It’s refreshing to hear Paul agree with something I’ve been saying for decades. Im 66, and lived my teen years playing and listening to loud rock music. But I also sang with choirs, and played with brass bands and orchestras. So I know a thing or two about dynamic range. In the early 2000s I produced a rock album which preserved the natural dynamics of the band. Just before release, the record company told me test listeners said it wasn’t loud enough. But I stuck to my guns, and explained to the clueless record executives what dynamic range was all about. It eventually got released as is, and got good critical reviews. It happened again a few years later with another band and record company. I not only had to discuss the issue with the record company execs, but one reviewer who said the album was too soft. I actually told them “if it’s soft, then turn the volume control up. That’s what it for.”
Paul, I’m 77 today and your description of the GTO with the 3 duces carbs was like to trip in Mr. peabody’s “Wayback Machine”. You are absolutely right about laud music.
My shipmate had a Roadrunner with 3 duces, I had a new Datsun 1600 roadster. We would go out into the back roads of Norfolk and have fun (and noise). I still remember passing some farm kids (on the other side of a deep ditch) who were yelling Git it Git it Git it. 'There is no substitute for cubic inches' I considered that when building up my home (component) stereo. Tuned Bass Reflex 👍 Smoothness was the goal. not Loudness (not that I could not crank it up. Do yo know how long it took back then to plot an impedance curve from 20-22K? Hours, just to prove I got the ports right).
29 years ago I was so amazed and desired to have those loudest subs in their cars that you can even hear 100 meters away, now at 52 I discovered that a simple cystal clear jazz music is enough for me to satisfy my ears.
The loudness war is over, we all lost. Dynamics be damned. It wasn't about streaming but it was about digital audio. Once digital brick limiters were introduced, everything got maxed out. If you don't use them, your stuff just won't sound like everyone else's, and not in a good way; in a "why doesn't it sound the same?" way.
I like a balance of loud and dynamic! Compression gives a track energy and excitement, allowing for sounds a spot to sit in the mix. No compression can lack said energy for individual sounds and can also cause unwanted fluctuations in volume. Overcompression can also sound terrible, with no feel and a barrage of noise in your face. Definitely a balance / compression in moderation is best for me.
Tbh if I didn't live in an apartment I would just turn the volume up until I had as much bass as I wanted. It'll get there lol. I think sometimes people don't give their ears time to get used to a certain listening level, but ultimately it's all about whatever u like
Yeah but that’s producing music to give it a certain sound, even if only to replicate how it sounded live before the studio mics got involved. Why jeopardise the quality of the recording just to make everything seem louder when every listener can do that for themselves using a volume knob & mo powerrrrr?
@bsadewitz yeah,I get you. Depends what music but for electronic stuff I think somewhat compressed gives everything a more whole sound that sounds like a finished production instead of a rough mix.
@anonimushbosh I used to think like you too but after lots of testing my ears preferred compression. Of course allowing peaks and dynamics to cut through. You can hear more detail, energy and groove. It's not compromising quality. I would argue it can make a better sounding output. Overly limiting on the other hand often sounds crap and can cause unwanted artifacts. But there's also a place for that too. Say, an overly loud spike in dynamics that can blow your speaker or hurt your ear. My belief is there are uses for compression, limiting and an appropriate loudness based on quality of sound as the goal (rather than loudness).
@bsadewitz the other thing for compression is limiting the dynamic range to an appropriate level. If too much variance, you won't be able to hear quiet parts and loud parts could wake up your neighbour's in the next Street. Sure you could ride the volume know during a track, but who wants to do that! I like to set and forget, at least until the next song!
I concur. I've seen it flashing in several videos, even when its off camera. Hope u can get it changed soon; or, perhaps choose a different room to film in.
The loudness wars are still a thing as they were on CDs and other media before that, it's just hidden because most streaming services have volume normalization enabled by default. But if you turn it off you'll find great differences in levels. It's a good idea to turn it off because most implementations degrade the sound.
A thing about streaming services. If you pull up a tune by itself and don't like the sound, go back and listen to the album on the same service. You might be pleasantly surprised.
