latency issue using outboard compressor with 002r

[doctari]

Came out of PTLE track into a channel of the Mackie 8 buss assigned that mackie channel to output buss with RNLA on that buss insert from that buss back into protools and had serious latency like very ugly slapback. Seems I'ld used this path before with no latency. Any ideas?

[Professor T]

Sometimes, if you just change the H/W buffer size to something else, click OK, then change it back it will get rid of some latency.

[earth tones]

Isn't there always going to be latency when you are sending to outboard, having to go through two conversions and the processing in the outboard box? Are you just looking to eliminate the audible perception of the latency while monitoring? Even if you can compensate for the perceived latency, the track is still going to be delayed X number of samples behind the source track due to the converter latency. Is this right? I have been wondering if people bother nudging tracks recorded from a send to outboard, to realign with the original source material. For a 100% Wet return from a reverb device, I suppose it may not be as important, but if the send comes back with only compression, and is not compensated for the delay incurred while sending, there would be phasing issues when played back with the original, right? Hmmm....

[chris harris]

right.

[amishsixstringer]

I've done it this way...Send your signal out, and back in with all processing turned off so that you're not altering the wave. Record The track that you're sending back in and compare the wave from the origional track to the newly recorded one and then bump the origional track forward in time to compensate. Works like a charmy.

[trodden]

I've done it this way...Send your signal out, and back in with all processing turned off so that you're not altering the wave. Record The track that you're sending back in and compare the wave from the origional track to the newly recorded one and then bump the origional track forward in time to compensate. Works like a charmy.

good idear.

fucking latency, bane of my digi 001 existence.

[trodden]

so this would also be an important practice if reamping stuff back into PT as well eh?

I've always nudge crap around after reamping, BUT with amishsixstringers technique one could prepare your reamp placement ahead of time eh? BUT! say if you're reamping a DI and going to mix the reamp in with an original mic'd signal, so, your reamped track is going to be off from the original mic'd signal since the DI was off (slightly ahead) in the first place. hmmmm.. the delimmas of moving stuff around in the digital world... can open up a can of worms.. damnit. i'm going to have to play around with this. I like reamping DI's. I take one every time for bass now just in case for that.

[Drew's Analog Planet]

I've done it this way...Send your signal out, and back in with all processing turned off so that you're not altering the wave. Record The track that you're sending back in and compare the wave from the origional track to the newly recorded one and then bump the origional track forward in time to compensate. Works like a charmy.

Standard Operating Procedeure around my Nuendo rig: I always record the outboard processed track right next to the original track, then match them up by sliding the processed one forward to match the original. I do this when recording tracks out on to my analog tape machine and back in off the repro head. Talk about latency! That's digital latency mixed with analog latency!

[MoreSpaceEcho]

BUT! say if you're reamping a DI and going to mix the reamp in with an original mic'd signal, so, your reamped track is going to be off from the original mic'd signal since the DI was off (slightly ahead) in the first place. hmmmm.. the delimmas of moving stuff around in the digital world... can open up a can of worms...

it can open a friggin warehouse full of worms.

i spent most of last week reamping guitars. great fun. i used to think reamping was for suckers who couldn't record shit right in the first place. i was wrong. its a great way to get a bunch of different tones happening, and it's great for really dialing in specific sounds that work for the song in question without having to use a bunch of eq or anything. i don't like eq on guitars, especially distorted ones, i think it fucks up the harmonic goodness...

anyway....i found that if you're trying to line up the reamped track with the original mic'd signal is has to be exactly to the sample or they sound phasey. which makes sense, as its the same part. and lining them up EXACTLY can be tough...different amps respond differently, your mics are different distances away, hell one amp might be wired out of phase from the other....anyway i found that even if you do get them lined up exactly, they don't necessarily combine like you think they might...like you might wanna combine a really bright vox kinda sound with something dark like an i dunno...and it makes sense in theory but doesn't necessarily work out.

i ramble, sorry.

to the OP, as others have stated, yes you will always have latency when you're doing what you're doing. depending on your setup you may be able to crank the latency down to almost nothing, but afaik there will always be a little. and even 1ms will fuck you up if you're trying to do something like parallel compression on drums. what i do, as i've posted a brazillion times before, is put a measure of metronome clicks at the start or end of the file i'm processing. make sure it's way down in volume (like -30 something) so it's not triggering the compressor or anything. and then you'll have that on the new processed file, real obvious peak, easy to line up with the original. much easier than trying to line up two distorted guitar files, for example.

again, just for anyone who's new to this...there's always gonna be latency, and you need to line the new file up with the old TO THE SAMPLE or it's gonna sound fucked.

