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Breakaway Broadcast has an output meter like that, Live does not.
In BBP what that’s showing is how far into the clipper the output of the final limiters is going. If studio guys confused 20db of clipping for K-System’s K-20, then BY GOLLY it’s a good clipper eh? 😉
But yeah, I’m a huge fan of K-System, use it every day, my entire system is calibrated for K-20 and K-14, through and through. 8)
It does play the input through the pipeline, and yes it ‘magically’ works. 😉 (says the guy who managed over 60 Ots installations, the guy being me)
[quote author=”Conor Hyland”]The overloading was being introduced before the AGC. 🙂
I misread what Sgeirk was saying above – silly me!
I see now what he was saying: 🙂[/quote]That will do the same thing that an attenuator plugin would be doing, possibly in lower quality, I’m not sure how VAC handles that.
Like Leif said, if there’s clipping coming from the mp3 decoding before it even has a chance to get attenuated, then you need to fix it in that codec pair first… by reducing encoder input, adjusting the file, or using a decoder (like MAD) which supports input attenuation via mp3 gain…
If you’re playing back files as opposed to streams, check out mp3Gain
http://mp3gain.sourceforge.net/
it will losslessly apply ReplayGain to all of your mp3 files, so that they don’t clip on playback, it works with all mp3 players of any kind, and is even reversible after the fact.Try a bunch of your mp3s in there, preferably the ones with the most dynamic range. Those will be a good representation of the lowest average levels in your collection and about where you should be setting your reference decibel level to avoid clipping. Then mp3gain your entire collection at the same reference decibel level.
If you want to go by industry standards, then set the reference decibel level to 83dB… "shockingly low" to many "modern" producers and even some engineers, but 83dB is industry standard for a LOOOOONG time, and it’s quite sad to see the total & reckless abandon of calibration (one might even say total lack of knowledge of) in the industry over the last 20 years.
Film and mastering engineers who know what they are doing seem to be the last parts of the entire industry that still enjoy the benefits of a calibrated monitoring system. And in the case of film, actually keeping those calibrations onto the destination medium. It’s too bad CDs were not done this way still. (see also: Volume War)
</rant>
Also in general Leif’s presets have lower gates than mine. I like to let my presets breath a little. But they are all still decently aggressive with leveling.
But gating isn’t the whole picture alone. For instance New York and Rusticity both use -24db for gating (which slows the release of the AGC), and -36db for freezing (which completely stops the release of the AGC)… but you know which one is louder. 😉
If you have the cash… nobody can beat LimeLight Networks (Tier0 N+2)
http://limelight.net/But I’ve heard lots of good stuff about Voxel (Tier1 N+1) over the last few years too
http://voxel.net/And I asked Leif to have the preset removed from Live. I agree with AdamH. New York was the one preset that I actually made specifically FOR the FM/AM backend of BBP. All of my other presets were made for DAB and then ported to FM. In all of those cases it worked fine, but when I made New York I wanted to squeeze every last ounce out of the FM/AM backend.
I actually did make a version of New York now, for DAB, that seems to work OK. So it might make it’s way back to Breakaway Live. We’ll see, no promises yet. 8)
Listen to Bassdrive.com
quote :Saturdays, 11am – 2pm CST
“Electronic Warfare”
Hosted by The Overfiend. (New York, NY, USA)I’ve personally worked on this show for the last 5 years. 🙂 Possibly the best sounding show that plays vinyl on the planet. The gear from end to end is PRIME. Over the last 5 years we spent about 50 grand getting it just right. 🙂
About 80% of the stuff played is unreleased and unsigned too, all the best cuts, so if you like Drum & Bass too… this is one of the shows to check out stuff months before it is out. All the top D&B DJs are trainspotting this one. 😉
[quote author=”Erwin”]Which support? I ask it here so someone have the answer maybe? Which DSP plugin is working and how can I install it in OtsAV?[/quote]
Ots support, and the answer is there is no way to do it in Ots…. which is why I suggested that your find a DSP that will do that (if it even exists and if not learn to code C++ and make it yourself!)
Leif JUST said…. "you’ll have to ask the support how to record DSP processed audio."
I agree with him. I was in a position a few years ago to even PAY THEM to do custom work on it for a company I was with, WHATEVER would make them happy enough to do a few things to it, and that was one of them. "Admin" turned down our offers.
