I also posted this at Logic Pro help but i like to hear the ideas here. I also posted this dilemma once but I thought it might make more senesce if I were to present it in a different light. The game here is not to manually nudge and edit each track over and over. the recorded audio is difficult to identify rather then this clean and easy to read since wave. Tried to find a way to build a compensation setting for each region into my template so the recorded regions are corrected. I zoomed in to show the delay for each microphone which is placed slightly further away. Sometimes only two or three are used but the mixture is tainted with phase issues. I have tried zooming in and using option arrow left & right but the region jumps far to much either direction. Like I said, I am trying to come up with an accurate way to create the corrections and leave them set in a template. I leave the microphones in the same place for recording so they do not move. Screen shot of regions with a test signal recorded and recording booth included. Should I retard the earliest mic to the latest and so on, or advance the latest mic to the earliest? Phase correction usually calls for adjustment of the closer of the two mics against the farthest but this is 5 microphone set up and I would like to create a correction that makes sense. I saw Pro tools had a plug in that made the measurement and allowed the offset in samples to be corrected for two microphones set about one 18 inches apart. They were also different types but the distance is the key, Phase of the Microphones is good from one mic to the next. It's simply a time delay from placement. [img]http://img571.imageshack.us/img571/3671/screenshot20101227at926.png[/img] [img]http://img337.imageshack.us/img337/8303/studio01.jpg[/img] I've sinced moved the mic placement and added an AEA ribbon Mic using a re-amp and headphones to optimize my Microphone placement and sound etc.

Hi Victor, Have you tried using the Sample Delay plug-in? Once you have calculated the number of samples which each mic (and therefore each track is off by) place a sample delay plug-in on that track and key in the amount of delay to add. You could then save this as a setting with the mic's name and placement to easily recall that in future sessions... of course, that'd be great if you don't ever move the mic's ;-) Another way... you could zoom right in on the start of the regions and cut at the first transient for each track. Then select the region on that track and position the playhead on say Bar 1. Now use the key command "pickup clock" and the beginning of the region will move to the playhead position. Hope that helps Rounik

Very good. I will be giving this idea a shot later today. Great Job! I wanted to share this tip having come from Logic Pro Help, one of the posters gave me this instruction for the alignment process which I will do preceding the correction process you outlined here. [b]As for calibrating the rig, bounce a test oscillator using the Needle Pulse setting. Chop out a single pulse and re-amp that through the rig (LOUD). Record that to all the mic tracks. Insert Sample Delay plugs on the near mics and all-pass plugs on the far mics. The benefit of the pulse is that it is a positive only swing and has a definitive single-sample peak. So you can set those sample delays absolutely precisely.[/b] Can't tell you how much i appreciate the tip. I am two days into this process. Victor Mason Mojave Ampworks LLC

I did it, not yet using Pick up clock command but, it worked. So, when recording, I have no use of the sample delay but in playback I do correct? What does "Pickup clock" do exactly? Move the region to the play head exactly at the start of the signal?

Good to know! I guess inserting the Sample Delay on a track during recording won't make any difference anyway - as only the dry signal is recorded in Logic... Pick Up Clock - move the start of the region (it's anchor point) to wherever the playhead is. So, without cutting anything... you could open the audio region in the Sample editor and adjust the anchor point to the first transient (trim the beginning of the region as well if you want to)... Now position the Playhead on say Bar 5, use PUC key command and voila the region will be where you want it to be (assuming Bar 5 is the beginning of your song of course!) There's a few ways to work with this, and as with everything in Logic, it's about finding the work flow that suits you best! :) Rounik

Pick up clock or key comand ";" semi colon is handy. Right after asking I tried it and saw what it was, I don't know why I asked? I don't want to understate the solution. I triangulated the question among three sources, Mac Pro, Logic Pro Help and Obedia. All sources have smart guys but Ronik is the smartest guy on the playing field. That was a very clever and effective solution. A++! ; -) Thank you very much.

Glad it's helped! Wow... thanks for the kudos Victor... *bows* :)