[trodden]

BUT! say if you're reamping a DI and going to mix the reamp in with an original mic'd signal, so, your reamped track is going to be off from the original mic'd signal since the DI was off (slightly ahead) in the first place. hmmmm.. the delimmas of moving stuff around in the digital world... can open up a can of worms...

it can open a friggin warehouse full of worms.

i spent most of last week reamping guitars. great fun. i used to think reamping was for suckers who couldn't record shit right in the first place. i was wrong. its a great way to get a bunch of different tones happening, and it's great for really dialing in specific sounds that work for the song in question without having to use a bunch of eq or anything. i don't like eq on guitars, especially distorted ones, i think it fucks up the harmonic goodness...

anyway....i found that if you're trying to line up the reamped track with the original mic'd signal is has to be exactly to the sample or they sound phasey. which makes sense, as its the same part. and lining them up EXACTLY can be tough...different amps respond differently, your mics are different distances away, hell one amp might be wired out of phase from the other....anyway i found that even if you do get them lined up exactly, they don't necessarily combine like you think they might...like you might wanna combine a really bright vox kinda sound with something dark like an i dunno...and it makes sense in theory but doesn't necessarily work out.

i ramble, sorry.

to the OP, as others have stated, yes you will always have latency when you're doing what you're doing. depending on your setup you may be able to crank the latency down to almost nothing, but afaik there will always be a little. and even 1ms will fuck you up if you're trying to do something like parallel compression on drums. what i do, as i've posted a brazillion times before, is put a measure of metronome clicks at the start or end of the file i'm processing. make sure it's way down in volume (like -30 something) so it's not triggering the compressor or anything. and then you'll have that on the new processed file, real obvious peak, easy to line up with the original. much easier than trying to line up two distorted guitar files, for example.

again, just for anyone who's new to this...there's always gonna be latency, and you need to line the new file up with the old TO THE SAMPLE or it's gonna sound fucked.

duderkhan, welcome to my world. I quickly found out its best NOT to be smoking weed when dealing with these situations.

awesome idea on the click/metronome counts used to line em up. awesome. maybe with those, i will be able to smoke the weed when doing this.

[MoreSpaceEcho]

i promise you will indeed!

but yeah, the phase stuff can get mind boggling really fast regardless of how hard yer hitting the weed. listening critically to really distorted guitars in general can be weird....i've been trying to just make a nice harmonic haze with just two guitars, yunno yer standard hard l+r thing. so it's all about different types of distortion and how they work together. like sometimes you'll take one guitar out and all of a sudden your mix sounds stupid, but you put it back in and presto. i was just talking to GGGGarges about this, he was saying he sometimes will have one really good sounding guitar on one side, and one purposely shitty one on the other for both balance and contrast....

[trodden]

i promise you will indeed!

but yeah, the phase stuff can get mind boggling really fast regardless of how hard yer hitting the weed. listening critically to really distorted guitars in general can be weird....i've been trying to just make a nice harmonic haze with just two guitars, yunno yer standard hard l+r thing. so it's all about different types of distortion and how they work together. like sometimes you'll take one guitar out and all of a sudden your mix sounds stupid, but you put it back in and presto. i was just talking to GGGGarges about this, he was saying he sometimes will have one really good sounding guitar on one side, and one purposely shitty one on the other for both balance and contrast....

what about two shitty ones on each side? i seem to have that problem sometimes. "man, it doesn't sound shitty enough, too nice sounding..." uhh ok..

I'm stoked on this metronome thing. but you can just have like one good spikey wave, have that in your audio files for each session and just paste that guy onto the track you process, consolidate those peices and BAMMM! there you go with a good marker for liner upper down the stoned road of latency and phase phuckedness.

damn, so easy, no wonder i didn't think of that before.

[MoreSpaceEcho]

i mixed a song for a friend and he said 'its too nice sounding' and i thought it was by far the most lofi thing i'd done in ages....

do you stack different guitars on top of each other a lot? i haven't been doing it at all lately. i think i get too dogmatic in my thinking sometimes...

anyway yeah i just have the little metronome file handy and just paste it right into whatever i'm processing.

[trodden]

i mixed a song for a friend and he said 'its too nice sounding' and i thought it was by far the most lofi thing i'd done in ages....

do you stack different guitars on top of each other a lot? i haven't been doing it at all lately. i think i get too dogmatic in my thinking sometimes...

anyway yeah i just have the little metronome file handy and just paste it right into whatever i'm processing.

i suffer from TMGS (too many guitars syndrome). or too many mics on a guitar syndrome. I make them too big at times. but yeah, couple mics on the cab plus a room mic. change out the head/guitar/pedal/cab and do it again and then maybe again.. then i'm in a pickle of what to combine with what and when and why...

fun though.!

[MoreSpaceEcho]

i was all about multiple mics a little while ago and then i found i ended up using just the m160 in the mix. so lately i've just been using that and then something else at random just for kicks, yunno you never know what's gonna end up blending best. any more than two mics is a pain in the ass to mix...i get too confused and indecisive...

where are you putting your room mic and how much of it do you use relative to the close mics? like, levels-wise? i think my big room is way too live for room mics on guitars....they always end up sounding weird to me. and i want to like them SO BAD.