Interesting perspective on the Loudness Wars

  • Thread starter Thread starter miroslav
  • Start date Start date
Then it'll turn into flatness wars instead since the peak levels will determine how loud the mp3 gets played by the player the tunes with least dynamic range will be loudest in playback volume
 
Bristol Posse said:
Then it'll turn into flatness wars instead since the peak levels will determine how loud the mp3 gets played by the player the tunes with least dynamic range will be loudest in playback volume
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too late......
 
Bristol Posse said:
Then it'll turn into flatness wars instead since the peak levels will determine how loud the mp3 gets played by the player the tunes with least dynamic range will be loudest in playback volume
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What I recommended in the past (and still do) was that the meta information in the file include a flag bit set by the publisher whether to turn the AGC on or off as a default when playing that file. That way the artist (or label) could make their own decision as to whether they wanted to sell the track on it's fidelity or it's loudness. This flag would set the default playback mode for that track, but the user would also be able to manually swicth between them as desired on playback.

Also, to the best of my knowledge, there is no standard now or planned for the specifications behind the AGC circuit. It should stay that way, allowing the various 'ware manufacturers to compete on the quality of their circuit; the better the algorithm/circuit, the better balance it will find between quality of sound and loudness.

I could even see a possible three-position AGC on the player; Off/LoudQ/Crushed, with "Off" giving the natural dynamics of the file (or disc), "LoudQ" being the best balance, and "Crushed" being for the tin-eared, ear-bleeding headbangers who just want everything at -1dBFS RMS.

The artist gets to make their mixes as dynamic as they want, the producer/label gets to make their default smashing if that's how they want it to sound, the user gets to choose the one they want, the manufacturers get a new way to compete and sell their product, and the music can survive in non-crushed form. Everybody wins. :)

G.
 
If this is true then you could make songs with REALLY low RMS and then hit them with a POP at the end and blow up their stereos. can't wait !!
 
FALKEN said:
If this is true then you could make songs with REALLY low RMS and then hit them with a POP at the end and blow up their stereos. can't wait !!
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AGCs include fast-attack signal limiting (the "G" stands for "gain"). Such pops would be brick walled. Sorry to "pop" your bubble ;).

G.
 
SouthSIDE Glen said:
The artist gets to make their mixes as dynamic as they want, the producer/label gets to make their default smashing if that's how they want it to sound, the user gets to choose the one they want, the manufacturers get a new way to compete and sell their product, and the music can survive in non-crushed form. Everybody wins. :)
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Will that come with a "Turbo" button :confused:
 
noisewreck said:
Unfortunately unless it's on a blow up doll the marketing guys wouldn't allow it. :p
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True. They'll probably want to call it the "Professional" button :rolleyes:.

...come to think of it, they could probably use that on a blow up doll too. ;)

G.
 
If that means that we can start working on making recordings that actually sound good (and then leaving it up to the consumer to wreck it), I'm fine with that...
 
Massive Master said:
If that means that we can start working on making recordings that actually sound good (and then leaving it up to the consumer to wreck it), I'm fine with that...
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Does that mean we get to throw 8 track cartriges out our Shelby Mustang windows again, because the match book cover wasn't making it play anymore, not to mention being "awed" by how much tape was really in that little plastic box as it strewed out for an incredibly long distance, whiletz zooming down the highways and biways? :)
 
mixmkr said:
Does that mean we get to throw 8 track cartriges out our Shelby Mustang windows again, because the match book cover wasn't making it play anymore
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LOL, I forgot all about that matchbook trick! Man, I think you just opened up a floodgate of repressed memories... :eek::D

...unfortunately none of them involve a Shelby Mustang :( The closest I can come is a '66 Chevelle with the 8-track tucked under the driver seat. A far cry from a Shelby :( .

G.
 
SouthSIDE Glen said:
LOL, I forgot all about that matchbook trick!
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I had the 8 track from the band "Free" I remember doing this with.
Don't remember the Shelby, that would have been nice except for all the more speeding tickets I would have got. Had a Chevelle also with a 8 cyl in it, which wasn't so bad.
 
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Waltz Mastering said:
I had the 8 track by from band "Free" I remember doing this with.
Don't remember the Shelby, that would have been nice except for all the more speeding tickets I would have got. Had a Chevelle also with a 8 cyl in it, which wasn't so bad.
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Very cool! I bought mine quite used; it was already about 11 years old when I got it. It only had a 283 V8, so it wasn't exactly a monster pony, but I psyched a few people out of a drag race by replacing the valve covers from a 327 that had the 327 logo on them. When we all parked at the local White Castle, to compare rides and talk trash, we'd all pop our hoods while sitting there eating sliders. The valve covers (with the "327" logo hand-pained a bright orange ;) ) fooled anybody who couldn't tell the difference otherwise :D. But -60-width tires with deep-dish Cragar SS mags all the way around, this teenager was happy enough ;).

My problem 8-track that I remember was The Moody Blues "A Question Of Balance". Though I'm sure their were many more since the crappy Craig 8-track I had was just lying loose under the driver's seat; every time I stepped on it or slammed the brakes, the thing would go sliding back and forth on the floor, bumping into anything that got in the way :p. Ah, the good ol' days :D.

G.
 
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