https://www.nytimes.com/2019/02/07/opin ... e=Homepage[...]
Several years ago, Chris Johnson, an audio software developer, tested a theory, espoused by some anti-loudness activists, that the hyper-compression roiling the industry was partly to blame for shortened careers. Using a list of all-time best-selling recordings, he rearranged them by “commercial importance,” assigning each a score derived by multiplying an album’s number of platinum certifications (how many millions sold) by the number of years it had been on the market. These were records that were not merely popular — they also displayed longevity. He then used software to analyze the sound waves of each album.
His findings revealed they had a common trait: these albums, even across genres, had extraordinary dynamic range. The most commercially important albums, he wrote, featured lots of “high contrast” moments, when “the transient attacks of instruments” — very brief outbursts of high energy — were allowed to stand out against “the background space where the instruments are placed.” This was especially true for vocals and percussion (one of the more intriguing similarities, from Michael Jackson’s “Thriller” to Pink Floyd’s “The Wall,” involved what Mr. Johnson called the “hit record drum sound”). Loudness has its place, but most of us like our music to have breathing room, so that our eardrums are constantly tickled by little sonic explosions. In a tight, compressed space, music can get asphyxiated.
Topping Mr. Johnson’s commercially important list, just ahead of Led Zeppelin’s untitled fourth album, was the Eagles’ “Their Greatest Hits (1971-1975).” “It’s gratifying, but unsurprising,” Mr. Johnson wrote, “to discover that the single most commercially important album in R.I.A.A. history contains some of the most striking dynamic contrasts pop music’s ever seen.”
[...]
The war never really ended, but it has evolved. Streaming services like Spotify now “normalize” the music’s output, so that we aren’t always adjusting our volume settings. This should lessen the incentive for mastering engineers to abuse compression. But according to Bob Ludwig, one of the industry’s pre-eminent mastering engineers (and a winner of Grammys for Best Engineered Album for artists like Alabama Shakes, Beck and Daft Punk), this hasn’t stopped mixing engineers from ladling on the loudness, reducing the dynamic range of the music even as the streaming normalization defeats their purpose. “The loudness war is worse than ever,” he recently told me. “It is a super-discouraging situation.”
[...]
They don't make music like they used to
They don't make music like they used to
This is a fairly involved article. I'm a pretty critical reader but I couldn't find anything to nitpick on this. Maybe one of our experts can read it in its entirety and weigh in (link at bottom). I was surprised to see ChrisJ featured prominently in the article -- I probably shouldn't have been.
It used to be that you wanted to be louder than other people in the A&R meeting or the programming meeting, or (to a much lesser extent, with all the compression anyway) on the radio.
Now that everything is going to be shoehorned to the same levels anyway, those reasons are really gone.
But there are still two remaining "reasons" for the loudness war:
1) you still are competing sometimes in mix war shootouts against other mixers or even just the rough mix, and the louder mix tends to win
and
2) people have become just addicted to the SOUND of heavy limiting, as though that's a part of sounding "modern" to them (much like AutoTune isn't really so much about "fixing" things anymore in pop music but has become the vocal sound of 'hits'; nauseating as that is)
I'm not saying any of this is GOOD, mind you
Now that everything is going to be shoehorned to the same levels anyway, those reasons are really gone.
But there are still two remaining "reasons" for the loudness war:
1) you still are competing sometimes in mix war shootouts against other mixers or even just the rough mix, and the louder mix tends to win
and
2) people have become just addicted to the SOUND of heavy limiting, as though that's a part of sounding "modern" to them (much like AutoTune isn't really so much about "fixing" things anymore in pop music but has become the vocal sound of 'hits'; nauseating as that is)
I'm not saying any of this is GOOD, mind you
Thanks for the clarification, Weedy.
I am not the defender of smashing the life out of music, but you asked to nitpick, no? 
So...
I don't really get the metric. Why multiply by the number of years? This already will skew things in favor of older records.
There is a hypothesis that the reduction of the dynamic range contributes to the decline in sales, or to put it differently, more dynamic records sell better.
I do agree that the limiting might be one of the reasons for the decline in music sales.
However, if you combine the increase of the loudness over the years (fact) and a metric which favors older albums you're guaranteed to get a positive correlation.
What would be interesting is to check if the best selling pop-albums in the last 15 years are indeed those which have more dynamics.
So...
I don't really get the metric. Why multiply by the number of years? This already will skew things in favor of older records.
There is a hypothesis that the reduction of the dynamic range contributes to the decline in sales, or to put it differently, more dynamic records sell better.
I do agree that the limiting might be one of the reasons for the decline in music sales.
However, if you combine the increase of the loudness over the years (fact) and a metric which favors older albums you're guaranteed to get a positive correlation.
What would be interesting is to check if the best selling pop-albums in the last 15 years are indeed those which have more dynamics.
-
Bob Olhsson
- Posts: 180
- Joined: July 6th, 2017, 2:02 am
- Contact:
When Bob Orban was researching the effect of broadcast processing, they found that most people change the station after a minute or so of any uber-smashed recording they aren't already really in love with. The folks at the labels know this but they've signed "complete creative control" over to the artists in their contracts.
it's actually been my experience that the artiste can be happy but then the A&R weasels will ring and ask why this record isn't as loud as ____
-
Bob Olhsson
- Posts: 180
- Joined: July 6th, 2017, 2:02 am
- Contact:
You cant win! :-(
exactly
they don't make A&R weasels like they used to!
Who is online
Users browsing this forum: No registered users and 7 guests