Quote:
Originally Posted by thethrillfactor  The combfiltering becomes an issue when doing any parallel processing or if you use plug ins or hardware inserts on some live drums and not others. You will get phase cancellations in the higher freqs depending on the closeness of the compensation.
The latency becomes less noticeable at the higher sampling rates.
Lastly what i meant was that the round trip through the converters is not a whole number. Like i think at 44.1k on a Digi 192/Aurora 16 the manual reads 98 samples?(i forget).
But in actuality its 98.something,something,something,something. Those something,something,somethings are the subsamples divisions.
As of right now there is no way to fully compensate unfortunately.
Even using the Eventide Precision Time delay/align(which breaks the samples down to subsamples) i wasn't able to get a perfect null(because the divisions are not finite enough even at the higher rates which give you more choices). This is still one place where analog is still king.
Now can you hear it is the question?
Before i started using the Eventide plug in i wasn't sure how much of a difference it would make, but i knew from doing parallel processing so long on a console their is a slight timbral difference when doing it ITB even with the latency correction. When i tried it immediately you can hear the sounds are punchier and clearer even though at 44.1K the plug in rolls off the top somewhat. I noticed this the most when doing a parallel drum sub which along with the kicks and snares was my biggest concern(bass is not as noticeable because there are hardly any phase shifts there). |
Huh. Well there are other reasons for something to not null completely other than timing shift. The analog electronics are doing various things to the signal, and I'm not sure you could get a perfect null in the analog domain either, apples to apples. I don't think the bugbear you're describing is a matter of subsample timing differences. But I'm not an expert at the theory!
