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I’m such a tease, but you guys have to hear this. If you like really open presets, then this is going to REALLY get you going.
This is a preset that is more open than Reference. More dynamic, and a more open spectral balancing. It’s a 5 band preset, but since Breakaway basically has two bass bands where many processors only have 1 bass band, it’s more-so like a 4-band preset in comparison to other "low band count" processors.
This time I’m not going to tease with audio samples though. Just going to say.. this one is coming. This one is basically for sure to go into Breakaway DJ too, which will make y’all happy people too. 8)
There’s a feature in Breakaway’s core that allows the presets to make the multiband go into Inf:1 ratio if the gain reduction goes past "0" in the readout. This preset makes extensive use of this feature, and when it’s not over "0", the ratio is 1.7:1 (at this point in development, I don’t know if that will need to be changed slightly yet or not).
So you get a very very open sound that also compresses very nicely & very smoothly if certain band gets really loud. It also has an uncanny ability to not over-limit already really loud stuff, yet very dynamic stuff has a proper average loudness in comparison. The loudness is very smooth through different material.
You might say it’s almost like a Chameleon that’s just had a nice relaxing clean bath…. nudge nudge, wink wink. 😉
I can’t wait for you guys to hear this… Very soon I think.
OK, I lied. 😉 (i planned on it too, lol)
all coming back – passive aggressor.wav
This is an early version remember. I’m only about 25 revisions in on this, but it conveys the idea that I’m working on. The main thing that will improve a bit is the loud parts not being quite as low in level. They are slightly too low right now, but it’s already close… and this preset easily makes the most extensive use of the "Inf:1 Above Threshold" feature of the core so it’s a new fun thing to tweak that effects the loud/quiet stuff more than anything else in this preset.
Anyways, enjoy.
wowowowow! i love this sound signature!!
can you play … ace of base all that she wants ?
this is a 99% punchy song.. 🙂
she wants – passive aggressor.wav
The original isn’t as punchy as I thought it might be, but still great. Not slammed to all h-double-hockey-sticks like stuff after pretty much this year, 1993. This is of course taken from the original 1993 release, lossless. S’ how we do. 8)
About the "Above Threshold" thing, here’s ~ where the gain reduction is ~ during the "impacts" on the 1s on this song:
The gain reductions that are "above" 0… or in other word "more than" and/or "below" the 0dB point on there, are kicking into a more aggressive mode. Hence the name "Passive Aggressor". It gets more aggressive if it has to do a lot of gain reduction. This actually does make things sound more open in the end though, because it means there’s less limiting to do too.I actually named this preset that before I decided to do that and base the whole sound of the preset around it, so… sometimes I just get lucky.
I was going over some stuff mentally and on paper, and figured out the math behind a change I wanted to make (smoothing out soft to loud input density better), and pulled it off pretty well. So I re-uploaded those two WAVs.
I’ll upload a bit more later.
Hi JesseG, loving this, its nice and open but also crisp and punchy. I would love to hear how it copes with sudden dynamic changes such as those in Bjork’s "It’s Oh So Quiet" or Michael Buble’s "All of Me".
Yorkie.
[quote author=”JesseG”]This is a preset that is more open than Reference. More dynamic, and a more open spectral balancing.[/quote]I am not in this radio business at all.
It is more that I am struggling with (german) radio broadcasts (via satellite) and its quality.
Good dynamic and a good spectral balance belong together.In first place Breakaway is meant to be a broadcast processor (for dynamic audio sources) to do it better than the boxes used by many stations.
And this is the way more or less all presets are set up.Though all the accessible values (Drive, Range, Power, ….) are offsets (?) for the core settings, all presets and the default values (Drive 1.0, Range 50, Power 50, ….) lead to a limited dynamic range (focused on broadcast purpose).
For high quality broadcasting they are perfect (-> Reference Setting !).
But for audiophiles even Reference Setting is dynamically too limited to enjoy music (except: party or late-night listening)Especially for the BA Enhancer I would expect some (special) presets with a wider dynamic range.
So my first actions with all presets is (was):
sliders down and then small steps up again to find the sweet spot for an open dynamic (but somehow enhanced) range.
For the (badly pre-processed) radio sources I need a dynamic expansion.Tweaking almost every preset up and down I came to the conclusion, that the best preset for a wide dynamic range and an open spectral balance is
Microphone 2
Final Drive: – 4.0
Range: 10
Power: 0
Speed: 33
Bass Boost: + 20
Bass Shape: – 17
Roll-Off: 17
This is perfect for my "de-processing" of radio and a wide (quality) range of music ripped from my CDs.Before Microphone 2 I prefered the old Twente (now OB), but Microphone 2 does a better transient enhancement.
For me it is a great help to use one instance of the TT DR Meter VST-plug-in as an Effect-Plug-in and a second one as Encoder-Plug-in sandwiching the whole processing (using BA Live).
Though this might not be the way it was meant – it works !Back to this static preset value scheme (1.0, 50, 50, 50, ….) topic:
Wouldn’t it be better to give every preset its own values as default ?
Leif could add a "default" button to the GUI.
I think this would give the oppurtunity to have more differences from one preset to another by default.
