Does AA CS 5.5 have delay compensation?

Does AA CS 5.5 have delay compensation, or will there be issues regarding latency?
Thanks,
Steve

It's entirely automatic, and you wouldn't really want it any other way, as it involves a careful measurement and adjustment. Normally I moan about automatic features, but this is one very definite exception. As such, it doesn't need explaining - all it's doing is to make the round trip through an effect transparent for timing purposes.

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  • Plugin Delay compensation not working correctly?

    Hey guys,
    I've noticed lately that the plugin delay compensation doesn't seem to be working like it should. I'm not sure if I'm going mad or not...
    When I'm using Drumagog (drum replacement plugin), Logic is very good at dealing with the latency, even when increase the accuracy (therefore usually adding more latency). However, it doesn't seem to be doing that properly and I'm not sure why.
    All my settings appear to be correct in the audio section and have checked the box to correct the latency in plugins and software instruments. My Mac is pretty snappy and can handle a lot, so the audio buffer is generally set very low at this point without adding any clicks and pops etc.
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    James,
    I think you're onto something there.
    I have noticed too that the Logic 9 misbehaves from time to time when it comes to delay compensation. From my experience it happens when you create an average to large mixing project with a number of plugins on channels (possibly with settings dependent latencies).
    What I have found is:
    1. In some cases it over-compensates - that is the channel in question suddenly played ahead of the time even though visually it was aligned with the others (but in some other cases under-compensates).
    2. I have noticed that saving the channel strip settings, resetting the channel strip and reloading the same setting rectifies the delay over-compensation. To me it appears that the "delay compensation" system does not recheck/recalculate the plugins current delays after any change is made in channel/plug-in (or even adding plugins, or does it only partially) - I do suspect that it gets screwed up when the plugin changes its latency based on its settings but Logic fails to recalculate.
    As a fallback it would be extremely useful if there was an option in "Audio" sub-menu (for instance) to force Logic to re-assess (recalculate) the plugin delays (across the board) according to plugins current settings but it would be better if it detected correctly any change and recalculated it so we could rely on its correctness/integrity.
    3. With such larger projects the sound comes out noticeably later than the play-head's position is which makes it very hard to locate precisely positions in your track.
    These problems did not seem evident in Logic 8, but have to admit I haven't run as large projects in Logic 8 as I'm doing now in Logic 9 (80-100 tracks with 2-6 plugins in some channels).
    Apple, please, fix these latency compensation discrepancies/issues as it can really byte back when the customer gets back to you saying that this or that track seems to be out of sync (subtly but it is). It is unworkable to having to verify the raw recordings if the delays are in the recordings or introduced by Logic.
    Hope this info helps.
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  • Plugin Delay Compensation, reverb busses & film scoring?

    Hello,
    When I score a film, the first thing I do is make sure the window burn time code in the film & Logic's time code are in sync for the cue I'm about to write in Logics sync settings. Once set, everything lines up perfectly when jumping around with the SPL. HOWEVER, as soon as I push play in the sequence, the movie will jump back a split second and then play, making the window burn and logics time code out of sync.
    I discovered the reason this happens is plugin delay compensation for the reverbs I have on busses (I use UAD Dream Verbs on busses to save on CPU when composing to film). When I turn off plugin delay compensation, the movie plays back perfectly in sync (no jumping back), however now all the parts that are busses to the reverbs are playing back late!
    So I'm in a conundrum. I cant turn off PDC because I use reverbs on busses, yet I cant keep it on because I cant sync to the film. I've heard from others to use movie playback from another system, but I personally don't see how this will help, because the movie will still be syncing to Logic's time code, which will tell it to start early on playback for plugin delay compensation, right?
    I dont mind the jumping back for PDC, the main problem is syncing to time code/hit points. If my SPL when play is stopped is not using plugin delay compensation, there is no way to place a marker or hit point, because whatever I see when play is stopped will be wrong on playback when PDC kicks in! I would think the only solution is logic needs to constantly use Plugin Delay compensation, even when nothing is playing back!
    Is this a problem with Logic 7 only or does it exist in 8 too? How do other sequencers use PDC? Its weird that I dont hear more people having problems with this, as right now its a guessing game scoring a film and hoping my hit points/TC will sync up!
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    Jonathan Timpe wrote:
    Perhaps I should just start using space designer? Does it suffer from the same PDC problems?
    I personally haven't noticed any PDC issues with Space Designer, but if you do, you could always just use platinum verb to get a little wetness to the signal.
    Perhaps I need to develop more "reverb imagination" skills and none of this would be a problem.
    This may be a dangerous suggestion, but assuming you have a decent knowledge of the sound of a real orchestra, I would tend to compose with that in mind rather than exactly what your sample library sounds like. The goal, after you've done the bulk of the composing, is to try to get your library to sound as much like the real thing as you can. Remember, it wasn't all that long ago that film scores we composed with no MIDI at all, no immediate feedback on the sound of a motive, harmony etc. Obviously, if the end product is going to be in VIs instead of live instruments, you need to keep the sound of your library in mind. But ideally, you don't rely on hearing every little thing exactly as it will be on the track in order to compose. I know that's harder than it sounds, and I too am guilty of relying a bit too much on immediate feedback, but I think it's worth while. So rather than "reverb imagination," I'd suggest developing a better "instrument imagination," and let reverb be more of a finishing touch (albeit a very necessary one).
    How do you deal with syncing back to the film? Sync pop & written time code sheet for when the pop occurs (without PDC of course)?
    My methods for syncing back to film are much more basic than that. Firstly, I'd say most of the time I'm just sending audio tracks to the director with the SMPTE for the beginning of each track. If I am actually responsible for putting them together, I've just done it in iMovie, again, lining up each track with the SMPTE code for the film.
    I should point out that I'm not exactly a pro at this (though I'm trying to get there), so someone else could probably offer better solutions.

  • 7.2 delay compensation

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    !http://img59.imageshack.us/img59/4967/aglogo45.gif!

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  • Logic 8 with TDM Hardware, Delay Compensation?

    Hi all,
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    cheers
    M.

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  • Plugin Delay Compensation, Stylus RMX & the UAD-1

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