At 12:44 31-05-19, Chris Woolf wrote:
I don't know Opus but having read up its spec (on Wikipedia) it is lossy and so can only be used as a delivery format. I had to smile at 30ms latency being reported as adequate for musicians to feel "in-time"
Yes, indeed! As an experienced organist I can say with confidence that a console 30ft away from the pipes takes a lot of getting used to at first.
- not for the ones I've ever worked with. Likewise the suggestion that 45-100ms is acceptable for lipsync is laughable - that's up to 5 TV frames adrift. Maybe audiences have become inured to low quality standards. Latency for "live interaction" at each end of a phone line, and face-to-face a few feet apart in a room require very different standards - Opus's suggestion of 150ms for VOIP might just be acceptable for the first, but it would destroy the second application.
A lot of people seem not to mind lack of lip sync, likewise violins whose bows appear to change after the start of the note. I cannot watch such things without intense irritation.
I don't doubt that it is a clever and well-designed codec, and that it is extremely useful, but one must keep in mind what it ~actually~ is rather than what it sounds like. Opus doesn't deliver full bandwidth audio, any more than other digitally compressed systems do. It delivers something that convinces most ears that it is a full bandwidth, full dynamic range signal, but it must always be remembered what is missing. If you used such a system to deliver sound to speakers (assuming there is a technique for maintaining multichannel phase coherence) it should work perfectly well. If you used it for passing the output channels of a microphone I doubt you would not remain happy for long.
A pity that such is par for the course in this day and age. David _______________________________________________ Sursound mailing list Sursound@music.vt.edu https://mail.music.vt.edu/mailman/listinfo/sursound - unsubscribe here, edit account or options, view archives and so on.