@@anotheryoutubed At least some streaming services will put the song through different processing depending on the context of your listening to it. Usually louder when listening as a single but as part of an album the original mastering kicks in and you get closer to what the whole album was supposed to be in the first place.
@@InsideOfMyOwnMindI’ve noticed this on Spotify where albums i’m 100% sure have never had a remaster sound less dynamic than my old 80s CD. I’ll have to try it the equalization off.
Love the GTO story Paul. I'm 69 & had a dear friend who had a 1965 GTO/389/3-Deuces back in the day. Fastest car I've ever rode in. 140mph. I was a punk kid at 14 drinking slow gin & hanging out the window until grabbed my ass & pulled me back in. lol. Sadly he just recently passed. Great times.
Lol, when I was 18 (1998) I had a Ford Taurus SHO and topped it out at 137mph (which was top speed, drag-limited at ~5k RPM. With underdrive pullies to save the alternator, etc. from dying, u could raise the idle and top out at 160 @8.5k rpm in 5th by getting up to 137 in 4th first (that is, you could just drive at 8500, it would be fine as long as you changed the oil more often, etc., that engine was crazy), but 137 in that thing was enough for me haha) on I87 north of Albany NY. The speedometer went up to 140 so this post caught my attention--that number. The wind noise was UNREAL. I was comfortable doing 110-120 on a rural highway, but above that was kinda sketchy stock. My dad had a 68 stingray, but it got stolen out of his HS parking lot several months after he got it, stripped, and returned. That's awesome u got to ride in a 65 GTO. I've never been in a classic car like that before. I loved how 5th gear was literally just an overdrive. Right up to 137mph in 4th haha
Do you really think the election was decided on who was louder? And if you do, do you think someone who raised a third of the money was louder than someone who spent over a billion dollars and had the amplification of the federal govt? I'm not trying to get political; just responding.
I don’t know about any wars, but recording with little dynamics is still happening today. It’s a shame because it happens to recordings of exceptional voices, arrangements and instrumentation.
People with record with dynamics obviously, they do not print dynamics though. If you're not using the maximizers and brick limiters to max out volume, your stuff just won't sound 'as good' to the average listener. If you want to make music for musicians only, that only musicians will appreciate, you will be pigeon holing yourself to 1% of your possible audience. Good luck with that business model.
@@anotheryoutubed _"If you're not using the maximizers and brick limiters to max out volume, your stuff just won't sound 'as good' to the average listener"_ Absolutely not true. I have both the original pressing of "Brothers In Arms" and the 2012 re-release. The original was ripped from vinyl and has about 20db of dynamic range. The re-release has about 4. When I play songs from the vinyl rip alternatively with the same song from the re-release ... without exception my friends have always picked the original version as "better sounding' and "more detailed". I get that you're probably in the business of making extremely loud masters... but you gotta know that is NOT what anyone who truly enjoys music wants.
@@anotheryoutubed The entire point is that you are producing brick-walled crap that nobody really wants to listen to. Look around... there are dozens of places where the whole "loundess" thing is dumped on very savagely. Like most people I don't want some seriously loud, in your face, assault of butchered up noise. I want to hear the music as the musicians played it.
At 45, earlier this year, I got an offer from a friend on a 12" subwoofer and amp for the car, and my car had the wires all ready to go, and I got it it and connected it. So whenever I drive alone, there is a lot of bass pounding 😄 That's what I'm after in a car, the overpowering bass that just shakes your body. I don't think I will get tired of that. Also why I am saving up for the Apos Caspien headphones 😋
It gets a bit exhausting to listen to overly compressed music, it's like eating at McDonald's with that instant gratification that afterwards makes you realise that there wasn't any contrasts/dynamics in flavor and texture like a good homemade meal. Volume itself can also cause issues in some DAC's depending on its configuration, so some might enjoy normalisation of volume between different recordings on things like streaming services and others might have issues.
