Quote:
Originally Posted by bolooki
please keep us in the loop on what they say. Especially concerning LFOtool- I use this all the time.
I personally like to freeze the track I'm using it on when I like it so nothing can change, but I want to know an exact way to deal with the delay issue. I feel like these issues creep in and only become noticeable when something is drastically off...however we might be dealing with the sum of small delay issues all along and not know it. That is annoying to think about.
Even if PT can't self adjust, it'd be nice if there was any indication that something is off. (similar to how it reports tasks are still being handled or a file is missing)
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Cool, will do. At the moment its status is still "case in queue."
The possibility that audio timing is changing in subtle ways that we have no specific control over - which seems pretty likely from what I've finally tested on this so far - is the major big-picture issue here. Yeah, it's mildly inconvenient not to be able to have "pumper" or "sidechain" plugins respond accurately, but we can dial in the timing shift by ear so that it sounds good and then freeze or commit... but the unpredictability is a major, major problem.
As I noted in one of the earlier posts in this thread, there's huge potential for phase issues, and we had it happen to us at one point (keep in mind that this particular PT problem goes back at least a few years). We had mixed the first posthumous release for a prominent artist, and we were using multiple LFOTool instances, and we were asked to do a recall to "dirty up" one of the signal paths because we had made it too pristine compared to the rough mix.
So we put some saturation on that path, and of course whatever we used slightly changed the session's delay compensation topology and subtly altered the LFOTool timing - but not enough to specifically hear as a *timing* difference.
And since this was a fully in-the-box mix, and we were also touring and had to do the recall in a different listening environment from where we first mixed it, we chalked up any other apparent sonic differences to changes in monitoring and psychoacoustics. We thought we heard less low end, but had no reason to believe it would have changed.
When we got the master back there was NO bottom on the downbeats because of the phase cancellation, magnified by the mastering process. We had to chase down what had happened and re-shift all of the LFOTool instances by ear and splice multiple masters together for the release.
And we were just fortunate that we noticed it at all and had a chance to fix it. So there are real-world ramifications beyond just "oh, it's an inconvenience and there are workarounds, so deal with it."