pos1

The UMC202HD is known for having “anemia” on the main L/R output compared to other cards. Although it’s not the best solution, you can use the headphone output instead of the main output. I would also point out that the 202HD can be used for HD core, while I would not recommend it for MPX/FM.

@MrKlorox no, I didn’t bring stereotool into the discussion. As the author of this topic announced either the purchase of hardware or the transition to “louder software”, I was convinced that we had finished further discussion, but apparently we have not.

@in2beats, I would recommend you to install, if you haven’t already, other demo applications for this purpose, and then check for possible phase deviation.There are at least three applications on the internet that can be downloaded and tried. That way you will be 100% sure that the cause is not hardware

As i said, i haven’t noticed anything like that in the Breakaway one operation so far, and i also use a set of professional modulation measurement tools including a Pira analyzer. The only thing i removed from the chain in practice is the behringer card (HD series 202,204,404) that Leif uses in the demonstration video. Each of them has nasty interference above 40KHz, which primarily affects the RDS carrier.

I still claim that this is software for enthusiasts, which does not mean that it is not suitable for professional use. It just means that you need to sit down and spend a certain number of hours to get it right. And that’s acceptable in my opinion considering the price and what it offers.
Ask yourself how many stations have a qualified person who will do this job or who is ready to spend hours tuning the application in addition to their regular work.
That’s why, as a rule, in broadcast systems, you order hardware from a renowned manufacturer and possibly a custom preset, screw in the BNC and power supply, adjust the mpx level, and there’s no more need to poke around and worry if Windows or some of the PC hardware will scream. But of course it costs money.

Just to add to this topic – in the broadcast chain, at this point, the regulator does not distinguish between software for licensed stations and software for hobbyists. It is important to him that you do not go over 75k, and in certain countries that you comply with ITU sm1268, and how you will do that is your concern.

Just a little more about the pilot. If the equipment has a good linear characteristic (no phase distortion/amplitude deviation within the baseband), there is no question of going over 75KHz with a nominal pilot value of 9%. If there are overshoots then the problem lies in the sound card, STL or TX, which can be partially corrected within the BAO software.
And yes, the pilot can be regulated without Leif’s intervention, you just need to think a little about how to do this inside the software.

At the end, if your phase correlation with other applications is good, I don’t think that you will find solutions by writing here. Only direct correspondence with Leaf remains, no matter how slow it may be.

PS
First post was blocked because of YT links so:
see “BreakawayOne typical FM + Streaming + STL setup” about passtroug is on (13:28)

Tilt Compensation is on YT “baone behringer mpx” (10:10)
—
Warning to anyone who thinks to use behringer umc hd card for MPX. For some reason (probably poor power filtering) the card has nasty interference from 57KHz up to 100KHz. It is similar with scarlett 3gen!

Tilt is well explained in the instructions for the old BA broadcast soft. In short you need to be able to view the demodulated MPX on an oscilloscope to adjust this well. It is ideal to see a square on an oscilloscope. But due to the nonlinearity of the sound card and the transmitter modulator, this is often not the case. So the correction is done via Tilt Compensation until a square is indicated on the oscilloscope. Why does this matter? Because it affects the occurrence of overshoots in the modulation process. If you do not have adequate equipment, there is a possibility of improvisation. You turn on the square generator while looking at the deviation meter of the transmitter. You make a correction until you get the lowest deviation value. For a similar reason, eq correction is done. But for her, owning a spectrum analyzer or oscilloscope is mandatory.

this also applies to Processor-> Misc-> I/O ->MPX and Processor-> and Misc-> I/O -> L/R Output (next is stereo encoder..)

Processor-> Misc-> I/O -> L/R Output – “Sub Level”: injection l-r (more less l/R difference on final out)

Since the official version does not provide deeper tweaking on the settings of the agc, multiband and final clipper section, anyone with basic knowledge in the field of FM production should have no problems with setup. This application is not even intended for those who are new to the term broadcast processing. The installation instructions and the first setup were explained very well by the author through youtube clips.
Leif once stated that the application was made with the intention of not tweaking much on it, and to get a decent sound.
As there is no possibility to legally access attack / relase, ratio, band mix and similar settings, then there is nothing to explain. And if you want to have all the settings available then you buy the hardware, and with it you get the manual! Of course it costs 10x.

good work! 😉

“I set the deviation to 75kHz with the Bessel Null calibration at 31187.6Hz”
bessel null is used to calibrate an MPX tool, transmitter deviation indicator or other monitor mode, not to set BAO.

For this you need a spectrum analyzer or network analyzer (you have to visualize the RF carrier).

To set the BAO (if an MPX tool or other tool is calibrated) you first test the square response. Then you select 400Hz and adjust the MPX level until you read 75K on the MPX tool. If the transmitter’s amplitude and phase response is good (the same goes for the card) then it should not exceed 75K.