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Old 19th September 2011
Lives for gear
ggegan's Avatar
I mix sound effects on relatively large scale feature film projects. They aren't necessarily large budget or high grossing projects, they are generally in the mid-range budget area, but often the scale of the sound requirements can be quite large.

Latency is probably the least of my concerns. As long as I keep the Pro Tools hardware buffer down to 256-512 samples, it isn't an issue. I usually don't even use delay compensation. I am primarily interested in having the highest possible processing power and having the highest possible number of voices available.

Latency is not generally an issue unless you are dealing with multiple microphones that have leakage between them, as when recording orchestral scores or on-set dialog recorded with multiple mics. Then the phase relationships between the various sources is critical because of the leakage between tracks. Applying different kinds of processing with different degrees of latency to tracks that have microphone leakage can degrade sound quality due to the resulting time domain offsets. But for sound effects, there are almost never situations where using multiple mics causes latency related phase issues, so even though processing requirements may be extreme, latency is not an issue unless it causes noticable delays.