The Death of Dynamic Range - people against Loudness War

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649 members| 197 shouts

Leader: vitos
Join Policy: Open
Created on: 16 Feb 2007
Description:
Group for all those who are fed up with current "Loudness Race" audio mastering practices.

Group for all those who are fed up with current "Loudness Race" audio mastering practices.

IF:
  • you feel exhausted just after a short listening of a new (or remastered) album of your favourite artist
  • you hear annoying crackles and distortion in your favourite tracks, despite having very good quality audio equipment
  • you often find modern bands/artists with great composition, melody, instruments, lyrics, but somehow their music lacks punch, dynamics, life, clarity and becomes annoying

THEN

You become aware of a disease of modern music industry - massive overcompression squashing great music into constant wall of noise, JUST TO MAKE RECORDS LOUD, LOUDER, THE LOUDEST!!!

Some articles explaining "Loudness War" issue:

Dynamic Range Database

To the music industry:
If we want it loud, we'll know how to make it loud! We know how to use volume knob! We DON'T like heavy compression!

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  • j7ndominica

    Lately I've been impressed with the dynamics if late 80's electronic dance music: post-disco, house, electro. I some ways, it sounds "less electronic" than what is being produced nowadays. Vocals have amazing depth, and I can hear reverb if other instruments don't immediately step onto them. Overall dynamics is steadily above DR10. I find that modern albums tend to have a "phone" sound. I may not have an objectively good hearing anymore, and quieter hihats get buried in the mix in busy genres like rock, even when they are moderately boosted. It's a shame when instrumental / easy listening music gets squashed to pop standards. I recently heard "Pleasure" by Marion Meadows (DR7). I can't see how smooth jazz would be competing with pop, and yet it is.

    14 Aug 2015 Reply
  • Stalaggh

    If i may say: I'm a amateur electronic music producer (in other words: It's a hobby of mine), thus i also browse a lot of new, or "underground", music artists to see where i stand. And most of them take example in those "ultra mastered" tracks from bigger artists. Thats where the circle starts - a couple of years ago you could really learn a lot from great producers by listening with an good Equalizer. Nowadays everything seems to be lacking that sort of .. well, dynamics to it. I totally support this groups opinion and think that this is a real problem - and a annoying one. I also think (That may be false, just my opinion) that the industry (and the soundsystemmakers) are also part of this problem. And .. Thanks Morpheus^^

    3 Oct 2014 Reply
  • JBThazard

    Also HOLY SHIT at that version of Entombed

    19 Sep 2014 Reply
  • JBThazard

    When I actually purchase albums, unless it's just a piece of music I love regardless of fidelity, then yes, I normally make sure it is something that is guaranteed to sound good with high-impedance headphones and an amplifier, either in FLAC or OGG (my personal codecs of choice). I normally download music, because I'd be broke if I bought it all, and even then I go out of my way to look for HQ links, even if it is a band I'm not that invested in. Not to mention avoiding most remasters no matter what. The dynamics normally get butchered and that can make looking for lossless versions of original mixes hard and annoying (looking at you, Genesis).

    19 Sep 2014 Reply
  • ligoo

    http://www.metal-fi.com/interview-digby-dig-pearson-of-earache-records/ example: http://earache.bandcamp.com/album/left-hand-path-full-dynamic-range-edition

    25 Aug 2014 Reply
  • Sanity_Theorist

    So does anyone else find that production quality affects what CDs they buy? I'm more likely to buy albums that don't sound like mp3s for streaming lately.

    22 Aug 2014 Reply
  • Sanity_Theorist

    Persefone fits this pretty well...but the two Hurt Vol. albums are wonderful subversions!

    14 Aug 2014 Reply
  • introvertical

    Animals as Leaders. I really want to enjoy them but the production sounds so sterile and lifeless that I find myself becoming irritated by their music.

    17 Jul 2014 Reply
  • cholero

    Let's hope that Neil Young's PonoMusic brings record lables to release music with higher sound quality than they do today (better mixing and recording, just 192kHz/24bit doesn't mean better sound).

    16 Mar 2014 Reply
  • metawirt

    @rettrou: Why the TT Meter doesn't work on vinyl

    9 Nov 2013 Reply
  • rettrou

    Arctic Monkeys' vinyl master has a DR of 12, while the cd is DR 6. http://dr.loudness-war.info/index.php?search_artist=arctic+monk&search_album=am

    4 Oct 2013 Reply
  • Pirate-FLAC

    Last albums of ARCTIC MONKEYS, NINE INCH NAILS, PLACEBO: all much too loud :-(

    3 Oct 2013 Reply
  • Izhorian

    just listened some recent pop songs to try them out and indeed, annoyingly loud all over.. They sound louder at 25% of volume on my speakers than the music i normally listen to does at 50%

    2 Oct 2013 Reply
  • Sanity_Theorist

    Biggest examples: the past two Alice in Chains albums. Great music, shit production, which is surprising given how awesomely mixed Degradation Trip is.

    13 Jul 2013 Reply
  • JBThazard

    Crapsical

    23 Jun 2013 Reply
  • vitos

    Brickwalling in classical would create a need for a new name for such 'classical' genre. Any creative stupid ideas? ;)

    17 Jun 2013 Reply
  • KeIemvor

    I'm just happy there is no brickwalling in classical music... it must be really bad for fans of extreme metal.

    16 May 2013 Reply
  • JBThazard

    I'm a day late, but... http://dynamicrangeday.co.uk/

    24 Mar 2013 Reply
  • PiNa1971

    Are you guys aware of Unmasters? What they're trying to do is re-heating the already cold pizza. Yeah the pizza gets warm but not that tasty at all. Still a good try though. http://unmasters.wordpress.com/

    31 Jan 2013 Reply
  • Youraei

    Woohoo! 600 members!

    30 Jan 2013 Reply
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