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Hi!
First of, thanks for this great product.
Am 100% sure im gonna buy these products maybee not all but 1-2 atleast, since i produce music.
This product enhances the sound really nice, even when playing live with the instruments it goes really nice, adding much more volume to the whole track 🙂.Really great job Leif (and other if they where involved).
Oh, almost forgott. Hi again 😛
Im totally new to the forum, and was checking around but didnt know what to search for. So sorry if i made any "duplicated" questions.Well i was wondering, when listening to a track for an example an harder track with a bassdrum.
When theres a gap/break with for an example no bassdrum in the track, then when the bassdrum hits into the track then the first kick is higher, is there a way to change so that them are all equal?Or has that something to do with the delay?
Would be much apreciated for answers.
ps. and btw is there a limitation on the trial version compared to the puchased one. and how long does the trial version last? so that i know how fast i need to save cash 😛
//Daniel
Hi Daniel!
Thank you very much for your comments.
[quote author=”Soundheadz”]Well i was wondering, when listening to a track for an example an harder track with a bassdrum.When theres a gap/break with for an example no bassdrum in the track, then when the bassdrum hits into the track then the first kick is higher, is there a way to change so that them are all equal?[/quote]
I know what you mean. This is one of the side-effects of real-time processing — the audio processor adjusts continuously to the incoming audio, but cannot know what comes ahead. It depends greatly on the settings used, though, and certain presets do this more than others.
What settings are you using now (preset, and slider settings)?
It may be worthwhile to try different settings, and you could also try reducing the
Speed control. If the compressors do not release (increase volume) as quickly during the break, they won’t have as far to attack (decrease volume) when the kick comes back.The BAE trial (the $29.95 product) lasts for a month, and is completely unlimited during that time.
The BBP and BA Live trials ($199, $129) last forever, and the only trial limitation is that they periodically play a promo jingle. 🙂
Best regards,
///Leif[quote author=”Leif”]
The BAE trial (the $29.95 product) lasts for a month, and is completely unlimited during that time.The BBP and BA Live trials ($199, $129) last forever, and the only trial limitation is that they periodically play a promo jingle. 🙂
Best regards,
///Leif[/quote]
Ok cool. Yeah i noticed the "promo jingle" wich was cool made tbh 🙂
So ive tried some presets and various functions. and i understand if its not something to do when playing "live" but is there a way to get rid of that when not playing "live" if you know what i mean.
Like if i have a track that i wanna master/tweak/enhance then first run the whole track and after that apply the effects/tweak.
(By that i mean that the program/application is prepared for what comes next on the track)Btw i tried this on some old vinyl rips (legal ofc) from 96-97 and damn it really improves the quality of the tune, all tunes sounded like they recently had been released.
And do you have any recommendations on wich one to buy for most effectivity on:
Webradio
MasteringOr should i go with the both?
Thanks for a fast answer aswell.
//Daniel
edit after post: Noticed when running the preset "french kiss" and adding the "Final Drive to +3db" and peak ref: lev to -3db it sounded better with bassdrums 🙂 still can hear a little change 🙂
And you defo should add a "bypass" button on the main window, its pretty neat to use with musicproduction and also good to have the "bypass" function instead of going into the settings each time 😛 since i have it docked on the top 🙂
And i saw another post about multiple instances, the person wanted to use it with 6 streams? Is it also possible to use it with 8 streams for an example, with 4 types of different music (4×2 streams) ?
And another thing that would be neat to have, is here on the forum, "Suggestions & Improvements" and "Bugs & Feedback", since i think almost every dev team listens most on their customers. Then i would think its a good idea to have suggestions and improvements. Even if 1 topic isnt active for Breakaway, some other could be 😉.
And some OT
Förstog att du var svensk, och undrade lite ifall du har någon reklam / promo jingle som inte säga demo/trial på som man skulle kunna lira på webbradion i framtiden. 🙂
Sedan när jag googlade på OctiMax, Octiv, OctiMax Studio, OMX och annat hittade jag tillslut hit, men på vägen hit hittade jag oxå en del "crack" sidor, vilket jag antar du inte tycker är okej när dem "crackar" din hårt utvecklande produkt. Så kom och tänka på en annan produkt jag sett på internet som använder sig utav en "Dongle" vilket är ett bra alternativ enligt min åsikt, svårt att cracka något som laddar informationen från en "Dongle" som var utvecklad av SyncroSoft, vet inte om det är något du tänkt på eller om det är aktuellt för dig men hoppas det kan vara värt något ivartfall 🙂 (är inte så himla bra på engelska, och formulering när det gäller allt så tog det på svenska)Vill inte göra marknadsföring för någon annan eller så men här är en länk -> http://www.syncrosoft.com/
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
Ok cool, yeah noticed about the french kiss, it was very suitable for "DnB" wich was really good 🙂.
And yeah about mastering, is all about time and being carefull. But ive tested and tweaked around and achieved alot of great things when testing live, and recording externally on other computer 🙂.
But i guess its only good to use the processor for tracks thats going to be pressed (CD) and not for digital (weblabels, cbr). Since i cant know what other people use on their PC to tweak their tracks. Same thing could occur on CD´s but less chance.
And i didnt see an answer about multi instances, but i kinda figured it out in a way.
Wich allowed me to use 4 winamps, each connected to "Breakaway Line 1 – 4" and then each "Line" had its own shoutcast DSP. wich gave me 4 streams of various music.
