Latency in dLive system

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This topic contains 8 replies, has 8 voices, and was last updated by Profile photo of Jay Jay 3 years, 2 months ago.

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  • #53696
    Profile photo of ZiKE
    ZiKE
    Participant

    Hi,
    I’d like to know, how does ‘latency structur’ in dLive system look like. How much delay is added for hardware insert (local and remote), FX processor inserted in channel, differences between channel routed directly to main buss and through group to main buss.
    Best regards,

    ZiKE

    #53720
    Profile photo of Michael
    Michael
    Participant

    This question was also discussed in depth (with official replies) at this topic in the general discussion forum:

    Channel-based DEEP processing models (compressors, GEQ and more) won’t add any latency to the channel path. DEEP ’embedded plugins’ are available on all channels on the fly.
    Inserting a RackFX from the FX rack (such as a pitch shifter or transient controller) will add latency dependent on the FX type.

    Inputs and groups are all delay compensated and phase coherent to the Mix Outputs.

    —————

    In dLive, everything except the FX is delay compensated. You should not experience any comb filtering no matter what combination of mixes and inputs you have feeding another mix. The only exception is that if you have a signal mixed post delay, with the delay not set to zero, this manually added delay will not be compensated for.

    #73147
    Profile photo of JPage
    JPage
    Participant

    What about routing an FX bus return to an input in order to apply the tube stage to it? Could the delay compensation handle something that complex?

    Edit: I see that FX buses aren’t compensated for to start with so that would be a no.

    #73156

    So that depends on how you route your Fx. For instance, I’ve completely abandoned using FX sends for busses in favor of mix busses. This does a few things: 1) you get better filtering and compression on the input side of your parallel FX. 2) Technically these busses should be compensated for. The FX *returns* won’t be, but that shouldn’t matter for reverb/delay, etc. If you want, use input channels for returns. Then your whole workflow is delay compensated. (And you get additional processing on the returns.)

    #73160
    Profile photo of cat's eyes
    cat’s eyes
    Participant

    hi,
    take a look on this article on knowlege base of allen heath web site :
    http://support.allen-heath.com/Knowledgebase/Article/View/1202/0/what-are-phase-coherent-mixes

    #73162
    Profile photo of Jay
    Jay
    Participant

    Read the Knowledge Base article on phase coherent mixes carefully. It was updated recently for the 1.70 release.

    From input through the mix bus outputs (aux, group, main, matrix) you have phase coherence. As soon as you bring one of the mixes (1) back into an input or (2) back into a mix of the same type, you lose the coherence for that input/mix return.

    I find it interesting that they give you the number of samples you are offset for Dyn8 (4) and other inserts (27), but I’m not aware of anywhere you can adjust by that few samples. (It would be nice to have a fine delay adjust (samples) in addition to the normal feet/m/ms adjust like another console does)

    Jay

    #73164
    Profile photo of Nicola A&H
    Nicola A&H
    Keymaster

    @jay, hold down Setup and touch the Processing / Delay screen 🙂

    #73176
    Profile photo of Zistan
    Zistan
    Participant

    “Group 1 to Group 2 to Mains is NOT aligned with Group 1 to Mains” – how many samples?

    #73181
    Profile photo of Jay
    Jay
    Participant

    @nicola A&H I’m fully aware that I can switch all delays to samples, but frankly, that is quite annoying when typically only a few channels you are adjusting need sample-level accuracy, whereas most channels I am adjusting in ms. Also, at least on Director, the minimum step is 122 samples.

    You sister company allows me to run my delays in ms/feet/meters (delay) and then adjust by samples (fine delay) at the same time. (hint hint)

    Jay

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