2CAudio Breeze 2.1 Update

  • By: Thorsten Meyer
  • Date: Saturday, 20 October 2018
  • Time to read: 5 min.

Breeze 2.1 offers some very significant improvements including P-Link Mode, Chameleon Color GUI System, Sub-Zero Suspend-On-Silence CPU-Saver, 3 New Filter Types for Damp and EQ, and more. Breeze 2.1 update connects with the new Precedence spatialization, and positioning plugin see our Precedence review here. See our Breeze 2 Review here if you want to learn more about the effect plugin.

Breeze 2.1 New Features & Changes:

  • P-Link Mode
  • Chameleon Color GUI
  • Suspend Processing On Zero Input
  • 3 New Filter Types
  • Improvement to Early Phase Response
  • Phase Inversion Button
  • Channel Swap Button
  • Other Misc Tweaks
  • New Presets

Below you find the description direct from 2CAudio on some of the new changes.

P-Link Mode

When Using P-Link Mode Pre-Delay is set automatically as a function of Mix/Balance, Size, and the current Algorithm Mode. Additional behind-the-scenes, secret-sauce changes are made as well, so that the Mix/Balance control can effectively be thought of a “Distance Control”.

In real acoustic environments, sounds that are closer to the listener are likely to have MORE pre-delay, and LESS reverb energy relative to the source sound energy. Therefore there should be an inverse relationship between Mix and Pre-Delay in most cases to agree with behavior in the real world, but that is not widely understood in the community, so we can now set this up appropriately for you automatically. In this mode, the standard Pre-Delay control is replaced with the “PD Adjust” control which allows some manual adjustment of our automatic guideline suggestion.

The mode Mix/Balance should be considered “Distance”. Designed to work correctly with Precedence. The idea is merely to set a Distance value in Precedence and then manually enter the same numerical value into the Mix parameter in the Breeze instance that follows it. Precedence supplies about half of the actual distance illusion, and Breeze 2 provides the other half.

Precedence by 2CAudio and Breeze 2.1

Together they create an incredible sense of depth and allow you place instruments anywhere within the space that Breeze 2 creates: left to right, as well as front-to-back. The Precedence algorithm has been designed with this in mind. Both can be used independently of course, but true magic happens when used together.

We are attempting to establish communication between Precedence and Breeze 2 instances so that by merely changing position in Precedence, Breeze settings will be updated appropriately as well. The integration will take a little extra time and come in another free update later this year hopefully before the holiday season. At the moment, just manually set Breeze Mix to the same value as Precedence Distance. This will be available in future versions of B2 and Aether as well in one form or another as they become available. Precedence is an essential member of the family, and the link between it and our reverbs is compelling.

Chameleon Color GUI

The same color system available in Precedence is available in Breeze 2. All 150 factory supplied color preferences are also available. You can make a vast variety of custom GUI themes now, to suit your style and vibe!

Suspend Processing On Zero Input

Ultra low CPU usage is great, but there is one thing even better: zero CPU usage! Beginning with Precedence and Breeze 2.1, we have now introduced an intelligent suspend-on-silence feature in our products.

If the plug-ins are not receiving any input signal, they will automatically disable processing, and enter an approximately zero CPU usage state! For 2CAudio it is massive news for composers who use massive scoring templates and like to auto-load hundreds of instances. Maximum CPU usage will only be reached in such cases when all tracks in the project are active at the same time, which almost never happens in large sessions.

Sparse arrangements can save orders of magnitude in CPU-resources, which in turn leads to more creative freedom and fewer annoyances such as heat and fan noise generated by powerful computers in the studio. Furthermore, if playback is stopped for a coffee break, lunch break, or overnight, processing is automatically suspended, potentially saving you significant money on your electric bill. In other words, we automatically turn the lights off for you, helping to save the planet in the process. We think that is pretty cool.

In Breeze 2.1 some Alg Modes do not reach precisely zero CPU at the moment, as we achieve in Precedence, but we can turn off the most intensive part of the algorithm. And about half of them reach almost precisely zero. Note that we must wait longer to turn compelling off given that reverb adds decay and we don’t want to chop off the tails. How long we expect is a function of the current reverb time and other things.

New Filter Types

Some cool new filters for EQ and Damp: Tilt II Dual Shelf Bell See the 2.1 example presets.

Phase Inversion Button

In Breeze 2.0, our novel spatialization of the dry signal could sometimes result in the signal being more out of phase than in phase: i.e., having a negative correlation. It is a “super stereo” effect, which can be quite cool in some contexts such as use on synths etc., but it can also confuse instrument position within large mixes.

Thus we have taken a closer look at that, and have prevented it from happening by chance statistically speaking. All presets should now remain more in-phase, than out-of-phase, at least for wide frequency ranges. If you have an instrument that is playing a melody in a very narrow frequency range, such as a say a static sine wave, phase inversion is still possible in close frequency ranges, but a whole string section for example or even the performance of a single violin over the course of its performance will stay in phase on average.

It helps localization be more defined and specific which also helps Precedence work its magic. Some potential users mentioned they loved the sound of Breeze 2 in solo but occasionally found it challenging to out-of-phase into large mixes. The 2CAudio was likely the reason, and this topic should be much improved and is also essential for Precedence interaction.

If you wish to abuse anti-phase, super-stereo effects intentionally for special effects and synths etc, we now have a phase invert button that will allow you to do that. You can also use it to correct any problematic narrow-range instrument that manages to escape our statistical process. This button is similar to what has already been in B2.

Channel Swap Button

Channel Swap, reverses the input channels, making Right Feed Left and vice versa. That can create slap-delay type effects in the opposite channels when applied to signals that have been hard-panned or “hard positioned” (i.e. 90 degrees) via Precedence.

It confuses localization to some extent, and should probably be avoided in large orchestral mixes, but it can be nice in smaller contemporary projects. It can be nice with the Hyper-Plate by merely for example. The button is also similar to what has already been in B2.

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