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Dude, weak straw man.

There is a market to seize if you are a mastering engineer working on other people's stuff...A huge parade of people with the wrong idea asking for loudenation. That applies to maybe a hand full of people on this board. There is no market to seize by making your own music loud. Other...

I don't have it in me today to fight this one. I'll just leave it at this: It is patently retarded to believe that professional music is not permitted to vary in volume to the point were even percussive hits don't rise above anything... even in pop genres that depend on percussion to drive the...

I'm not arguing that modern stuff isn't all loud all the time. I'm arguing that there is no reason for it to be all loud all the time. This loudness competition simply doesn't exist no matter how many people are showing up with their entries. In the real world, people are competing against...

Dude, I LOVE this about movies. Quiet is supposed to be hard to hear and loud is supposed to be shocking and uncomfortable. That's why it's called quiet and loud instead of low medium and high medium. I live in a house with a few feet of yard between me and the neighbors so I can get away with...

Somebody needs to point me to this competition. I keep looking for it but I can't find it. Anyway, I've got a full-scale square wave at 2 kHz that is going to blow the judges away.

Is this a trick question? One.

I don't want to upset any copyright rules, but this is such a perfect example... So here is just a few seconds of a Medski Martain and Wood song from their "Tonic" album. http://dl.dropbox.com/u/3423276/MMWSevenDeadliesSample.wav The entire album was recorded live with a single (stereo)...

There is no moral question here. It is simply a question of the song sounding bad. In order from bad to good: Dude who can't play Dude who can't play cut up and quantized Dude who can play cut up and quantized Dude who can play Put your morals to rest because your ear will point you in the...

Like I said, the meter in your DAW is the instrument's signal + everything else being done by the DAW. If a fader is raised in your DAW, that will show up on the DAW meter. If you have a compressor or EQ on the track, that will show up on the DAW meter, etc. The meter on your input shows only...

This is a common myth, and it's a bit of a problem. Don't record that hot. Record with the peaks around -18/-12. The mixer on your input shows just the signal you are recording. The mixing in your DAW shows the recorded signal + everything you are doing to it (faders, plugins, EQ, etc)...

EQ your drums by tuning the lugs and hitting with the correct power and snap in the correct location. By the time it's recorded, any additional EQ tweaks could literally be anything. There isn't even a ballpark EQ setting.

The equation definitely changes when you add attack and release, but I'm willing to bet that the principal remains the same. As a test, drastically change attack speed while leaving everything else the same and see if the automatic makeup gain changes. I'm willing to bet makeup gain goes down...

Makeup gain is likely tied to a hypothetical "loudest possible signal" that could get through. Let's assume instant attack and release to simplify. So... Say you have a 1:1 ratio and a threshold of...well threshold doesn't matter at 1:1. The loudest hypothetical signal that can get through is...

It's a compression issue, but not the way you think it is. Those mixed beats were compressed pretty hard. Every time a drum hits, the entire volume of everything else dips in volume for the tiniest fraction of time. Because the entire mix is compressed together, everything has the same...

Gottcha'. Agreed.

Play the toms softer. Not realistic? Give him the business until he hits the toms softer. It's not rocket science. It's practice. You're barking up the wrong tree. Start barking at your drummer.

I don't know where the idea that dynamics are only for audiophiles came from, but it is a cancer and it makes no sense. So scales, melodies, and chord structures can be understood by pop fans and can be used in pop music. Syncopation, compound beats, harmony, and arrangements featuring 15...

Ah... I bet your ass got Fletcher-Munson'ed. Equal loudness curves and all that. Try playing the mixed version with the buried vocals on the monitors you mixed with at the same volume used for mixing. If the vocals become unburied, then you were probably a Fletcher Munson victim. If they...

I failed at my communication apparently. I love compression. Compression is awesome. And I would never suggest that a "nothing but faders" mix is anywhere near a finished mix. And when it is time to mix by all means use every compressor, eq, automated fader, delay, etc that you need. But...