I completely botched his question. I thought he was talking about the ‘loudness’ button that we used to have on hi fi receivers. I recall the 1st stereo I bought straight out of college was a Marantz, I think it was called a 2252, had a loudness button. The various brands of that era were all fitted with loudness button that made the music, particularly the lower 3 octaves louder by 3db. Of course that was over 40 years ago when every stereo had bass, treble and sometimes midrange controls. Fortunately all of that is distant memory even though my kids still give me a hard time for not owning a cd player and listening to vinyl and R2R.
High quality amps back then usually had a tap on the volume pot that gradually phased out the loudness circuit as you raised the volume. I inherited my dad's Sansui au-9500, and it is like that. I love this thing.
Guess I’m a weird one. My first car was a 1974 Olds 98 regentcy broughm loaded. 455 with a 4 barrel That I had up to 105 miles per hour and still had more peddle left it went airborne over a set of train tracks so I didn’t push it any further. Just like the car my music must be comfortable too and have power also. Music without wide dynamic range and a amp to handle that range sounds like noise to me. Making the car doors vibrate is and never will be music to me. My favourite singer is Geoff Castellucci. Lots of dynamic range and volume
Loudness wars actually started way back in the late 50s early 60s. I remember a interview with Buck Owen's talking about mastering for AM radio and making his voice louder and to stand out by compressing the drums and bass so his songs would be louder on AM Radio.
Music made in the past 10 years is the best I've heard from a recording perspective. Voices are usually crystal clear and the music has a fullness and clarity that just sounds so well balanced. The mastering is extremely loud though. It's amplified right up to 0dB and the peaks of the waveform are chopped off. You can often hear clipping and it doesn't leave any headroom for equalization.
Trust me... there is a reason my pop music collection ends abruptly in 1998. Almost all music produced or re-released since then is just way too "in yer face" and driving loud to be considered anything but noise. The problem is that most people under 30 years old have likely never heard a properly recorded and produced album or song. For you it's normal ... for me it's like fingernails on a blackboard.
@@geminijinxies7258 At that point they had discovered the digital threshold at 0 lufs and they were pusing peaks to the edge of clipping. But when they started with the heavy compression and limiting, they ended up increasing the treble levels in the music while limiting mids and bass. Some of it was pretty hard to listen to.
When I was a teen CB radio in cars was the big thing. It had a PA function had a PA horn speaker under my hood that I could talk through. Talk about being a loud teen!
Around 2:00 your comments about the kid driving by with earth-shaking bass -- you're absolutely right. Once everyone was young, and often inconsiderate. With luck, some of that changes. Good for you! (P. S. I'm almost 85 and loud noises bother me, too.)
I love the story. As someone who has less "dynamic range" of hearing at 70ish than when 18, I went to many rock concerts and tortured my eardrums with Jimi Hendrix, The Who, Joe Walsh and the James Gang, and Ted Nugent in a very small venue. I suppose it is normal to the species. I still have a loudness button and use it with my current system when necessary.
Actually, streaming might be actively solving the problem. All streaming apps have a "normalize volume" or "loudness normalization" toggle, which disincentivizes the loudness wars
It seems like the habit of adding compression to everything isn't really going away, I remember watching a recent video (don't remember where) of a big music producer being asked about use of compression and they said they love layering lots of different compressors as if each one is a way to add their own flavor/creative spin. I find that insane but it seems to be gospel among some in the industry. Really it's just rationalizing old shitty practices that were introduced to make more money, not better art.
No it doesn't. We want to hope it will disincentive the loudness war but you misunderstand how maximizers work. Spotify can't UNMAXIMIZE a track, all they can do is set it at the same relative volume as everything else. But literally everything goes to 0 dBUFS so... Spotify isn't actually doing anything. If anything Spotify would be normalizing unnormalized tracks that get uploaded to the platform, so they're at a higher volume like everything else. You can't go backwards. You can't put dynamics back in after you take them out...
@@wellivea1 This has been done since compressors were invented and used... People have been running a 1176 into a LA2A for decades. The first compressor tames most of the dynamics and the second smooths out the rest so the vocal can sit right at the top of the mix the entire time. Hate to break it to you but engineers love bus compression once they finally start using it and learn how to use it.