I dunno if this was something that you should be able to do since i saw in some other post that there where an "Multi Instance License" and im curious on how much that kinda license would cost compared to the others, since im planning on having 5 channels.
And some OT:
Ja det är synd att många håller på så, men det är nog inget man kommer undan ifrån. Men eftersom du är bra på algoritmer och sånt så antar jag att du säkert kommer på någon bra kryptering som löser det 🙂.
Annars får du skapa någon automatisering som gör programmet för individ eller företag/organisation 🙂 hehe lite "out of the box" kanske men.
Återkom gärna ifall du får någon promo jingle 🙂 vore riktigt nice att ha något sådant att lägga in mellan låtarna 🙂.[quote author=”Leif”]This is one of the side-effects of real-time processing — the audio processor adjusts continuously to the incoming audio, but cannot know what comes ahead. It depends greatly on the settings used, though, and certain presets do this more than others.[/quote]For many songs Breakaway works great, but there are always a few situations/songs where it fails.
For example, do you know/have "Semisonic – Closing Time" album version ?
The AGC in combination with MBcomp always (with different presets and different settings) does too much for the intro part, so that you instinctively turn down the volume (otherwise the intro would be too loud)
And when the main part (00:57) kicks in, it is much too quiet (near to the original unprocessed volume level).
The same happens with Stereotool and its presets.
Leif, if you have this song, can you hear what I mean and do you agree ?
What would be the best preset/setting to avoid it ?
Do you see any chance to create a new preset in the future to minimize this side-effect (without loosing the main processing characteristics ?) ?
I know it depends on the original mastering charcteristics.
So maybe there are always a few songs with a too special mastering, where it is recommended to bypass Breakaway’s (or any other further) processing ?I know that tune, but i cant really understand how you can get problems on that one, theres no hard drums or anything, everything is soft on that one. 😛
But ive noticed on the old version, the 90.77 there was a preset called "Dance" wich performed alot better with the hard bassdrums, or well any bassdrum at all, is it possible to get that preset back? or a new tweaked version wich enhances the mid´s abit more ? 🙂
The Dance preset was very light processing. You can get a very similar sound from Plutonium by turning down the Power and Final Drive controls substantially 🙂.
For Closing Time, I know this song very well. If you want the intro quieter than the rest, the key is to process less. Have you tried Reference Settings with bass boost adjusted for taste?
Reference Settings is what I use for myself when listening to music — any more than that and it’s too much for me personally.
///Leif
God jul och ett gott nyt år!
[quote author=”Leif”]For Closing Time, I know this song very well. If you want the intro quieter than the rest, the key is to process less. Have you tried Reference Settings with bass boost adjusted for taste?[/quote]The problem is that the reduction of "Range" and "Power" also reduces the punch (the subjective loudness) for the loud parts.
So it does not work (from the point of hearing, maybe technically) in the way: process less and you have more dynamic.
You have to try to find the small sweet spot (might be different for different songs).
For me this sweet spot for "Closing Time" with "Reference Setting" is this:
Final Drive: 0 dB
Range: 25
Power: 35
Speed: 80
Bass Cut: -15
Bass Shape: 0But I have found another preset that I prefer for this song and almost all other music where the less you process (sliders down) the more dynamic remains.
The problem is:
It is an old and outdated version of "Twente".
I don’t like the changes that were made to "Twente".
Too much bass (even when I use Bass Cut -50).
Leif, I hope that one day you give us a little tool to overwrite presets in newer versions of Breakaway (Live and BP) with presets from older versions.
I would like to use latest BA Live beta versions (0.90.9x), but I need the old (removed) "Twente" preset. 😥
I cannot check all older beta versions to find the version when "Twente" changed.
I found the old BA Live beta 0.90.69 (in this version "Twente" is perfect for my needs).
What was the last beta version (higher than build 69) where "Twente" has the same old characteristics ?The sweet spot for "Closing Time" (and other music I like to listen to) with the old "Twente" preset from build 69 is this:
Final Drive: – 3.0 dB
Range: 0
Power: 0
Speed: 0
Bass Cut: -40
Bass Shape: -50
(+ "roll-off" enabled at 12 !)Maybe, it is possible to add a "Twente Classic" preset in future releases ?
The old "Twente" preset enhances my old music noticeable, but without too much changes to newer tracks.
I have just tried this old "Twente" setting for "Pink Floyd – Astronomy Domine" ("The Piper At The Gates Of Dawn" album).
For this peace of music it works even as a dynamic range expansion (I know BA in first place is meant to do it the other way round – but: so what ?).
It seems as if this old "Twente" preset ist the Holy Grail of one-click audio remastering.
To reduce the noise floor, the only thing I have added is Stereotool DSP (all off – except the noise gate at 1 %), because in BA Live build 69 the general denoise option for all presets was not implemented yet.Why does "roll-off" (BA Live) even works, when I don’t use bandwith limitation (-> Full) ?
I thought (reading the pop up info) that the "roll-off" only works when bandwith limitation is used ?
It is not a problem for me.
On the contrary I like this extra option to reduce high frequencies.
Most of the time I have "roll-off" enabled at 12.[quote author=”Leif”]Reference Settings is what I use for myself when listening to music — any more than that and it’s too much for me personally.[/quote]
Good to know, that I am not the only one.
If (old !) "Twente" preset would not exist, I would use "Reference Settings" too.
For me personally the only way to use presets like "Twente’s" big and loud brother "Plutonium" is to turn down almost all settings sliders close to zero (max. 25 for listening situations when I need a limited dynamic range for a wide variety of different sources).
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