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An unfortunately but welcomed new trend in releasing software is to not announce any release dates, until it’s very close to being done. End result… a higher quality product than something rushed to be released on a "due date" for no good reason at all other than to keep stockholders happy (which makes no sense because it’s hurting any business in the long run).
8)
Everything in GDI/GDI+ that could be accelerated by the GPU (more than you think) was done a while ago. Since the nVidia GeForce 3, and ATi Radeon 8500. They both have extensive documentation about it. There are some limitations of course, mainly when working with large amounts of textures and system memory. Or an exceptionally large primitives list, perhaps. Luckily Breakaway doesn’t use much textures, compared to a video game from even 10 years ago.
Other than a few tweaks with Flex Meters, I’ve had nothing to do with the graphics sans a bit of advice early on. So all thanks to Leif. 8)
Cheers
It is somewhat hardware accelerated, if your GPU & drivers support it. The parts of the GUI are totally custom, but it is drawing them into "hacked" standard Windows controls, combined with GDI/GDI+ blitting using transparent PNGs for the shape (decoded only once ofc), and GDI/GDI+ for text and primitives rendering. The scope I believe is completely custom, and the only thing from GDI/GDI+ is the blit (Bltblt) to the screen. The "brushed steel" is procedurally created, so every time you run Breakaway you get different steel. 8) Everything was optimized to only render/draw something if it changed or was required.
Just the same… the new GUI framework is much more efficient, because it’s completely custom. The only thing Windows really handles is the Blit to the Window… and any tool tips also are drawn into Windows that get created for them. (without any system menu or toolbar etc, ofc)
Hopefully that answered your question, not too technically.
It’s designed to increase compatibility for end-user radios… very well thought out too.
http://www.claessonedwards.com/index.ph … &Itemid=88
http://www.processingfreakday.com/docs/ … eq_dev.pdfThe only way I’ve heard of to stream FLAC is Ogg encapsulated… aka "OggFLAC". And for that, you need Icecast. Slim Devices’ SlimServer also streams FLAC in betweeh a host computer and their boxes… I’m not sure what method is used there, but it is open source.
I don’t think that’s Undo. The Undo preset I have, which is more active than Leif’s (the last time I heard his), didn’t do that at all on this. I couldn’t say what it is for sure. I don’t think the MPX clipper would have done that, but I’m not sure. It might have been the Stokkemasker protection?
I know that in the L/R clipper in Breakaway that everyone has now, the Stokkemasker protection does awesome things for the low-end and I would recommend that everyone try it out at least, even for net-radio.
It’s possible that the adaptive bass clipping wasn’t fully tuned, but also I know that Leif has been working on some ideas to include in the clipping to make a bass sound that even camclone will think is "too much". I couldn’t say if the software he was running at Freakday had any of that yet or not. 😉
for whatever reason, the treble on your station is REALLY dense. it’s quite difficult to listen to for very long at all. it’s not just you. 😉
If you have the volume at -5dB, then you must be doing something after Breakaway… within the encoder chain perhaps? The peak control of mp3 isn’t anywhere near as bad as what you would need to see the peaks as high as what you have here.
Or somehow something is very wrong with your encoder.
Also… Does Station Playlist have processing? I was just talking with someone who said it did. Have you tried bypassing it?
What playout software? What soundcards (if any are used) and what "fx" are enabled? What other analog or digital processing are you using before or after Breakaway?
There’s one optimized for each… low latency and not low latency. Of course the one with latency sounds better and is more consistent, but it’s not 2 seconds. It’s adjustable. Personally I prefer a latency around half of a second because it matches the lowest the dynamics detection goes (with the version I have) so right as it’s adjusted the dynamics for the upcoming sound, that particular transient or peak-limited sound happens. Doing that setting was the moment we were blown away by how Undo can add consistency. The effect of the added consistency is still definitely very nice with no latency, and it still adds the same dynamics on average, but not quite as uncanny.
The one real drawback to low latency mode though… is SeeDeClip isn’t low latency. So it’s not part of it. You only get the psychoacoustic multiband expanders. So your studio feed will sound a little less nice while you play very clipped stuff.
Of course, you care about the end listener, and are running your on-air & "hd" feeds with full latency. 8)
Well it’s more than that. It actually does remove audible clipping distortion, and it actually does add more impact to the sound. It also adds more detail to the transients, and it adds ti in a way that increases the overall consistency.
Actually, the amount of consistency that was added, even without any further processing, to much of the source material, was something that was kind of shocking to Leif & I.