So good freakin luck asking them for a feature. 😆 I’m not saying it won’t happen, just going from my experience… I wouldn’t get too hopeful. You might get it done faster to find or code yourself a winamp dsp plugin that outputs to a soundcard or file.
Output automation into your audio mixer.
Send that mixed output to a Terratec DMX Fire input pair.
Get Breakaway Live and run it in ASIO mode on the Terratec DMX Fire. Optimize the buffers in it’s config panel.
Send outputs to headphone amps and studio mains (monitors) if needed. You should have no noticeable delay for the program audio or mics.
And use the Asus Xonar Essence STX in the same way, mixer outputs to it’s inputs. MPX output to exciter.
🙂Here’s a FLAC of what your FM *should* sound like (if you want to be paint-peeling loud), with the settings Leif just recommended. Used before Breakaway Broadcast was Winamp plugins:
Attenuate 3dB
Impact/Clunk (Clunk:1 Slam:2)
Bass-EFX (Bass:2)Into:
Note: the + means it’s the private version with total control. the New York preset in it is the exact same one that comes with normal BBP, and *nothing* was tweaked with the preset editor. the sound is *exactly* the same that would come from normal BBP, bit for bit.
I also did WMA encodings and Lame MPEG1 layer3 as a standard to hold yourself up to with mp3 as well.
AVA Greek Demo – New York 50uS.flac
AVA Greek Demo – New York 50uS – 128kbps.wma
AVA Greek Demo – New York 50uS – 128kbps.mp3With WMA you could probably get away with like 80kbps before people start to notice it’s not the usual "CD" quality coded audio. This is WMA v9.2. With mp3, it depends. Many encoders don’t even sound this good at ANY bitrate.
This happens to be Lame 3.93.1, with settings:
–alt-preset cbr 128 -q 0And I might add that there is no reason to be this dense on air. Even with a preset like Plutonium you’re still going to peak as loud as the loudest stations on the dial, and you’ll give your music room to breath which will make your listener share go way up. Not to mention the real advantage is that Breakaway is much more CLEAN than anything else out there. That’s it’s real advantage, so to not strive for absolute cleanliness in your preset, but also absolute transparency in your studio itself… is just throwing away the benefit of Breakaway all together.
I’m not even going to bother talking about Phase Tornado. If you can’t hear how bad it is, then you shouldn’t be allowed anywhere near a broadcast audio processor.
When your listener share drops drastically, don’t blame it on Breakaway. Blame it on You.
You can fix this by taking our advice, and educating yourself a little bit. What converter are you using for outputting Breakaway for your transmitter? How have you calibrated that converter? How have you calibrated & measured your on-air signal? etc, etc…
With a current production RME of Analog IO… like:
HDSP(e) AIO
HDSP 9632
Fireface
Multiface IIyou should be able to get total latency down to like 5ms. 8)
Or if you wanna get into the high-end (and expensive) MADI stuff…
ADI-8 QS
Micstasy
(etc…)
with matching MADI networking and interface like
HDSP(e) MADI
HDSP MADIface
ADI-642
ADI-6432
ADI-648
MADI Bridge
MADI Converter
(etc…)Super low latency digital "HD" audio networking/routing over long distance fiber… with AES conversion too if you don’t like/want RME converters. 🙂 Amazing system to work with.
Are you chaining more than one phase tornado together? (it REALLY sounds bad) Anyways… other than the phase tornado crap, it sounds like your audio is lacking in high frequencies. Of course it’s skipping like crazy right now too.
And whoever said it’s not possible that he had 42,000 tune ins (not the same as CUME)… hasn’t been around net radio for long.
When I worked at radioio we had a bunch of industry firsts, and one of them was over 10 MILLION CUME (unique listeners) in one month. And a majority of them tuned in more than once in that month. That’s millions of unique people per day.
The radioio website farm was also serving over 80 million page views per day back then, from only 7 machines. 🙂 Hand optimized by "Rock", the guy who invented PHP.
[quote author=”http://www.esi-audio.com/products/maya44/”%5DSupports up to 24-bit / 192kHz output and 96kHz input[/quote]
You can not calibrate the MPX output of this card with itself using Breakaway Calibration Tool. You will need another card that supports 192kHz input for that, OR…. like Leif’s suggestion… get yourself a cheap scope and calibrate it that way. 🙂 A scope is also a very nice tool to have around.
Nice reference material Leif, I bookmarked it.
