DM 3200 when recording monitoring latency


New Member
May 6, 2013
Gear owned
dm3200 vl-5
hello, good morning! I do not write much I comment my problem now, I have the dm 3200 and recorded or monitored by monitoring shipments have high latency aux almost like a really annoying for eco musician, as you have configured monitoring for musician?

My configuration is: send monitoring from daw to aux 3 and 4 and thence to headphones instrumentalist. use logic and pro tools.

Thank you !!!!
1: Please don't 'double post' on the same topic. If you don't get a response from one request, you should add a new one to the same thread for an updated response.

2: Your mixer (DM3200) is capable of ZERO LATENCY monitoring. That means whoever is playing/singing into a microphone (or other means of input) will be heard EXACTLY in sync with the previously recorded tracks. This is done by SPLITTING THE SIGNAL. One part of the signal is assigned to Protools (or Logic) so it can be printed into that colorful horizontal 'ribbon' representing recorded sound. (Depending on your mood or level of anger, you can change the color of that ribbon to whatever you want.) The OTHER PART of the signal is routed to an AVAILABLE FADER MODULE on your mixer (DM3200). You can add efx like delay and reverberation so the person making sounds into the microphone can imagine how he/she will sound when the tune is overmixed and arranged. You may use a mixer (DM3200) AUXilliary to feed the performer's headphones (or ear buds depending on taste) so they can hear themselves and whatever was recorded before.

NOTE!!! You will have to MUTE THE PROTOOLS (OR LOGIC) TRACK BEING RECORDED!!! Otherwise, you will hear two sounds - one coming out of Protools, (or Logic) the other from the mixer (DM3200). This will be VERY annoying, because each of those two sounds will be several ms (mili-seconds) apart. This is what latency is all about, and what we're trying to avoid.

3. If you're uncertain how to perform the steps described in #2 above, please respond and we'll try to make it as plain, simple, and understandable as humanly possible.

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I am cutting and pasting from one of my prior posts..i hope it has what you are looking for:

..."One of the benefits of using Input Bypass is that you can adjust and mix the person being recorded without effecting anything going into the DAW. That signal is untouched.

So, you have each individual DAW track output coming into individual DM input channels for mixing while tracking? Fine. That will work. It's just not as efficient as explained below. Just make sure the DAW track you are recording into has it's output muted while you are recording into it. For monitoring that person, just send his input directly out of the DM's stereo buss. I can't emphasize that enough. I know you want to send that person's input directly to tape (or daw in this case) and be monitoring it's return the whole time, but that won't work here. Send his input to the daw, but monitor his input channel over the stereo buss only.

There would be no latency with this setup. As you play the previously recorded tracks, out through the DM's stereo buss and into his headphones, and he plays/sings and hears himself at exactly the same time through the same DM stereo buss, (WITHOUT coming back from the DAW) there would be no latency. 0. It wouldn't matter if it took twenty mins for the previously recorded music to make it's way out the DM's stereo buss and into his headphones. As long as the person is playing to or singing to what he his hearing out of the DM's stereo buss, any latency delay at the DAW's end will be corrected by the DAW. So, to emphasize again, continue what you are doing but MUTE the DAW's track (not the DM channel) that you are recording into. That should take care of any latency issues. I think I said it enough. Lol.

OK, that's how to do it with your setup. Mine's a little different, but maybe you can get something from it, because you ask if there is a way to come back into the DM on the same channels as the ones you are tracking on. Yes and No. Explanation:

I believe the general workflow concept behind these DMs goes like this....track first, mix second. Master last.
With DM Mic/Line inputs assigned to DAW tracks, one records to their DAW. The engineer would then only have to utilize TWO DM input channels coming in from the DAW; the two channels from the DAW's Stereo Buss. I bring in my DAW stereo buss (SLOT1-1 and SLOT1-2) in on DM CHs 33 and 34. That's the whole DAW mix package coming in on two channels and that's it. Now, I have my FW outputs 1-32 available in my DAW to use as channels to record from, but I never have my DAW tracks (the ones I am recording into) play back while I am recording into them. So, I keep mutitracking instruments and voices, one or two or six at a time. But when I need to playback my DAW for the next person to listen, I can just do a basic mix (yes, with the mouse) and play it back on the two DM input channels. That's it for tracking. Now on to mixing.

