Questionable Article on Impedance

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cyrano said:
The absolute minimum is 15 msec. Most stuff is around 35 msec.

You would think with processors running in the GHz region it would be a lot shorter than this. Just shows how poor real time software is when written in a high level language. Some things never change

Cheers

Ian
 
I don't know about BT, but with Wifi, there's a lot going on because it's wireless. That brings encryption, channel hopping, changing of authentication, retransmits for robustness...

That's why low-latecy audio over wired ethernet is relatively simple. None of that stuff.
 
"New guitars".... but while my 2001 Honda is "old" for a car, a 2001 guitar is "newish", and ones from the 1950s are treasured. So we still need to know "impedance" on guitar interfaces.
 
cyrano said:
I don't know about BT, but with Wifi, there's a lot going on because it's wireless. That brings encryption, channel hopping, changing of authentication, retransmits for robustness...

That's why low-latecy audio over wired ethernet is relatively simple. None of that stuff.

I guess the big problem with any digital packet based system is you have to create a packet, send it, receive, decode it, buffer it and turn it into a continuous stream.

I'll stick to analogue thanks.

Cheers

Ian

Cheers

ian
 
The anti aliasing / anti imaging filters have a "long" delay all by themselves, enough to make the monitors sound funny when the live signal phases with the foldback signal delayed by a converter loop. This makes using a gorgeous $15K condenser mike for vocals less of a fun experience for the talent, who gets to hear the sum of bleed from their mouth to their ears mixed with the delayed signal from the mike through a converter loop. Sure - the HF phasing is only in the monitors, but the talent is using that to perform, and not hearing what is actually going to "tape".

For the highest quality monitoring during overdubs, routing a signal through converters is not the best idea - a simple analog split to an analog monitor mixer ahead of the converter is a much better idea.
 
Monte McGuire said:
This makes using a gorgeous $15K condenser mike for vocals less of a fun experience for the talent, who gets to hear the sum of bleed from their mouth to their ears mixed with the delayed signal from the mike through a converter loop.
That's already the case with a basic analog loop, where the delay from mouth to mic is different than the delay from mouth to ear via internal conduction.  We all know that the perceived sound changes when flipping polarity.  So, what the talent hears is not the sound of a "gorgeous $15K condenser mike ", it's already "phasing". Only the guy in the control room hears it.


Sure - the HF phasing is only in the monitors, but the talent is using that to perform, and not hearing what is actually going to "tape". 
The additional delay from conversion becomes a nuisance when it impairs articulation; that seems to appear when the round-up delay exceeds 6-10ms.  Different people have different threshods. Practiced studio performers are competent at anticipating delay, some are not. Many singers can't make the difference between a condenser and a dynamic when monitoring on headphones.
 
just pick ahead of the beat . i am sure Guitar Slim made adjustments when he walked to the sidewalk with that 100 foot cord to meet the pizza guy,

 
I did try a Philips bluetooth audio reciever years ago just to satisfy myself it was garbage , they had the neck to badge  it 'hifi', distortion was clearly audible,  I never even got around to any kind of latency test ,back in the box and back to the shop with it .



 

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