Am 31.03.2017 um 09:43 schrieb Will Godfrey:
On Fri, 31 Mar 2017 09:25:34 +0200
Hermann Meyer <brummer-@xxxxxx> wrote:
Am 30.03.2017 um 17:25 schrieb Ralf Mardorf:
On Thu, 30 Mar 2017 16:47:20 +0200, Hermann Meyer wrote:
You'll never change anything on "travel time of the sound wave in the
air", so why make it complicated?
If live music, theatre etc. should be your domain, you hopefully try to
compensate issues caused by travel time. Or am I mistaken aren't there
possible issues caused by travel times?
Regards,
Ralf
If there are, then it is related to the room / speaker positions.
Nothing you can change with pc-setup-tools.
Maybe with a specialized software for that, but again, no general
solution could be provided. More likely you'll look for a better speaker
position.
But most likely is the opposite, you'll use the travel time as "effect"
. To say, hey, this room has a nice acoustic, really great live atmosphere.
A question I've asked before, but don't remember getting an answer to.
Are people overthinking the whole issue of latency?
How did the 1920's Big bands manage - spread across a stage? What about a
theatre organist playing an instrument where different ranks have different time
delays, from a few milliseconds to nearly half a second?
You can invent clinical tests where it's easy to detect this, but has anyone
played with a real-world complete mix to discover how far out a mix has to be
before it becomes noticeable.
I once did a basic comparison of played arps against the same track quantised,
and (with A/B testing) was surprised at how far out it could be before I could
tell which was which - especially if the 'drift' was slow and across several
bars.
I think, for listeners, latency, if it is in a "normal range" wouldn't
be a issue, often it is the opposite (eg. Live Atmosphere) , but for the
artist, even a small amount of latency could be disturbing, when you
hear your instrument delayed without using a delay.
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