Mathieu Bouchard a écrit :
When the latency is changed, the musician has to retrain to a different compensation delay, and that's more tiresome than not having to retrain.
Hello?
Seriously, it's not really a problem to have any amount of latency
(even one million year) when there is a single musician.
The problem is about how allowing several players with different delay
time to play all together.
This problem has been almost resolved with minimizing the travelling
data amount with system like netpd.
Also, there are some music style based on latency between different
musicians,
like the pygmee's traditionnal songs, or some dadaist musical pieces.
Also when you have to play guitar with speakers at more than twenty
meters from your hear,
you'd better play something like David Lynch, than a paganini caprice.
Who are those musicians that aren't able to play something different
when the conditions aren't corresponding,
to play the music style they were planning to?
Who are the people that want musicians to play a kind of music,
and not something else,
in conditions that makes the music style so difficult to play?
In all case those people are really tiresome.
Patco.
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On Tue, 19 Dec 2006, Patco wrote:
Mathieu Bouchard a écrit :
When the latency is changed, the musician has to retrain to a different compensation delay, and that's more tiresome than not having to retrain.
Seriously, it's not really a problem to have any amount of latency (even one million year) when there is a single musician.
If the musician can concentrate on the fingers rather than what is heard, fine (but that needs to be a good player).
However I'm not talking about that. I'm talking about a player trying to fit in a group, hopefully with one central sound output or at least sound outputs that are close to each other. The player has to keep always the same advance; he/she heard the previous notes from other player and needs to play something that will fit with what will be heard from those people at the time in the future when it'll be played.
_ _ __ ___ _____ ________ _____________ _____________________ ... | Mathieu Bouchard - tél:+1.514.383.3801 - http://artengine.ca/matju | Freelance Digital Arts Engineer, Montréal QC Canada
I just thought I would chime in my under informed opinion....
I can not get the latency below 70 or so mSec, on a Core2, 2.6G
Is it the port audio interface to ASIO that makes ASIO so slow??
Or is there something that I am not going correctly.
(This has probably been discussed a million time sorry for the redundancy..)
mcg
-----Original Message----- From: pd-list-bounces@iem.at [mailto:pd-list-bounces@iem.at] On Behalf Of Mathieu Bouchard Sent: Tuesday, December 19, 2006 10:02 AM To: Patco Cc: pd-list@iem.at Subject: [PD] Re: [PD-ot] how low (latency) can you go?
On Tue, 19 Dec 2006, Patco wrote:
Mathieu Bouchard a écrit :
When the latency is changed, the musician has to retrain to a different compensation delay, and that's more tiresome than not having to retrain.
Seriously, it's not really a problem to have any amount of latency (even
one
million year) when there is a single musician.
If the musician can concentrate on the fingers rather than what is heard, fine (but that needs to be a good player).
However I'm not talking about that. I'm talking about a player trying to fit in a group, hopefully with one central sound output or at least sound outputs that are close to each other. The player has to keep always the same advance; he/she heard the previous notes from other player and needs to play something that will fit with what will be heard from those people at the time in the future when it'll be played.
_ _ __ ___ _____ ________ _____________ _____________________ ... | Mathieu Bouchard - tél:+1.514.383.3801 - http://artengine.ca/matju | Freelance Digital Arts Engineer, Montréal QC Canada
On Tue, 2006-12-19 at 11:19 -0600, Michael Garrett wrote:
I can not get the latency below 70 or so mSec, on a Core2, 2.6G
Is it the port audio interface to ASIO that makes ASIO so slow??
no, it's miller's pablio to portaudio bridge
tim
-- tim@klingt.org ICQ: 96771783 http://www.mokabar.tk
The only people for me are the mad ones, the ones who are mad to live, mad to talk, mad to be saved, desirous of everything at the same time, the ones who never yawn or say a commonplace thing, but burn, burn, burn, like fabulous yellow roman candles exploding like spiders across the stars and in the middle you see the blue centerlight pop and everybody goes "Awww! Jack Kerouac
Mathieu Bouchard a écrit :
Seriously, it's not really a problem to have any amount of latency (even one million year) when there is a single musician.
If the musician can concentrate on the fingers rather than what is heard, fine (but that needs to be a good player).
The musician don't have to concentrate on what is heard at all, at the moment he is able to hear what he is playing, but the problem he could meet would be about having a mix of his sound and the delayed sound.
However I'm not talking about that. I'm talking about a player trying to fit in a group, hopefully with one central sound output or at least sound outputs that are close to each other. The player has to keep always the same advance; he/she heard the previous notes from other player and needs to play something that will fit with what will be heard from those people at the time in the future when it'll be played.
That is exactely what I am saying and what involves composition or style problems. The composer could compute himself the latency between each musician and beetween instruments groups, or between an orchestra and the director, or between the whole thing and the public, even between different listening points in the public. Patco.
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Mathieu Bouchard -
Michael Garrett -
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