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edit: Didn’t read the post title properly… Apparently it is using the composite embedder. So how come the difference?
The output from the Omnia.9 in this clip doesn’t seem to be as tightly controlled as it is in the clips from PFD2011. Has the mpx clipper been deactivated? Is the Omnia.9 also able to do L/R clipping instead?
And is it just me, or is the treble pretty muddy (for both Breakaway and Omnia.9)? Is it the source file’s fault?
Aside from that, wow! That’s some godly bass coming from the Omnia.9! 😯
As long as the sound card has 192 kHz output, it should theoretically be possible to transmit the MPX signal all the way from the studio. I’m no expert when it comes to converters, and I don’t know how accurately the signal will be reproduced after going through two converters (which is important to avoid overshoots and keep steady modulation), or how much latency that will introduce. One thing to check would of course be that both converters support 192 kHz on both input and output. Maybe someone with more knowledge on this subject could contribute? 😀
You are absolutely right. The Falcon disables the preemphasis when in bypass mode, which was also how we used it. Bad memory on my part 😳
With respect to RDS, you might as well buy Airomate. It’s only around 50 euro as far as I remember. You can find a guide to make it work with BBP here: http://ceaudio.com/index.php?option=com_content&view=article&id=58&Itemid=75
Is the only connection to the transmitter site through optical cable? In that case I don’t think you can transmit the full MPX signal with the Juli@ card, since it says "max 96 kHz" on the specifications. You need 192 kHz. Then I think you are stuck with the Falcon doing the RDS and stereo coding at the transmitter.
Hi Neoradius!
Actually, by coincidence we were also using a Falcon 35 FM before we switched to Breakaway in 2010. In the beginning we also used the Falcon’s RDS encoder and passed the BBP L/R preemphasized audio to it, and then made it encode the MPX signal (in that case remember to deactivate the preemphasis in the Falcon!). It worked OK, but there were some severe overshoots from time to time, although the audio was tightly controlled from BBP. However, I must mention that the audio was passed to the Falcon through the analog input (ours had no optical). So maybe it will work better for you with the optical input, who knows? In any case, the absolute best quality would be to let Breakaway do the stereo (MPX) coding, which is how we are currently doing it, but it sounds like that’s not an option for you.
Two hints for reducing the background noise:
1) Reduce the "range" setting, such that the AGC doesn’t bring up the noise floor too much.
2) Use an expander plugin to further reduce the background noiseI myself use a vst expander in BBP, which can be used through the "vst-to-dsp wrapper" found here: http://www.savioursofsoul.de/Christian/programs/winamp/. I prefer setting the threshold at about -50 dB such that there is lots of input signal range, while the worst hiss and rumble is removed.
I hope the above is of use to you, and good luck with your project!
It seems SeeDeClip has been removed in favor of Hans’ new Perfect Declipper for Omnia.9. I guess this will also be used in the upcoming version of Breakaway?
Will this introduce as much extra latency as SeeDeeClip? It would be amazing to be able to use declipping without adding ~0.5 seconds of latency 🙂[quote author=”JesseG”][quote author=”FrankB”]Breakaway is the only processor that can also handle "Sexy Chick" by Akon & David Guetta!! Nice![/quote]
I was having a good laugh about that topic yesterday, when someone mentioned that song on Radio-Info.[/quote]I was just listening to the MPX recordings from PFD 2011 through MPX Tool, and I couldn’t help but notice that the Omnia.9 was one of the worst performers on "Sexy Chick". It seems to have a lot of clicks and pops positioned far out in the stereo field when there are both drum beats and "synth tone" (or whatever one could call it) present.
Since the Omnia.9 is running the Breakaway core, I was wondering what could be the cause of this? Is it the MPX clipper, or perhaps Undo that’s doing something it shouldn’t?Any ideas Jesse or Leif?
Great news, Lee! I’m looking forward to hearing it myself.
Although I would have loved to get my hands on the tweaked Celeste right away, I’m sure the wait will be worth it. According to Jesse’s posts around the forum, the new version is going to include major changes.
Hi Lee XS. That sounds great!
One more thing: do you plan on making a version of Celeste for Breakaway Live? I’d love to be able to use it for streaming purposes as well.I forgot to mention, the settings in each preset are:
Plutonium:
Final drive: -0.3
Range: 70
Power: 39
Speed: 41Celeste:
Final drive: -0.5
Range: 70
Power: 36
Speed: 48Hi Lee XS
I have run two clips through both Plutonium and Celeste. One is an example with music, the other is an example with speech. Both of them include sudden boosts in volume. In the music clip using Celeste, you can clearly hear how the AGC slowly catches up while the multiband compressors go into "overdrive", making it sound too compressed for ~1sec. In the speech clip the story is much the same, but here you also get som excessive clipping just when the interviewer starts to talk.
In the same clips using Plutonium you almost don’t notice the level difference, especially with the music, where the "orange part" (for lack of a better name) of the AGC almost instantly adapts to the new average volume. The speech is still clipped a bit more in the first fraction of a second, but not much.I must add that in an ideal setting, these problems wouldn’t occur, of course. All levels would be about the same on all tracks and all speech. However, we have many jocks who stream their program to the studio over the internet from their home studio, and I can’t control their levels, unfortunately 🙄 . This can result in huge level differences when we switch from a stream to the in-studio player.
Plutonium makes this almost a non-issue, since the AGC adapts almost instantly (it also does this on most other presets in Breakaway, and I love these new features in the AGC that I haven’t seen in any other processor). If Celeste could do the same, it would be our on-air preset for sure. 😀
I hope you see the advantage of activating this part of the AGC in Celeste.The clips can be downloaded here: http://www.1045.dk/upload/Plutonium_Celeste_clips.rar
I too am amazed about the detail Celeste can bring forth. A few months ago I was comparing Plutonium and Celeste, and pretty much everything from bass to treble just seems to stand out more on Celeste.
I also went on-air with Celeste for a period of time, until I noticed that the "orange part" of the AGC seems to be disabled. This means that a sudden loudness increase makes the multiband part go berzerk for a fraction of a second, and too much of the waveform reaches the clipper, resulting in too much distortion.
This is the only thing that keeps me from holding on to Celeste as my favorite preset. I know that the preset is still in beta as of version 0.90.95 of BBP, and I hope that Lee XS would consider looking into this in any possible future updates. No matter what, I send my compliments to Lee XS for a superb preset!
I’m very impressed with the dynamics in this preset. It’s quite hard to tell the difference from the original tracks. Thumbs up JesseG!
Does anyone know what the name of the song is between 27:18 and 30:29?
It’s beautiful! 😀Wow, thanks for all the answers. It seems my question was part of a bigger issue.
I’m using a 5 meter cable, so length shouldn’t be a problem. I might just invest in a high quality cable though, just to be on the safe side. Can anyone recommend certain types of cable with low capacitance pr. length?Problem has been solved!
Keith found the problem in the key generator, which was not happy with a special character I had entered in the name the program should be registered to: "æ".
So now I can finally get this baby on the air! 😀
Thanks to Keith for the support.
