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This guy has clearly got his wires crossed! While he may know what he’s talking about when it comes to high end audio mastering for CD’s, I’m not quite sure he knows the concepts and principles of what you have to do to the audio before it goes to broadcast! We all know it’s 2 completely different things but does he?
Also he makes references to the $29 software, which is BAE, which is just a leveller and an EQ for personal taste, it’s not designed to be a high end peace of software, especially at that price! …and furthermore there’s no claims of any of Leifs software fixing or undoing clipping/limiting as Jesse has already mentioned.Basically, someone needs to give this guy a 1 watt exciter so he can play his own (CD) mastererd tracks through it with no processing apart from pre-emphasis and then see how it sounds against other radio stations, he will be very disappointed and then let him use BFM on even the lightest settings and see which he prefers.
Hi Martin, thank you for the comment and I am glad you like the preset.
Are you able to upload a clip or tell me which music you have heard this problem exist on so I can try to replicate it?
Regards
The gateing effect that you describe sounds like the downward expander, try turning Noise Reduction off.
If you are using BBP for webcast only then it’s automatically de-emphasised anyway but if your problem is too much top end then maybe you could try 25us Pre-emph as this extra bit of pre-emph will make your stream sound less top heavy!
[quote author=”Leif”][quote author=”camclone”]Jessie,
WHY Leif didn’t put high pass filter on the final stage of the sound ? ( after the left right clipper ? )
[/quote]
Squarewaves (which I happen to know is your favourite waveform) ………..[/quote]
LOL!! 😆
Seriously though camclone, so you’re saying by adding a 2nd HPF at the end resolves your receiver PLL problems but it adds 6khz extra in bandwidth or in overshoots?
You need to upload samples of your current sound and describe what you don’t like about it and if you can show us somewhere that sounds like what you are looking for to compare to.
I find it hard to believe that out of all the presets there’s nothing transparent enough for you? But I could be wrong so prove your case. 😕
[quote author=”RodeoJack”]Hmmmmmm….
OK. Now we know what it takes to bring Leif out of his room! 😈[/quote]
I can imagine he spends most of his time in something like this:
Not sure what that stuff is in the backround though! 😆 😆
…….from a "one post wonder" also! 🙄
maybe you have your forums mixed up, try this:
Not bad, is that dedicated PC case? or a generic enclosure? It’s hard to tell from the small photos.
Half the battle (and fun!) for me cutting was all the holes for the sockets and fans, I personally didn’t want a PC case because then it would look like a PC, rather then looking like a processor.Looks good though, well done. 🙂
Quoted from Leif:
When cutting bass, EQ isn’t affected. Instead, the B1 and B2 multiband agc thresholds are lowered (compared to where they are by default in the selected preset).
Bass Cut -50, Shape +50: B1 -12, B2 -12
Bass Cut -50, Shape 0: B1 -12, B2 -6
Bass Cut -50, Shape -50: B1 -12, B2 0Bass Cut -25 gives you half the cut (i.e. -6, -3 for shape 0).
Bass Cut is a great way to clean up the sound, because it still retains the bass boost inherent to many presets, while lowering the thresholds for essentially "more bass compression".
If you BOOST, on the other hand, several things happen — more and more depending on how far you turn it up. Be careful, there’s a lot of available power here 😉.
Assuming Bass Boost +50 (bassclippingorama):
Shape 0: B1 out mix +12, B2 out mix +3, B1/B2 agc thresh: +7.25, and PEQ +14.5dB, 23 Hz, 3.0 Octaves
Yes, that’s insane. I never intended for people to actually use Bass Boost +50, I just had to make sure the maximum setting was sufficiently over the top, to be able to tell anyone deaf enough to want more to go away, or buy a subwoofer.Looking at a more sane bass boost setting of +15:
Shape 0: B1 out mix +4.75, B2 out mix +1.25, B1/B2 agc thresh 0 (the thresholds don’t start rising until bass boost is ABOVE +20), and PEQ +4.75dB, 23 Hz, 3.0 octaves
Let’s stick to bass boost +15 and explore other Bass Shape options (agc threshold omitted since they’re not affected at this setting):
Shape -50: B1 out mix +4.75, B2 out mix +0.00, PEQ +4.75dB, 40 Hz, 1.0 octaves
Shape -33: B1 out mix +4.75, B2 out mix +0.00, PEQ +4.75dB, 35 Hz, 1.6 octaves
Shape -16: B1 out mix +4.75, B2 out mix +0.25, PEQ +4.75dB, 28 Hz, 2.3 octaves
Shape 0: B1 out mix +4.75, B2 out mix +1.25, PEQ +4.75dB, 23 Hz, 3.0 octaves
Shape 16: B1 out mix +4.75, B2 out mix +2.0, PEQ +4.75dB, 33 Hz, 3.0 octaves
Shape 33: B1 out mix +3.0, B2 out mix +3.0, PEQ +4.75dB, 50 Hz, 3.0 octaves
Shape 50: B1 out mix +0.0, B2 out mix +4.75, PEQ +4.75dB, 71 Hz, 3.0 octaves[quote author=”brazil”]Nice job here man
how you put the inputs and outputs on audiophile?thanks!![/quote]
Ah, quite easy. Don’t use the patch lead it comes with, Just buy yourself a DB25 D-sub cable from any computer store and cut one end off it to terminate to your inputs and outputs.
The pins are as follows:
Pin 1 Right Monitor – high
Pin 2 Right Monitor – shield
Pin 3 Left Monitor – low
Pin 4 Right Output – high
Pin 5 Right Output – shield
Pin 6 Left Output – low
Pin 7 Right Input – high
Pin 8 Right Input – shield
Pin 9 Left Input – low
Pin 10 n/c
Pin 11 Midi Out – + 5
Pin 12 Midi Out – shield
Pin 13 Midi Input – IN +
Pin 14 Right Monitor – low
Pin 15 Left Monitor – high
Pin 16 Left Monitor – shield
Pin 17 Right Output – low
Pin 18 Left Output – high
Pin 19 Left Output – shield
Pin 20 Right Input – low
Pin 21 Left Input – high
Pin 22 Left Input – shield
Pin 23 n/c
Pin 24 Midi Out – IN
Pin 25 Midi Input – IN –You’ll need a multimeter to work out which colour wire corresponds to which pin.
