At 5/24/12 02:47 AM, DJDela wrote:
At 5/24/12 12:52 AM, DJEarRape wrote:
I don't really see the point of heavily clipping tracks unless you want a lo fi sound...Who mentioned anything about clipping.
Compression =/= clipping
It's relevant, though, number of samples clipping in modern productions is signifigantly higher.
There's alot of issues at play with the Loudness Wars. There's the fact that very few people in a Record Label know anything about music other than it's supposed to make them rich, so they think it's like advertising a product - the music advertises the CD. So they, like all marketing mooks, expect louder things to catch peoples attention more. The artist has similar expectations and so does the manager. So everyones all for slamming it, basicly, and the engineer is there to satisfy the client.
The perceived issues come from a few things - the waveforms are often hitting 0dbFS a couple of times a bar. The problem is that these points may not be the peaks of the physical waveforms and when the D/A tries to recreated them the internal amplifier can actually clip regardless (The guys who made your CD player didn't expect the signal to go over 0dbFS, funnily enough).
Secondly many digital limiters and compressors suffer from aliasing and IM distortion issues, which adds alot of artifacts.
Thirdly the use of white noise to act as a sort of "DC offset" to the ear is particularly fatigueing. I find this sort intense sidechained white noise very unpleasant.
Fourthly the mixes are made extremely bright in the mids and particularly the upper mids (5-7KHz, around where a Babies crying is most prominent) and we subjectively hear this quite well. But it's actually fairly sore after a while. I've met people who praised this sort of mixing style and yet wouldn't even touch a set of NS-10's, too midrangey.
Fifth point is that the loudness wars are actually over, the EBU have set out a standard for Loudness Units which will prevent marketing material being at a much higher perceived volume than the content itself. LU meters should become more and more common over the next few years. This is a whole new set of headaches for many engineers, but it actually ties the mooks hands. Quite music will be boosted relative to loud music, loud music will be turned on. Turning up your radio for Bohemian Rhapsody only to get deafened by Bad Romance will no longer be a risk.
Last point is that alot of the features people hate about the music is to do with production and not compression. Stupidly big sidechains, a lead singer spewing sweet nothings into a U87 (Slammed to bits) with a short delay autotuned to fuck, stacked sawtooths, white noise and a I-vi-IV-V twenty times in a rowis a different kind of fatigue to fatigue from compression. Probably shouldn't say this, but I hate this constantIn-Da-Cluuuuub faux Eurovision bullshit. The lyrics and videos are laden with product placement, they promote and intensely negative culture and offer a version of life based around that doesn't exist. To be honest, Adele did well to keep as far from that aesthetic as she has. But I think if she was thinner they'd have paraded her around like a cheap sex object just like the rest.
And the music sucks, too.