Quote:
Originally Posted by peeder  I got a question about latency compensation in PTLE via PM from this thread and I thought I'd share my response here for the general public good...
When I do an outboard pass on an individual part I bring it back in printed on a separate audio track and then I move it back in time to align with the original signal by eye, zooming in on the waveform. Then I inactivate the old track and mix from there with the new one.
When I'm trying to do real-time mixing with hardware inserts (or latency-including plugins) I load up ping regions (that I hand-drew with the pencil tool) into every audio track out past the end of the song, aligned using grid mode. Then I record those pings back in to my mixdown track (I record to disk rather than bounce to disk) and I see whether they are aligned or not (I set reverbs/delays to 100% dry for this). I time delay using the time adjuster plugin everything that comes earlier than the slowest of the pings, sometimes on the individual tracks, sometimes on busses. I sometimes need a couple layers of delays in order to align sends/returns when I have latency on the busses.
This is one reason why I generally just print back hardware passes and manually realign (the other reason is recall). And when using UAD or Duende I will try to make sure there's an equal number of those plugs everywhere so that they all have the same latencies... |
Holy sh*t, what a pain in the a*s!
One could tell me, "it ain't all that bad" till they're blue in the face, but that's fookin ridiculous at this point in the game.
Is this all run on a computer that you have to pedal?