@anotheryoutubed I know they love it, that was my point. Also, it's not just used on vocals. If they can't get the mix right without a compressor, that's just a poor recording. I guess we're losing that skill.
@@anotheryoutubed I think their argument is that tracks with a high avg volume will not actually be louder when flipping through tracks which is technically true but I'm sure music producers still believe that compression helps with numbers anyway. Making sure a song starts out loud probably also helps with people not skipping but I'm not sure.
Paul is right, well mostly. It started when FM radio went to rock, pop, what have you. Then came high performance car audio. Remember cars back then that most people bought, even stock, were insanely noisy inside by today's standard and anything below 95db got lost to the engine, the rattles, the wind noise, pick your part, it was stupidly noisy. Also many cars lacked AC so those windows were open. If you went to Dave's Car Audio and paid for a good time it had to be loud and if the FM was this wimpy sounding little feature that couldn't keep up with the car that just wasn't gonna work. FM was the goto for anyone who forgot to throw that cassette collection in the car before heading out. It had to be the "best." Just like the American food industry it had to have that bold, sweet, more addictive flavor or nobody was gonna buy it.
Paul, this reminds me of the Fletcher/Munsing curve. It states a human being hears different frequencies and different volumes. so, the lower the programming, the more higher and lower frequencies have to be increased. BTW, a good example of the loudness war is motor cycles. A lot of the owners, for some reason think by running straight exhaust pipes. Very loud, very objectionable. (to me). ha ha
Love motorcycles. Dont love folks runnin their bikes with straight pipes. Sound of some motors can be enticing, but not at 120+db through the single intersection of a quiet mountain town w/ restaurant patrons and pedestrians about.
I remember years ago, back before cell phones that AT&T advertised a dramatic increase in SQ over their phone lines. What was this amazing technical process that achieved it? They boosted the bass and increased the volume.
It is ironic that CDs came on the scene with the design intent of increasing dynamic range and SNR only to have the loudness wars take over. There is in general an end to HiFi for most people as you don’t need big speakers to play compressed music, any many just listen on their phones or small speakers. There are still some that care and we are in the golden age of recording and playback technology.
Correction: AM radio is when it started. AM = Amplitude Modulation. Truly, the higher the amplitude (loudness), the more power the transmitter is transmitting, and the further your station would reach.
If you remember, in "Back to the future 1" Marty McFly and his group were cut off because they played "loud". Not because they sucked at playing but because they were "too darn loud". 😅
Streaming is very relevant: the fact that your master will be normalised down to -14 LUFS makes it much more obvious that competing on loudness is pointless. To be clear, it was always pointless, because you get normalised manually if not automatically! But my impression is that the loudness wars are easing off, and I think streaming normalisation is the main reason.
you seriously do not understand maximizers, at all. You cannot put dynamics back in. Lowering the master fader -14 dB DOES NOT CHANGE THE DYNAMICS OF THE TRACK! ALL OF YOUR MAXIMIZING CHANGES ARE STILL GOING TO BE THERE!!!! You don't understand this, at all!
@@anotheryoutubed Do you understand LUFS (Loudness Units Full Scale) ... it's an alogrithmic way of comparing perceived loudness. These streaming services aren't normalizing to -14db ... they are normalizing to -14lufs ... so that most of the music is perceptually the same loudness. Now if you're dull enough to produce a brick walled recording that has next to (or actually) no dynamic range... that music is going to have an average level of 100% and it's going to get turned down a LOT more than -14db ... making it actually less loud than properly mixed and mastered music. I know full well all your compression and limiting will still be there... and I laugh whenever I see it drive some crappy unnatural sounding piece of loudness trash practically silenced by the algorithm.
@@Douglas_Blake Bro you understand literally every use of dB ever is a logarithmic scale yes? You can't put dynamics back in.... Spotify lowering the 0 dBFS to -14 dBFS WILL NEVER PUT DYNAMICS BACK IN!!!
@@anotheryoutubed Yes I know that ... but lowering it by -14lufs will take that song out of the playlist for many people. So maximizing (which is a stupid thing to do) actually backfires on you.
