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Yeah about 2dB louder in the codec. You could back off the final drive about 2dB too and get same loudness but much improved sound quality.
Also the codec could be updated. If it’s cutting off that low, then it’s probably trying to cover up for how bad it is.
See here:
viewtopic.php?f=5&t=247
8)For this style of sound you’re going for, you should consider trying "New York" preset too. If you want to be REALLY loud, nothing well get you as loud with as good a sound. Just *don’t* turn up the final drive on it. Only down, if you want to. 😈
nice to hear from you Jim. 🙂 back then (oh like 1984 and beyond) i was just a little punk, in awe of some of the best audio on the dial back then. i had the pleasure of hearing KISS FM, from LA, in that era… running two daisey-chained customized 2020s setup by the one Sir Foti. i know he made it big because of his work centered around NYC, but you should have heard KISS back in the day. 8)
Passive Aggressor sacrifices "always nailing 0dB" levels during already dense audio… to maintain a very consistent track to track loudness consistency, but…
in order to keep density the same too, you basically have to do somewhere between expanding the "too dense" tracks, and slamming the bejesus out of the "too dynamic" tracks. i don’t know why they called it a prism, but that’s somewhat what it did, when calibrated to run hot into another processor such as an 8100A1/XT2. 8)
most inconsistency when heard with Helix is generally because of the rates of the multiband, so perhaps you can try SLOWING down the speed, and see if that makes it more consistent. i think i remember that happening with Helix. i don’t actually have much time to have fun playing around with the end-user GUI controls, as per my main use of Breakaway is…
Breakaway Audio Enhancer, for my on-board card’s 192kHz SPDIF output to my source selector & speaker/headphone DAC… mainly for system sound, websites, and movies. 🙂
Breakaway Live, for my main high quality outputs to my source selector etc… for all music listening and mastering. The only thing I’m using in Live is the parameter EQ for pre-correction of the several output sources I can select. All other processing is bypassed, so it’s probably overkill, but I haven’t heard an EQ that I like more for the job…
Although… I’m warming Leif up to the idea of *drumroll*…
A hybrid filter topology, where there’s linear-phase filtering for upper-mids & highs, and minimum-phase filtering for low-mids and bass. In many people’s opinions, and in my experience too, this has a much more musically appealing natural sound to it, and also has much better transients for the bass… clearer bass. 🙂
The nice side effect is the overall latency of a filter network using hybrid design like this has much lower latency too. Sort of a WIN/WIN imho.
Good things to come guys, good things.
Oh and… I’ll have to compare the Helix that’s currently in Live, and the Helix that I have, because I do remember doing a number of things to it, that at the time I thought improved it, and maybe I’ll either consider releasing that, or changing that even more to make that Helix idea even more apparent.
I have a number of presets on the back burner that I have never talked about before, and one of them is "Tokyo" which reminds me a little bit of Helix too, but… is probably destined to become an awesome talk radio preset. It has an uncanny ability to improve the intelligibility of speech… from very high quality, to POTS… plain old telephone service… 😉
Oh and… it’s also great for music too. It’s a very "smooth" sounding preset, with a pretty fast multiband.
Good things to come guys. 😉
[quote author=”jameskuzman”]Who authored Magnifying Glass, out of curiosity?[/quote]
99% sure that was Leif.and yes @ your INI question.
I tried a bunch, and seemingly the best sounding "crisp" high-end with the low-pass set to 10kHz… is Rustonium. 8) Try that preset, with the final drive adjusted to your preference.
The weird thing is that I actually did make an AM-specific version of that which was supposed to kick in at 10kHz at under, but it’s not doing that in the latest Breakaway. Perhaps it slipped Leif’s mind, or for some other reason he decided not to do it.
But I remember that special low-bandwidth preset being quite crisp sounding.
Anywho… good luck.
[quote author=”timmywa”]Perhaps, the two apps don’t work well together and you may need to uninstall BAE?[/quote]
I run the two 24/7 🙂 no problems.The other reply above mine about using the latest Live because it fixes the problem of the settings saved lag (Windows’ fault), yeah… I agree, sounds like that’s one possible explanation of it.
In case you OSX guys hadn’t seen this yet… I think this is what may have sparked the interest in this:
http://www.vuvux.com/Other than of course…. how FREAKING ANNOYING that crap is. lol
[quote author=”DjSmoothOrl”]I’d certainly buy this product if I could run it on my laptop with my software..if that counts for anything.[/quote]
It does no doubt. There’s one thing that’s not debatable… is the popularity of Scratch Live, regardless of the OS. Although all TCV systems in general have exploded in use over the last 5 years even. Definitely a great market to go after.Shortest answer possible is that it has not been talked about yet.
But there has been talk about a potential porting of Breakaway Audio Enhancer for OSX. From there I’m not sure about how much of a stretch it would be to also port the additional things needed for Breakaway DJ.
It really comes down to if Leif thinks it’s worth his time enough where he can break even on it, since Breakaway as software itself is largely a "break even" gift to us all, until it becomes way more popular through retail distribution, like Best Buy or something.
That’s the main attraction to OSX with Breakaway Audio Enhancer, is because of how well Volume Logic did on that platform. I don’t know how attractive it would be for Breakaway DJ because I don’t know how well it’s selling on the Windows platform. But Leif does. 8)
The pipelines are just virtual soundcards that you can use to "bounce" audio through, but don’t actually input/output from/to any actual soundcards.
So it’s correct that you’ll want to use the Juli@ for output, and the input will be from Juli@ if you’re wanting to run the inputs directly into Breakaway…
As far as startup issue… I guess that could be possible if the Juli@ drivers rely on having the mixer/etc loaded for the driver to function fully. Some soundcards are like that, I saw a Behringer someone had a while ago that was like that.
It might be possible to delay the loading of Breakaway by 10 seconds or so, on purpose… if you can find some software that can do that. I would bet someone has created that for this purpose before. 8) Let us know if you find such a software in your searching.
Basically it’s clipping the signal after it’s encoded into stereo. Composite = the MPX signal.
Breakaway already gets pretty close to as loud as you can ever go with MPX clipping anyways, but cleanly. I would bet that station doesn’t sound very clean, assuming that daisy-chained MPX clipping gave them any additional loudness.
quote :These include an adaptive AGC, a transient processor and a distortion-free brick wall limiter. For the leveler (AGC and transient processor), Jünger Audio uses a unique combination of level detectors to instantly analyze the incoming audio signal. Dependent on the analysis, the resulting gain change is applied. Two gain change elements together are working in the chain — the transient processor as the fast gain change element and the AGC as the slow gain control element.Sounds exactly like part of what Breakaway has already in its AGC. The main slow gain change, and TWO other dynamics processors to handle much faster gain changes, of which the second can even be placed after the multiband if the preset designer decides to.
That’s what the two darker colored parts of the AGC meter are when they kick in sometimes, if needed. But Leif never made a big deal out of it or nicknamed it with some marketing term, even tho it is kind of a big deal in the vastly expanded freedom it allows preset designers (and eventually consultants) to create their sounds… once you get the hang of tuning it to work in unison with the rest of the architecture.
So "What Breakaway not has" is false. Breakaway has. 🙂
What’s even more important is how intelligent the AGC and additional "transient AGC processor" (or in Breakaway’s case "processors") have. Breakaway’s AGC is bar none that I can tell, although I would love to hear the Omnia.11 being tortured, especially on that The Police track, and also on a few of the sudden loudness increases.
