[brudgers]

Reverb is the result of latency, and in large spaces the audio signal to distant speakers is delayed to minimize dead spots due to wave interference.

Which is to say musical experience is complicated and hence live sound design is also complex in ways that aren’t casually obvious.

The rule of thumb is sound travels one foot per millisecond (30cm per millisecond). So at 30m, ten milliseconds latency wouldn’t change the spatial perception very much even without correction. Of course 90ms is plenty of time to correct for latency if you want to be spot on.

My wild ass guess is a microphone on the drone could be used to sync the remote speakers with the piano speakers to phase align the sources.

Basically ordinary audio signal processing succumbed to compute about twenty years ago.

[kimburgess]

Haas would like to disagree. If you experience a second wavefront within ~2-50ms you'll still localise to the first, even if the second is up to 10dB louder.

[brudgers]

I don’t understand. What I wrote does not feel inconsistent with the psycho-acoustic idea you mentioned.

[kimburgess]

I was likely misinterpreting your intent. My response was to:

> So at 30m, ten milliseconds latency wouldn’t change the spatial perception very much even without correction.

[brudgers]

Unless I misunderstand the psycho-acoustic point of the comment, it would seem that we are in agreement about the effects of 10ms latency on audio experience.

My intent was that 10ms latency correlates to about 3m. The difference between perceiving reflections at 33m/110ms and 30m/100ms is unlikely to have a significant impact on a live music experience...though it might matter in a recording studio or in live performance monitoring.