[Eon]

Ustvari u manualu ukratko ovo pise.

Phase Compensation
The switchable phase compensation
feature permits phase-aligned operation
of all mixer input channels. It makes no
difference whether the input signal
comes from an internal device
(synthesizer, sampler etc.) or via an I/O
module. Thus, external signals can also
be handled in the mixer in a phase-accurate
manner, as long as they arrive
phase-aligned at the hardware inputs.
Phase compensation of all inputs is not
always necessary. Activation of this
feature imposes an additional demand
upon DSP computing capacity and
should therefore be done only when it is
truly useful.
Compensation balances delays on the
order of a few samples. These delays are
significant only under certain conditions.
For example, uncorrelated signals such
as a piano and a separately-recorded
voice can be shifted by a handful of
samples relative to one another with no
audible effect. These differences are too
small to be perceived as timing shifts.
When, on the other hand, a piano has
been recorded simultaneously via multi-
ple microphones, the spatial image will
be correctly reproduced only if all of these
highly-correlated signals are processed
without delays relative to one another.
Thus, the use of phase compensation is
advisable when mixing recordings of a
single sound source or image made with
multiple microphones. The less
correlated the signals are, the less critical
is the maintainance of proper phase
alignment. A delay of a few samples in
one signal corresponds to a distance
difference of a few centimeters. Thus, the
effects of phase shifts in this range are
greatest with close miking.
Note that precise phase alignment is
often achievable without explicitly
activating phase compensation, since
channels are inherently phase-aligned
with one another within specific groups
in each mixer. In the PulsarMixer, these
groups are: channels 1-3, 4-5, 6-8, 9-12,
13-15, 16-18, 19-21 and 22-24. In the
DynamicMixer they are: 1-4, 5-8, 9-12,
13-16. In the MicroMixer, all channels are
inherently phase-aligned. Thus, explicit
phase compensation is necessary with
this mixer only when it is desired that
signals from different sources arrive
phase-aligned at the mixer inputs.
The extent to which the difference
between compensated and
uncompensated signals is audible
depends upon the signals themselves,
and especially upon the degree of
correlation between them. You can easily
assess the extent of the effect directly
by mixing a multitrack recording with the
PulsarMixer (without using any effects)
and switching on phase compensation.
Each channel includes a switchable delay
which can be varied between 0 and 200
samples. A delay in one channel of 2-4
samples corresponds to the sort of
delays which may be encountered in a
real situation if compensation is not used.
Check whether this delay seems to in any
way alter the perceived spatial image. If
not, crank up the delay further. The delay
is now beyond that which might
realistically be encountered, but makes
the effect more noticeable.
Problems with mono compatibility, such
as a noticeable loss of highs in the mono
mix as compared with the stereo mix, can
also occur. The Mono button in the Ma-ster
section can be used to check this.