ¼” connections are available on all critical inputs and outputs; except headphone outputs which are ¼”.

Operating tips

a.) The input monitoring of the tracks used to record the live signals must be disabled to avoid mixing the zero latency signals with the delayed signals heard through the recording system. Some recording software may not allow the input monitoring to be disabled, in which case separate tracks can be used to play back the newly recorded overdub tracks. The tracks used to record the overdubs would either be muted or the fader kept at “minus infinity” to prevent the input signals from being heard in the stereo mix. After recording each section, the new segment is moved to the corresponding playback track so it can be heard during further overdubbing.

b.) The MAIN inputs accept ¼” as well as XLR inputs. To accommodate “-10” level signals; the ¼” inputs automatically add 12 dB of gain to the headphone cue mix and the Effects Sends. If the source has professional level ¼” T.R.S. connections, a T.R.S. to XLR adapter cable is recommended. The signal that passes through the LK-1 via the TO ADC Loop Out connectors is not affected by this automatic level boost for ¼” inputs; so the level will still need to be increased at the input of the ADC if it has professional level inputs.

The FROM DAC and EFX RETURN ¼” inputs are the same as the XLR inputs; and can therefore accept full +24 dBu peak level.

c.) The FROM DAC input for the stereo mix signal from the recording system has a fixed level in the headphone cue mix when compared to the live signals’ TO ADC input, which has Volume and Pan settings. For this reason, it is recommended that the playback of the mix is used as a reference to set the over-all listening level in the headphones.

This is the recommended sequence to set the listening level:

  1. Turn on the AC power of the LK-1 before putting on the headphones.
  2. Check the Volume setting of the headphone output(s) to confirm they are at a low Volume.
  3. Start playback of the stereo mix with the output fader of the recording software at a “normal” setting.
  4. Increase the Volume setting of the Headphone output to a comfortable listening level.
  5. Sing or play and adjust the MAIN inputs’ Volume and Pan settings to achieve a good working balance with the playback of the stereo mix.


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