Noise harassment
wikipedia for Poles
Loudness war (pol. war of volume) – a trend in modern music manufacture to record, produce and distribute recordings of expanding volume and compression of dynamics. The intent of specified treatments is to see recordings as distinctive to others.
The compression of dynamics makes it artificially expanding in terms of the strength of sounds from the quietest ceiling, making overall the full track sound much louder, there is no longer any naturalness of the sound of instruments.
When comparing 2 recordings of different levels, it is likely that the louder 1 will be assessed as sounding "better and clearer". This involves the way in which the human ear receives different levels of sound pressure: the ability to separate between frequency changes changes changes changes with changes in acoustic pressure. The more the force increases, the more low and advanced the sound can be seen.
Raising the overall volume of the recording leads to the creation of tracks that are maximum loud from start to end. So the volume level is flattened and the music has a tiny scope of dynamics (i.e. a tiny difference between loud and silent fragments). A tiny scope of dynamics makes listening to specified songs tiresome.
This is seen by representatives of the music industry, e.g. sound engineers Doug Sax, Geoff Emerick.
The volume of the tracks was besides criticised by Bob Dylan, who stated: You perceive to these fresh records and they're horrible, the sound covers them completely. Nothing can be distinguished: neither the singer, nothing – just like the noise.
The same method (compression of dynamics) is utilized in all radio and tv advertisements (commercials are a fewer times louder than films.).
The second possible effect is the distortion of the sound, referred to as overdrive. The digital average cannot make a signal greater than its full scale, therefore, if the signal level is increased above this limit, the sound wave is cut.
Examples of albums where the phenomenon is peculiarly audible:
Christina Aguilera – Back to Basics
Lily Allen – Alright, Still
Arctic Monkeys – Whatever People Say I Am, That's What I'm Not
Depeche Mode – Playing the Angel
The Flaming Lips – At War with the Mystics
Metallica – Death Magnetic
Muse – Black Holes and Revelations
Queens of the Stone Age – Songs for the Deaf
Red Hot Chili Peppers – California
Rush — Vapor Trails
Santana — Supernatural
Sting – Brand fresh Day
The Stooges – natural Power (1997 remix)
The Death of Dynamics
author Torris
29-11-2007 11:11:01
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Let us examine and analyse this phenomenon in concrete examples.
1983
Bryan Adams - Cuts Like A Knife (A&M CD-3288)
The disc is an example of the early techniques of mastering Audio CDs. Undoubtedly, the biggest advantages of the CD format are a very wide scope of dynamics and the deficiency of sound and the first generation of CDs full exploited these advantages.
The digital CD format is internally limited to the maximum permitted amplitude, designated "0dB" or "100%". Unlike analogue media, this limit cannot be exceeded. Each effort to overdrive, or exceed this level, ends with a deformation of the sound wave (sinusoid is from above and down "cut", limited to the maximum permitted level). Early CDs were mastered with full respect to this limit (0dB), avoiding clipping.
Bryan Adams' album was mastered with quite a few "space" - the highest amplitude level on the full album is -2.52dB (74.8%) and occurs only erstwhile - on track number 9, whose illustration is moved below (left channel on top, right at the bottom):
1991
Amy Grant - Heart In Motion (A&M 75021 5321 2)
As usual in the planet of show business and large competition, it had to change and individual had to take that first step. Who was the first - it is not known, but the bad trend, moving towards degradation of CD quality, has already begun. In this peculiar case, the tracks from the disc not only repeatedly "beat" into the maximum allowed level of 0dB, but any of them are "cut off", and thus clearly overdrived (flated wave, cut from above or from below, due to the fact that it did not "enter" within the allowed scope of values). This is evident from the example of way 3:
In this case, 7 samples (i.e. the moments at which the sound was captured and recorded) form a flat line in a row - the effect of a collision with the "wall" the permissible sound volume level. A perfectly horizontal line, akin to this, never happens in the recording, unless it is the consequence of an intentional clipping operation. The effect of specified a "flatt" is simply a very unnatural, rectangular sound wave that gives a very unpleasant and rough sound erstwhile playing. The CD is 44100 sound samples per second. In this case, 7 samples form a rectangular sound wave, which is about 7/44100 seconds. It is far besides short to hear distortion, but if we increase the number of specified cuts in all second of sound, then the consequence will be more audible - this is called clipping distortion, which is very unpleasant distortion, caused by cutting the sineloid of the sound wave.
1999
Ricky Martin (C2/Columbia CK 69891)
After what was written, I guess you don't gotta explain what you see below. What is more, it will aid to realize why the song "Livin' La Vida Loca" is so annoying after a fewer moments of listening!
Radio volume myth
The above information shows that during all these years CDs have become louder. Does this besides indicate that radio stations were playing louder and louder?
No! No! Radio stations usage sound processors to level the volume of recordings. The silent recordings are publicized and the loud recordings are silent. But in case of besides loud recordings, the sound processor must suppress the sound all the time.
What about a regular listener?
A akin effect can be achieved at home with... volume regulator! You want to hear your music loud? You're turning up the volume. And you can perceive louder, with full dynamics and quality of musical material. And even Bryan Adams from 1983 can play louder than Ricky Martin's badly mastered CD - the choice is yours. But what if all the CDs are recorded loudly? Then there is no choice - you can't choose between "silver" and "louder".
Not only do the music companies apply distorted, dynamic material to CDs, making them pay dense money for it, but they besides want to force listening to the CDs in a certain way. Is that what we truly want?
Development: Torris, based on lyrics by Mike Richter and George Graham.
whole:
pl.wikipedia.org/wiki/Loudness_war
Top80.pl/death-dynamics-p45.html
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