SH Spotlight Why the new "LOUDNESS CRAZE" in digital mastering really robs music of life..

Re: Why the new "LOUDNESS" craze in digital mastering really robs music of life..

Steve, this is what even I need to realize that it's nice to hear what the dynamics of playing in the band are all about. As well as to put them on to a recording to be able to say "SEE THIS IS WHAT IT SHOULD SOUND LIKE". This means even when preforming it live.

That was without a doubt an EXCELLENT example in knowing what to listen for in an great recorded preformance.

DUDE!!

 

Re: Why the new "LOUDNESS" craze in digital mastering really robs music of life..

As when this was originally posted, it allows "others" to here "witness" the difference in what is recorded and control the volume for oneself vs. what producers want to put out in the name of loudness.

Just give me the music. I'll adjust the volume as wanted. Don't they teach this in Producing Music 101?

 

Re: Why the new "LOUDNESS" craze in digital mastering really robs music of life..

I think the real culprit was CD changers in music stores and listening booths. The one that 'jumped out' would get peoples attention. Eventually they all were 'jumping out'.

It doesn't take volume to tell me if something is good. If it is good, I am fully capable of cranking it up if I so choose. I don't need it built in.

 

Re: Why the new "LOUDNESS" craze in digital mastering really robs music of life..

Another nail in the coffin was the tremendous power attained through radio station conglomeration - e.g. Clear Channel.

The program director is reviewing a bunch of songs, and that really punchy song that seems to cut through on the poxy stereo they use to review these things on, really grabs him/her. We know that maxing out the recording has that effect on the listener, so those who make pop songs all try to go one better.

If said program director decides to pick that song for their playlist, their nationwide reach means that millions will hear that particular track. So now instead of having to convince hundreds or thousands or program directors at individual radio stations, or small chains, you just have to convince one.

And because of conglomeration and their wide audience base, they are looking for that sort of song too. Because it has that effect on their radio listener, and they'll hesitate to change the channel for that punchy song. And so it goes.

 

Thanks. Very simple explanation. What always confuses me is the term "compression." I associate it with lossy MP3 encoding - "compressing" the data (throwing out bits) to makes the file size more manageable. Here it seems to refer to compressing the silent areas by filling them with unnecessary noise.

 

Great stuff. The point at which he "restores" the original in red really drives it home. I've already emailed it out to a bunch of friends.

Thanks again, Steve.

 

And for all the compression used on Amy Grant's Heart In Motion album, it sounds more dynamic than the tracks from the album used on the Greatest Hits album. Lead Me On is a dynamic album, the 2 tracks from the greatest hits comp from Lead Me On sound much too compressed. That is just an example on how the "loudness wars" is damaging.

 

No wonder why more and more people are rediscovering vinyl.

 

Thx Steve! It's nice to see the visual representation of compression. Now if we could just get the record companies to watch this and understand as well.

 

With all due respect, I don't think vinyl is a cure-all as you're portraying it to be. I'm sure vinyl can be compressed/maximized/boosted too.

 

I didn't enjoy that clip. The narrator's voice wasn't compressed.

 

Wow! It's no wonder CD sales are in the toilet!

Who the heck wants to spend $18.99 at the mall for a disc that sounds like that and then have it permanently preserved in your music library??

This is why 75% of all my music purchases are now used CDs (pre '97) and vinyl. At least I have a pretty good idea that what I'm buying is WORTH preserving...

 

Re: Why the new "LOUDNESS" craze in digital mastering really robs music of life..

Exactly. Van Halen's Balance was the first CD that I noticed was LOUDER than others. That was in the early 90's. Ipods were not even a glimmer in Apple's eye yet.

 

I got an original Flowers In The Dirt 89 cd and replaced my remaster(sooner) because of this clip. I bought it on Ebay a week ago, and should be getting it soon.

 

Steve great video explanation, but I'm still fond of your big juicy hamburger explanation regarding mastering compression. I think it's well suited to this thread, would you mind sharing it one more time for everyone?

 

Tried the search, but no luck so far. This was the first year you set up SH.tv if that helps. I remember because it's what drove it home for me.

 

This video really brings it home as to what is going on. Thanks for this. Bring on the older CDs......

 

Re: Why the new "LOUDNESS" craze in digital mastering really robs music of life..

I noticed it especially in the mid-90's when albums like Soundgarden's Superunknown,Oasis's What's The Story Morning Gloryand Aerosmith'sBig Ones were much LOUDER than my other,older CD's!

 

Couldn't find the burger one, but there's this:

http://www.stevehoffman.tv/forums/showthread.php?t=15735

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Steve Hoffman sez:

WHAT DOES BAD DIGITAL COMPRESSION SOUND LIKE?

People ask me this all the time. I usually tell them it sounds "loud" and they ask why that is so bad. So, I worked out this silly analogy for them and I thought I'd share it with you here:
------------------------------------------------

I want you to go stand in front of a glass door or window. Are you there? Now, move closer to the window, concentrating on your face. When your nose just hits the glass, stop moving. On a CD master, this is the "peak" point; the loudest point on the master that you can go without running into gross distortion. The glass prevents you from going any further. It is like a "wall".

So, your face (at this point) is still basically your face (if I looked at you from the OTHER SIDE OF THE GLASS I would recognize you). Now, let's pretend that the back of your head is the "quietest" area, and the tip of your nose is the loudest. This is your dynamic range. Just like the dynamics of music in the real world, even the loudest rock & roll. Got it?

OK. Now, push closer to the window and smush your face against the glass. Owww. Hurt? Well, your face is distorting and still it is not breaking the glass (or getting any louder) just distorting. If I were to look at you from the other side of the glass I might not recognize you any more.

This is what happens to music when it is digitally compressed. It's a sound I hate with a passion. If you think your nose and face hurts, this is what is happening to our favorite music when it is "remastered" for shear volume.

Got it?

 

Re: Why the new "LOUDNESS" craze in digital mastering really robs music of life..

This reminds me of the television "brightness wars". Manufacturers determined that picture of brighter TV sets stand out on the sales floor - so accuracy looses out.

 

Very clear explanation. Note that the drum sounds are particularly badly affected.

 

Glad you are bringing this up so all know.
Personally I've been complaining for many years.
As example find U2's "How to dismantle..." CD the perfect example of a good album that sounds so loud and compressed that becomes a pain to hear. Finally found an LP, yet the compression is also there, albeit a better listen.
Sad to see and hear good labels such as German REPERTOIRE fall on this for all their new remasters.
The industry should have audio standards? Do they exist for CD's?