Now with the new OB preset option I had the idea, that it would help to mark presets with prefix categories, for example:
BC (broadcasting) -> BC Plutonium
GP (general pupose) -> GP Reference Setting
RS (recording, restoration) -> RS Microphone 2❓
Each preset DOES have its own values by default. 🙂 The user adjustable controls adjust multiple internal parameters based on the internal values for each preset. 50 means no adjustment at all. This is why different presets sound radically different even thoug they all start at 50.
//Leif
[quote author=”yorkie98″]Hi JesseG, loving this, its nice and open but also crisp and punchy. I would love to hear how it copes with sudden dynamic changes such as those in Bjork’s "It’s Oh So Quiet" or Michael Buble’s "All of Me".
Yorkie.[/quote]
Maybe this answers your question better than I can 🙂
so quiet – Passive Aggressor.mp3[quote author=”JesseG”][quote author=”yorkie98″]Hi JesseG, loving this, its nice and open but also crisp and punchy. I would love to hear how it copes with sudden dynamic changes such as those in Bjork’s "It’s Oh So Quiet" or Michael Buble’s "All of Me".
Yorkie.[/quote]
Maybe this answers your question better than I can 🙂
so quiet – Passive Aggressor.mp3[/quote]WOW, WOW, WOW, WOW!!! that’s the best dynamic handling of that song I’ve ever heard, this one normally plays havoc with the AGC and you can usually hear very sudden downward gain riding when the loud passages kick in but this one seems to bring the quiet passages up without squashing the loud ones.
The transistion from loud passage to quiet is seamless, you literally can’t hear the gain riding. Bad effects stand out a mile on this track as it’s inherently noisy, there is a background humming and analog tape hiss (always has been). These are not drasticly exaggerated by this preset either which has been a big problem in the past.This one gets a big thumbs up from me, I hope it’s included in time for the next stable retail version.
Yorkie.
@ JesseG
Definitively, you are on the right way ! 🙂
[quote author=”yorkie98″]this one normally plays havoc with the AGC[/quote]I think it is the other way round:
The AGC normally plays havoc with this type of music.
In the end we agree that this produces very often poor results.Intelligent AGC handling is the key.
@ Leif
Thank you for your answer and time.
But how does this work in detail ?
Even if this 0 …100 range is percental and 50 is the neutral point (so that 49 is 2%, 48 is 4 %, 47 is 6% less and 51 is 2%, 52 is 4%, 53 is 6% more …..), every core setting must have a bottom (the lowest possible value).
So under certain circumstances – if the author of the preset has set one core parameter to the bottom – it can be changed using the GUI values above 50, but how can it be lowered when it is already at the bottom ?
My own explanation why there is always an audible difference with every preset and all sliders:
It has to do with the macro control structure !?
[quote author=”Leif”]The user adjustable controls adjust multiple internal parameters[/quote]
So it is against the (mathematical) probability that all of the combined multiple internal core parameters in one GUI macro control slider have absolute zero values by default ?Is this theory correct ?
Or do you have any further information for me to undertsand this system ?
I will try to answer this question on my own by programming my Korg Z1 synthesizer which has a similar macro control system.
You can adjust multiple parameters with one of five central performance knobs on the front panel.
For example changing cutoff, resonance, LFO modulation and effect depth at once with one of these knobs.
This works also with percental values (+- 100).
http://www.vintagesynth.com/korg/z1.php
Maybe this will help me to understand the way it works (with Breakaway).[quote author=”michi95″]So under certain circumstances – if the author of the preset has set one core parameter to the bottom – it can be changed using the GUI values above 50, but how can it be lowered when it is already at the bottom ?[/quote]
It couldn’t. However, the internal core parameters have a *very* wide range, so there is almost never a need for presets to use the minimum/maximum values, and thus the gui controls work. There are cases where the gui controls will cause the internal values to bottom out though, but in those cases, you are already way beyond sensible settings.
One exception — the ratio control. There are presets that already use Infinite:1 ratio — helix is one if i remember correctly. If you turn the power control up on those presets, nothing will happen, because there is no higher compression ratio than infinite:1. Higher than that would mean making the output quieter as the input got louder, and then we’d start to sound like the competition’s processors wouldn’t we 🙂.
When the ratio is adjusted, the numbers next to the meters move, so if you adjust power and see no difference (provided that there is audio going through!), you know the ratio is already maxed out.
///Leif
Back to Passive Aggressor:
Now I had time to listen to every detail of
http://masterfulaudio.com/forumfiles/ce … ressor.mp3I am honest:
I was not that impressed of Motor City preset.
Not my taste.But this Passive Aggressor seems to be (listening the Björk song) a breakthrough.
It is safe to say:
Passive Aggressor could be Jesse’s masterpiece !Leif wrote a few days ago, that he will not compile new beta versions for adding just a new preset (if there are no additional new features or a neccessary bugfix to apply).
This Passive Aggressor should be an exceptional case.This could be a breakthrough for Leif, too.
When BA Live 0.90.97 will be released, there will only be 3999 beta versions leftover before v1.0 !
Leif, what are you waiting for ?
No longer 4 thousand !
Only 3 thousand and a few (999) !science – my edit – Passive Aggressive.wav
I was listening to this earlier, in comparison with a certain video of a completely restored 8100/XT, and I have to say this comparison makes me happy.
I’m going to keep this clear & impacting as I port it to the FM version, and will possibly do a 75uS sample of this later today, or maybe tomorrow. It might end up sounding a tad closer to that sound. This wasn’t on purpose.
Let’s make beautiful audio.
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