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loudness
StoreTags: mastering, limiter, pain
Author: jdg on June 20 2006
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--> here's a great article about "loudness wars" in general, but many things too.
link
foudn the link via osxa via ableton forum.
that dood from that link said: "Levels have crept up over the last decade though, and alarmingly so. Nevermind is 6-8dB quieter than, say, Hopes & Fears by Keane—to contextualise this, those 6-8dB will make Nevermind sound approximately half as loud."


the issue i find with "loud" and digital playback, is that there is a ceiling. and because of this ceiling you really cannot force "loud" naturaly. Tru loudness is best left to the amplification stage, not to the transport stage.

also, fook, thats a long article. thx god for speed reading.
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oh i took for gratned that u'd route the audio out of the TV to external speaksra

replay gain is also slow: it needs to reindex everytime you're adding a song. the bottom line is: the music industry fucked it up. instead of using a fixed level then pushed it to the limits. imagine the same thing in a cinema: people would get annoyed watching a movie. but they fucked it up again with dvd's.

why do we need metering? tell me
Recent blogs: okidoki, Flick Radio, Motel De Moka  

raaphorts said: "the music industry fucked it up."
i don't think the blame can be totally placed there, there are more factors: recording engineers need to please their clients to keep their jobs.. i can imagine it's often the client who wants their cd louder (like the kid in mlbots anecdote). General ignorance about audio fidelity (mostly on the part of the artists and consumers imo) leads to a climate in which the loudness race can happen.

This is why i find Chris Clark's latest release difficult to listen to - it's just at 11 constantly. Even the bits without beats are waaay louder than something BoC or Squarepusher put out. I have to turn it down when it comes on compared to volume settings left for previous albums. It's not clipped though, not like some commercial CDs.

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