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BBP is not low latency, and neither is LiveLink. It’s optimized for streaming stability, but easily adds half a second of latency. It won’t work for video.
///Leif
Or French Kiss. Disclaimer: I haven’t heard the stream — i’m on vacation, netbook speakers aren’t great for ref listening.
///Leif
Please download the latest version from this forum. There’s a thread at the top of the list.
///Leif
It should help! Also try increasing range, and perhaps power.
However, wouldn’t MP3gain attenuate the loud full-on-all-the-time songs to be an average of loud and quiet of dynamic songs?
///Leif
Because of you, original:
Because of you, SeeDeClip:
This actually works.
[quote author=”celar”]If it also fixes Nelly Furtado "Say It Right" and Estelle "American Boy", that would be well worth the purchase price.[/quote]
No way in hell dude 🙂. Not those two. I mean, check this out:
Nelly Furtado – Say it right
Not only did they hard-clip with a particular kind of dirty clipper (look at all those high-frequency spikes — i don’t even know how they ¤%#$ed up this track so badly), they also EQ’ed it after clipping (look at the tilt), and then clipped it again before putting it on the CD.
Estelle – American Boy is an interesting case study:
This song is an excellent example on why it’s bad to several clip stages with non-phase-linear processing in between! I mean, look at that. This is vocal being driven into the clippers by a filtered kick drum, at AT LEAST two stages. Timestamp: 0:44:170, "really really nice to meet you". See how the vocal flatlines in several places, not just at the top and bottom, but also as in the center? It’s almost random, but there’s basically nothing left of the vocal. This is exactly what Bob Orban was talking about in his "What happens to clipped CDs played on the air" paper, but here it has already happened before the CD is even pressed.
Even though SeeDeClip does a remarkable job of undoing the last stage of clipping, there’s just nothing to do with earlier stages.. Those tracks are just ruined beyond repair.
///Leif
I wonder if it could have gotten confused about the mute state. If it ever happens again, try just turning adjusting the volume upwards from MUTE, instead of double-clicking. This should work just as well. 🙂
///Leif
Well.. It may happen, but I can’t promise or say when. The bass controls have pretty fine control over the bass already — Bass Shape adjusts the EQ center frequency and Bass Boost/Cut adjusts EQ gain.
What settings are you using? Since you want more bass, is there actually room for that extra bass? How does the oscilloscope look?
///Leif
Heh yeah, that’s probably the most wimpy and broken-sounding kick drum I’ve ever come across in popular music. SeeDeClip works wonders on it though.
But, the part I was referring to was the intro where she’s humming.. Pretty much every FM processor makes it sound like she has barb-wire in her throat.
///Leif
Hejsan!
It would be possible to make a mastering processor which uses more look-ahead to avoid these sorts of things, but it would be a completely different algorithm, completely different product.
For mastering, I believe it’s more a matter of carefully tuning the processor to the one song you’re mastering at the time. This is quite different from the goals of Breakaway which is to be a set-and-forget type processor.
For both Webcasting and Mastering, Breakaway Broadcast Processor has the advanced clipper which allows you great absolute loudness with unprecedented clarity and few compromises, so it would be my recommendation. Breakaway Live will also work, and even sound slightly cleaner, but it can’t compete with BBP loudness wise. So, depends on what you’re looking for.
Final Drive +3 will definitely improve loudness-consistency, but it will also ruin many other things, such as creating intermodulation-distortion and smashing snare-drums to bits. However, here’s an important thing to consider:
French Kiss was designed to intentionally cause pumping! No joke. That thing with the kick drum, the thing you didn’t like, I absolutely exaggerated it on purpose in this preset. So, any other preset will be better in that aspect. How about you try Twente or Plutonium?
Suggestions are an important thing, and I’ve implemented a great many things suggested by customers! However, being that I’m a lone programmer and extremely overworked, the last thing I want to do is to actively encourage suggestions — we get plenty enough suggestions to keep THREE of me busy, and I haven’t worked out the kinks in cloning yet. 😉
And some OT 😉
Tackar för förslaget! Det hade varit djävligt tufft — jag får ta och be min kompis som gjorde jingeln att göra en.
Det är inget skoj med cracks. Jag var lite naiv och tänkte väl att ett såpass specialiserat program som Breakaway, till ett så lågt pris och från ett så litet företag, inte blir väl det crackat.. Tji fick jag! Dongles är dessvärre inte mycket svårare att knäcka, såvida inte donglen verkligen gör ett jobb som CPUn inte kan göra! Det finns gott och crackade program där originalversionen kräver dongle.///Leif
Ain’t it funny how the one processor sold with the least amount of analog parts (i.e. none!) is the most analog sounding?
I felt the same thing at the Soundprocessing meetdag in Fleringen in Holland. Optimod 8100 was by far the cleanest and analog sounding hardware processor, and actually sounded acceptable even on "Kelly Clarkson – Because of you" (where ALL other hardware processors completely fell apart), but it still wasn’t as analog sounding as my software 😉.
///Leif
I wish there were more radio-freaks like you and myself! I’ve recorded and published MPX in several places I’ve visited, hoping to sort of start a community around that (wouldn’t it be awesome to be able to download MPX examples from all over the world?) but the responses I were hoping for (that is, other people recording stuff in THEIR cities and publishing) just aren’t there. 🙁
///Leif
AH! My mistake. Thanks for pointing this out, guys!
It is indeed a false positive, but a true negative would be nicer.
///Leif
Hi Smartbox!
You can control it with the standard windows volume control, as long as it’s situated *after* breakaway. That is, you can control the sound card volume with the windows mixer, but not the pipeline, as the pipeline is before the processor (and breakaway will thus try to undo the volume control change to normalize the volume). 🙂
Best,
///LeifI do understand your concern.
A wideband compressor won’t touch the frequency-balance, but its action will also be MUCH more audible. Multiband compressors, even just 3 or 4 bands, can do their job so much more without ever being objectionably audible.
Breakaway in 4-band mode is really extremely gentle — and Band 1 contains only sub-bass (x-over point around 36 Hz!) so all in all it’s more comparable to other manufacturers 3-band compressors in terms of spectral balancing, except it also handles the low bass separately. Other multiband compressors usually have the x-over point for the first band around 85 – 200 Hz.
It’s possible to do a Breakaway wideband preset, but trust me — I’ve tried it, and 4-band sounds SO much more natural, even on classical. I know, it’s counter-intuitive, but it really is true. 🙂
Best,
///Leif
