And the engineer also have to know the difference off DEEP plugins and FX Rack plugins.įor me there are two different major aspects regarding mixbusses. The engineer needs to know that to avoid comb filters and so on. So, some questions came in my mind, when I read it.įirst, why is it possibleto assign an aux to a channel on the dLive? And second, whyis it not possible to do that on the SQ? Third, there are already situations where the coherence of different paths to the Main bus can be corrupted by the user, think about inserting effects either from the FX rack or, even worse, external ones. ![]() We are very open to discussion, but would never implement something that doesn’t improve things for everyone. Our mindset is only that we want every engineer using our console to be able to work quickly, avoid pitfalls (especially in the heat of a show) and ultimately get outstanding audio results. The former has the potential to ruin a mix without obvious reason to the engineer, whilst the latter reduces the performance of the console, and then do you stop at Aux to LR or is the next request for other mix to mix routing further compounding the issues? So in the case of C, do you either ignore the coherency and potentially introduce cancellation/comb filtering, or compensate by adding latency to every other channel? So it is this way by design and is one of the reasons for the extremely low latency and coherency of the console.įor example, if we were to have Aux -> LR, then you could end up with the following signal paths:Ī) Input > LR ( Group > LR ( Group > Aux > LR (>0.7ms) ![]() Whilst just a picture, the diagram at the bottom of this article ( ) shows how the processing for the LR and Aux channels occurs in parallel, and Aux -> LR would require the signal to go ‘backward’ or more accurately the whole signal path to be extended. – It’s not an arbitrary decision, nor do we ever intend to tell any engineer how to mix, though I appreciate the architecture can influence this quite a bit.
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