Now, I mostly mix in the box, using VST's, VST instruments, volume/pan/effect automation etc. But I also can group certain things, say all my vocals or all my drum tracks, into what are essentially DAW busses, that I can then send back to the DM to do a final mix there.
When I send my grouped DAW busses out to the DM, I have a couple of options when it comes to channel assignments. You CAN send everything into another layer of inputs, or you can utilize something else called Input RTN (return).
If you look at your inputs channels 24-48, you have your mics setup here, according to your previous reply. Do you see where it says "RTN" below the INP?
Here you can flip or "source invert" the incoming signal into the same channel when it is time for mixing. NO, you can not utilize both INP and RTN on the same channel at the same time, (loop Hell) but you COULD utilize the RTN function on channels in groups of of 8. The idea is that you would have your mic/line coming in on the INP, as you already do and then utilizes this "Input Return" function when it comes time to mix, to save on channel count. By listening to only the stereo buss from your DAW while you are tracking, using only two DM channels, and then doing your actual post track mixing utilizing Inp RTN, you are only using up 24+2 input tracks in the DM. So, yes, you can the same channels for tracking and mixing, using input RTN. just not at the same time."


"..."While in record mode.....each track must be muted on the DAW...."
I think I mislead you here. You don't actually have to hit MUTE and then unmute later, at least not in Reaper. You could, but that would be a pain in the ass, as you pointed out. See next for explanation...
First Question;
.."1 - all tracks then have to be un-muted so they can hear playback from the DAW."
In Reaper, there is a button to select "record monitoring ON, Auto or Off" right there on the track, under the volume slider. I always keep my individual tracks set to Record monitoring OFF, which is the default value. This prevents the recorded track from playing out through the DAW stereo buss, or via any individual back into the DM, while recording is being done. (possible latency delay here) However, I also keep all the tracks' outputs set to the DAW's 2 channel stereo buss. This buss I send to two input channels in the DM. When I am recording into that track, I don't actually have it muted, per say, I just DON'T have the record monitoring function set to ON. So, all my tracks can play out of the DAW stereo buss, but the track I am recording into does not play out the stereo buss until I am done recording into it.
..."2 - while they are listening to the playback, their actual mics are still live...?"
The mics should only still be live if the tracks are armed for recording. But even if the tracks are still armed, you should be able to play them back out through the DAW stereo buss, or individual send to the DM, to give them a quick listen. Just don't hit the record button by mistake or you will rerecord over that armed trac(s).
As for punch ins, I have several options. The main two go like this...I could just playback the track I want to punch into, and when the time comes to punch in, I just hit the record button while the DAW is playing and only the armed tracks go into record mode. They have to armed first, of course. When it is done, and the person wants to hear it, I just move the curser back to where I started and hit play. I don't actually have to unmute anything or even unarm the track for that matter. It will just play back what ever is there.
Or, I can also select an area on the timeline within a track already recorded and set the record function to start when the curser comes up to the selected area, and record into that. Again, curser back and hit play and the new recorded track is there. I think it is pretty similar with all DAWs.
As for the later part of your reply, I understand that you don't want to mix in the DAW. So, you would have each track individually outputting its signal into a respective track in the DM, just like coming in from tape. This setup still works just as explained above, minus any mention of the DAW stereo Buss. I just tried it to make sure I could do what you are asking to do. When I punched in, the track did not monitor the previous take's recording while I was doing it, again because I have "Record Monitoring" set to OFF for that track.
I hope this has not made it more confusing... Bottom line, you should be able to record, punch-in and record over previous takes without having to listen those armed tracks while you are recording, using something like "Record Monitor OFF" within that track. No MUTEs or UNMUTEs needed."

Maybe there is something in here that will help.
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