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Xbox park chat sound a litttle robotic
- Thread starter rossi 91
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- aduio xbox party chat
A "robotic sound" is generally the result of something being duplicated and recombined with a slight delay for one of them. That delay isn't long enough to hear as a separate sound, but that's usually what it is.
So look through your audio routing - what signals go where, and how they get there - and see where there might be a second path for the same thing to the same place.
One possibility is that you have the Monitor on, and either Desktop or Output Capturing the same device that you send the Monitor to. That capture will include the Monitor, which can give you that second path with a delay.
So look through your audio routing - what signals go where, and how they get there - and see where there might be a second path for the same thing to the same place.
One possibility is that you have the Monitor on, and either Desktop or Output Capturing the same device that you send the Monitor to. That capture will include the Monitor, which can give you that second path with a delay.
https://www.youtube.com/live/_NJETLeGIGg?si=gyuRrOXv49R2LYpw hi Arron thanks so much to help see above your hear at 45 to 60 seconds I’ll check the above thank again
I can barely hear 2 discrete copies with a delay between them. It's right on the edge of what I can hear, so there's also a strong "robotic sound" to it, but it's definitely 2 copies that aren't exactly in sync.https://www.youtube.com/live/_NJETLeGIGg?si=gyuRrOXv49R2LYpw hi Arron thanks so much to help see above your hear at 45 to 60 seconds I’ll check the above thank again
Any time you have two sources of the same sound, that can happen. Digital is far more susceptible to that than analog, because digital has an inherent delay while analog doesn't. (I'm building a portable large-format almost-pure-analog mixing rig with mostly-inherited parts from various church upgrades...)Also now you said that I have my capture device audio pick up the sound then I’m also using a chat link cable pick up the audio so could the 2 to together be the issue.
Digital's inherent delay is usually short enough to not notice, especially if the processed sound is far louder than the original. (like a live concert) But cheap digital stuff, and certain protocols like USB, have long enough delays to do this, especially if they're close to the same volume so that they combine rather than one drowning the other out.
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Back to more "pro gear" for background/context, the Behringer X32 and X-Air series, which are the cheap end of professional digital mixers - and likewise the Midas M32 and M-Air, which are literally the *exact* same processing with different in/out circuitry and a different price tag - have a pitfall with their internal effects processing (I have an X-Air myself, after using Behringer mixers for a while):
Each FX processor in there has a different inherent delay, and it's not compensated for by delaying everything else. So if you use one of those FX slots as a parallel compressor, for example (maybe you like a vintage emulation better than the "clinical" channel compressor, or whatever), with the signal splitting to go both through and around the FX unit and recombine after, then it creates this sound inside the mixer, in addition to what it was supposed to do.
To avoid it, and still use parallel FX on those mixers, you need to use another of the same FX processor for the unprocessed sound, and set it to do nothing. Essentially, manual explicit "latency compensation" (technical term), for each thing that needs it, at the expense of using more FX units than you normally would.
If everything is pure analog, like the rig that I'm building, you don't have to worry about that. Everything happens at the speed of light in wire, which is roughly 2/3 the speed of light in vacuum. Still crazy fast for audio, and not noticeable at all until you start measuring distances in miles or kilometers. (like an analog telephone...)
But that only applies *if everything is pure analog*. Most FX units are digital, even as discrete boxes that go in an otherwise analog rig, and so they have that inherent delay through them. EQ, compression, and simple gating are easy to do in analog, so they usually are if everything else is - parallel paths are just fine there, and have some good uses - but reverb, chorus, and those things tend to be self-contained digital with converters on either side, just because the analog rig to do it would be huge and/or easily interfered with.
(A spring reverb is analog, with a literal physical spring, driven at one end and listened to at the other. Kicking or otherwise bumping it produces a "crash" sound. Other analog reverbs require large metal plates, driven and listened to at various places, or literal concrete rooms with mics and speakers in various places...)
But you normally don't have to worry about digital FX because they often include a delay anyway as part of the effect itself. (the analog versions do too, as the speed of sound through the spring, plate, or air in the room...) So the additional bit through the converters and processing is either irrelevant or included in the delay setting.
I also have a 24-track digital recorder that does not have an analog bypass. *That* is definitely cause for concern. Not a problem as long as I know, and run the *entire* band through it, even if I only care about a few parts. The additional delay to the PA is okay, as is the conversion to digital and right back again, but if one mic is delayed and another is not, with all the "stage bleed" that happens live, *that* could be a problem.
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Anyway, all that to say, with lots of background, that if you have anything digital involved at all, you need to know *all* of where *every* signal is going, and find and justify *every* parallel path. Even the ones you don't intend, but are there anyway.
If you can't justify a parallel path, remove it. 'Cause it'll do this.
If you can and want to keep it, that's fine, but make sure it's latency compensated. If it's not, it'll do this.