Here’s one example of Undo through processing, I don’t think I need to or want to do any more… You guys have plenty of processing to play with in that regard. 😉
http://masterfulaudio.com/forumfiles/ce … iot-pa.wav
It’s the current Passive Aggressor with the final drive tweaked for Undo. Since Undo is adding real dynamics that get passed through *some* presets to the final limiter and/or clipper, even after adjusting the average loudness, I can actually reduce the final drive and get an even more dynamic final sound without losing any consistency at all. In fact overall gaining consistency.That’s the true beauty of Undo that won’t be realized by the scene until it’s available on starts being put on air in people’s markets… is that it enables you to use less peak limiting and still end up sounding as loud as everyone else, but with a less squished sound (of course) and also more impact because of it. When combined with Leif’s composite clipper, as you heard even on a phone microphone, the combination is nothing short of game changing.
With the current state of modern music, there literally is not even a point in turning down the peak limiting. Removing distortion from the broadcast clippers is a great step to bring the processing "up to par". New methods like the Omnia.11’s psychoacoustic density detection used to slow down the limiting is pushing the bar up just as much as Undo is. Those are two huge things that I personally would love to see shared between the 9 and 11. Undo already uses very similar technology for its dynamics detection, so I think it’ll be sooner than later that the 9 (at least) has some form of density based compression and limiting. (i know that it’s important for both, especially the faster the compression used)
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anywho… on that WAV file above in this post… what you wanna listen for is the snare consistency as it goes from the verse to the chorus. in the original clip, you REALLY hear the life get sucked out of it. in the Undo clip you hear the snare stay almost the same. (there’s two updates from Leif that I don’t have yet which make it stay exactly the same, or more-so and i can relax my settings a tad and get EVEN MORE consistency too)
what’s happening there is Undo is adapting to the chorus getting much less dynamic, because it’s all hitting whatever peak limiting was used much harder… and the end result is that even more peaks get added. you can see it in the waveform view, but the presets Leif & I are creating are designed to increase the perception of peaks in unison to how it increases the peak levels in each band too, so that on average it’ll respond the same to all of the core’s various presets… that way the Undo presets and Core presets can be switched between each other… vs having to be tied together, and basically not getting presets for Undo. The nice side effect of course is also… more consistency. 😉
[quote author=”michi95″]Now the drums (especially snare) are much too aggressive and dominant IMO (it really hurts my ears). I guess if you would use half of the expansion factor it could sound much better.[/quote]
Did you do the comparison through your current processing?Remember, this isn’t optimized for regular listening without further spectral balancing. If there were ever a version of Undo that didn’t have any processing after that, it would take care to not alter the overall spectral balance. This version doesn’t need to be concerned with such a thing since that is going to happen via whatever dynamics processing follows it.
After decent processing, what you’ll end up with is all of the improved dynamics, but the average loudness *should* be decently close to where it was before Undo.
That’s why I asked that any critical listening be done through processing. You should hear what Undo does to some hiphop kick drums. 😉 It creates totally disproportionate bass compared to the original, but Undo is just doing what it’s supposed to be doing, in this case. Any track with a huge amount of bass should be run through processing in order to get a flatter spectral balance on air (or whatever the target spectral balance may be).
I think you understand what I’m getting at, right?
So after comparing the two, through processing, which do you like better? And does the frequency space the snare occupies sound too quiet while the snare isn’t hitting? That last question is really what you’ll be listening for while you adjust Undo… and the processing that follows it.
[quote author=”radio oude stijl”]Q1: Does SeeDeClip deliver better results than Ozone RX?[/quote]
I think so.[quote author=”radio oude stijl”]Q2: Should I just leave the source material in peace and use it as-is, since Breakaway will do a better job than both anyway (in the near future)?[/quote]
Yes.[quote author=”radio oude stijl”]Q3: If i use Ozone or SeeDeClip on the source material will it be counter-productive when using ‘UNDO’?[/quote]
Yes. Undo adapts the declipping threshold dynamically across the song, and also has program dependent tilt correction (which I don’t think was shown at Freakday) so that audio clipped in the analog domain gets properly phase rotated before declipping. This not only "rides" the declipping for much more consistent declipping, but it also prevents declipping things that would have otherwise caused audible distortion by doing so.The fact that it’s happening fully automatically is worth the wait. But in the mean time, you *should* declip some copies of the originals that cause really bad problems on air. Sure, why not, if you have the hard drive space. Just don’t delete the originals, because you’ll want to use those once you have Undo in your hands.
both with 9dB of headroom (both have "language" you would get fined for in some countries btw)
http://masterfulaudio.com/forumfiles/ce … /idiot.wav
http://masterfulaudio.com/forumfiles/ce … ussell.wav
