In wireless audio, latency isn’t just a number, it’s a dealbreaker.
Why Wireless Audio Latency Still Matters More Than Ever
Latency. The word alone can trigger sighs in studios, frustration on stages, and long email threads in product design meetings. But in 2025, as wireless audio technologies mature and evolve, the debate continues: How much latency is too much? And in which applications does it really matter?
At Audio Codecs, we believe latency isn’t just a number — it’s a real-world challenge. One we’ve worked hard to solve through our Skylark ultra-low-latency codec.
Let’s take a closer look at why latency matters, where it comes from, and how modern RF and codec choices can make — or break — the listening experience.
The Real-World Cost of Latency
Back in the Bluetooth Classic days, we spent significant energy trying to push audio quality forward — fighting the idea that “you can’t hear above 10kHz, so why bother?” That mindset stalled progress for years.
Now, as Bluetooth LE Audio becomes more common, we’re hearing a similar line about latency:
- “10ms here or there doesn’t matter.”
- “It’s specmanship.”
- Or worse: “Anything over 0ms is unacceptable.”
The truth lies in the middle. While audio quality is subjective, latency is measurable. And depending on the use case — latency does matter. A lot.
Where Latency Really Hurts
Wireless latency is tolerable in some scenarios (like music playback), but in others, it ruins the experience. Here’s where it does matter:
- Live performance (musicians, DJs, theatre)
- Music production (recording, monitoring, mixing)
- Gaming (voice comms + reactive sound)
- Phone/video calls
- TV/movie watching (lip sync)
- Hearing aids & assistive devices
- Online jamming / remote performances
Tolerance levels vary by user and skill. A trained vocalist performing 300+ times a year is far more sensitive to latency than a casual karaoke singer.
Latency in Live Performance: Natural vs Digital Delay
In live music, performers naturally deal with acoustic latency. Sound travels roughly 342 meters/second, meaning a bandmate 3.4 meters away causes about 10ms of delay.
Musicians are trained to cope with this — but only when it’s natural. Add digital latency, and you quickly exceed the threshold of what feels “right.”
Instruments, distance, and monitoring method (wedge vs IEM) all play a role. According to AES research, the following latency thresholds are typically tolerable:
| Instrument | Acceptable Latency |
| Vocals | < 3ms |
| Drums | < 6ms |
| Piano | < 10ms |
| Guitars | < 12ms |
| Keyboards | < 20ms |
Exceed these, and performers will notice — and often reject — the solution.
Where Wireless Latency Comes From
Even without an RF link, a standard audio chain introduces 10–20ms of delay. Here’s where it adds up:
- Data Converters – Analog-to-digital or time-to-frequency processing introduces delay.
- DSP Processing – Most algorithms work on sample blocks, not individual samples.
- Inter-chip Communication – Transfers between chips or systems require buffering.
- Clock Domain Crossing – Different clock rates can introduce further buffering.
Then comes the wireless link — where things get worse unless designed well.
Wireless Audio Latency: The Numbers
Let’s break down the latency figures from common RF/audio codec configurations:
| RF Protocol & Codec | Channel Type | One-Way RF Latency |
| BT LE / LC3+ | Mono/Stereo | ~19ms |
| BT LE / LiveOnAir + LC3+ | Mono/Stereo | ~12ms |
| BT LE / LiveOnAir + Skylark | Mono/Stereo | ~3.5ms |
| UWB / BodyWave + LiveOnAir | Mono/Stereo | ~2ms |
| UWB / BodyWave + LiveOnAir + Skylark | Surround Sound | ~3.5ms** |
**Hypothetical, under controlled conditions.
Skylark introduces just 1.8ms of total encode/decode delay. It also handles bit errors without needing FEC, further saving time — and delivers 24-bit / 48kHz audio.
UWB Enters the Scene
Ultra-Wideband (UWB) has long promised low-latency, high-bandwidth links — enough for 24-bit, 96kHz linear PCM.
The challenge? Body blocking. UWB signals can easily degrade due to human bodies or open spaces, making them risky for real-time audio.
That’s changing thanks to AntennaWare’s BodyWave™ antenna, which delivers up to 20dB more gain — overcoming body-blocking issues and unlocking UWB’s full potential for pro audio.
Real-World Application: A Live Setup Example
Imagine this:
- A wireless mic transmits over UWB using Skylark
- An IEM system receives with <3.5ms RF latency
- Processing chain is tightly optimized
The total round-trip latency? Under 10ms — equivalent to standing about 10 feet from a speaker. That’s not just good enough — it’s game-changing.
No more cables. No more latency-induced disorientation. And better hearing protection through affordable IEMs.
Beyond the Stage: What This Means
Solving latency for professional musicians means the solution is also ready for:
- Gamers who need real-time feedback
- Streamers who mix live audio and voice
- Developers building next-gen wireless AV products
Skylark isn’t just a codec. It’s a platform for real-time wireless audio — finally ready for the demands of modern applications.
Final Thoughts: Latency is Still Worth the Fight
We’ve been here before. First with audio quality, now with latency.
The lesson? Just because the average user might tolerate delay doesn’t mean professionals should. Latency matters — and it’s measurable, solvable, and essential. With technologies like Skylark, LiveOnAir, and UWB, we’re not just improving specs — we’re unlocking new experiences.