![]() ![]() Although back then it still could have been viewed as an artistic expression, an audio gimmick if you will- but what followed in the music industry after that was a race head on to a brick wall. I do own a degree in the history of popular music, but I think that the loudness war has been started by by Butch Vig in 1991 when he made the decision to make that opening guitar so loud in "Smells Like Teen Spirits". #Linux mp3 gain fullI leave in an Eastern Europe country and full scale loudness war came to us 10 years after initial shoots. I shave started noticing this very clearly around 5 years agoĪt first I thought than only some of songs in my collection were messed up- but after a couple of months I was absolutely sure that not some but almost all Yes, that was exactly what I had in mind. Just compare any good recording made in the 1980s to a newer remaster (take any good Jazz or maybe Floyd album), I think it can be heard. ![]() Here’s a short In my eyes, much of the dynamics are lost due to modern "loudness war" over-compression techniques. The only way we could experience the real potential of music (again) would be if producers started using their LU meters and make good productions with less compression and a higher dynamic range again. I also talk to a lot of musicians and bands-some of which are really not happy to what’s done to their music in production just because of what marketing guys tell their labels about "sellability". Unfortunately, there is still the idea of "the louder the better" in the heads of many, even sound engineers and producers, thus depriving us of much detail that really could be present. Sound engineers in production use (or should use) the same algorithms and typically measure short term/momentary LU/LUFS loudness units (as opposed to the VU meters used in earlier times). Loudgain (and other tools) typically measure the integrated loudness of a program (track/album). A "program" as spoken of in EBU documents, can be a single track or sound file as well as a 2-hour set with ReplayGain, this would typically be a single track and/or album.Īnd no, there aren’t currently any "overall" ReplayGain tools that would adapt during a program. The idea behind this is to give a lot of headroom for real dynamics (ex: percussion), without clipping, and still give a psychoacoustic model where every part of a program is experienced at "the same loudness" (i.e., no more fiddling with the volume knob). The EBU standardises on a relatively low "center level" of -23 LUFS (-18 LUFS to be used with ReplayGain 2, this is defined to approximately the same as the olden "89 dB" setting of the ReplayGain 1 algorithm). There’s lots of documentation and technical details about loudgain to be found on its GitHub page and also an entry in the Hydrogenaudio In my eyes, much of the dynamics are lost due to modern "loudness war" over-compression techniques.
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