Re streaming: Streaming companies are foghting the loudnes war by a reqiuerment for restrictimg the maximal loundness level of each track. Typical limitaion is -14 LUFS. They reduce A louder track to that level, so a -10LUFS track is played "choped" at -4dB le vel. On other hand a -18LUFS track is played with no bossting, meaning that a higher dynamic range track is kept as is.
I think that the loudness war claim is BOGUS! Compression actually did the listener a service. Noisy cars, 8Track or cassettes in the car NEEDED compression to help keep the music audible. Compressed music gave the customer a listening experience that would not have been there without it. Today we have SOME quieter cars but still can not safely focus while driving.
I can tell you that if I listen to radio in the car I have to reduce the volume compared to the music on my usb stick which mostly isn't compressed or clipping.
@anonimushbosh . Bingo.. ok lets discuss the rurddles associated with making a top shelf sq system... next lets clear the chalkboard and draw a winning spl system..ok . Then we get serious..IF YOU CAN DO BOTH. Ur above most people that proclaim that their smart. And if you can do that you spend 5 more years design a home theatre system..and finally have a system that can do it all. Compromises..but its the goal.
Want to know what the loudness war was all about? Look up some of your favourite albums or songs on the "Dynamic Range Database" ... you might just be surprised how bad it got.
Take the "Dynamic Range" measurements in the database with a grain of salt. I'm not sure what they are measuring but it is not the true dynamic range. I've measured recordings that have zero compression on them and their tool was telling me it was very compressed. I think it was Handel's Messiah. It was recorded with 2 mics into a 2 channel mic pre and straight to two track, the level was raised so that highest peak a was about a half a dB below 0dBFS the beginning and end was trimmed. That was the total extent of the processing and when using their measurement tool it told me 7 dB of dynamic range. I use little to no compression even in rock recordings, typically, bass and vocals only. I don't like buss and master channel compressors, so I don't use them, any final compression is a slight amount done by the master engineer for the final release formats. Of course vinyl releases are always heavily compressed and EQ'ed, and barely resemble anything I heard when I recorded it. But, some people love that sound.
@@dannelson6980 I don't disagree. From what I understand they calculate the lowest level and the highest level that lasts more than half a second and the ratio is the dynamic range. It's not necessarily a scientific examination, but as long as it's applied consistently it does appear to give a fair comparison. I've used it mainly to filter out brick walling of rock and blues "classics" and as far as I can tell it gets the job done.
All deciBel figures need a reference, though in some cases the reference is implied by the context rather than being explicitly stated. The phrase "-12db rms" has no actual meaning in Any context. And even if it did, it should be properly capitalised as in "-12dB RMS".
the gain riding conundrum. the answer to not having decent dynamic range or a detailed system to reproduce source material accurately. there is no accounting for lack of taste or inability to do a decent recording. qualifiers for each at your discretion.
Sure buddy, and the tens of thousands of #1 records that don't have a huge dynamic range are all wrong because random youtuber commenter says so. Hilarious.
No the loudness war was a competition to be the loudest song on the radio. They used massive levels of compression and then cranked it up into the limiters, resulting in horridly distorted music with almost zero dynamic range. I think you're thinking of the switch on many vintage receivers ... it's not about that.
Streaming is not the cause of loudness but it is neither the solution. Lately I have been hunting down the first CD editions instead of remasters of my favorite bands. Bliss. Talking about real music not the muzak audiophile labels produce😉.
Except that... Some early CDs were also terrible-sounding for one reason or another. It depends on the individual title, making generalizations useless.
@@spacemissingthe very early, early CDs many had issues. I think once the format settled in from around 85’ to the mid 90s is when you usually can’t go too wrong in picking out a random CD and it sounding good.
Not just the loudness Wars it's the pitch correction now! that is just used willy-nilly all the time even in live concerts, you might as well have AI singing it. Artists wake up you need to step in say no I don't want it, otherwise you'll be taking over by AI because you sound both the same at 440Hz. stop!!! pitch correction! and auto tune. if you can't sing you shouldn't be in the industry. I hope octave records don't use pitch correction please tell me you don't but I got feeling you do!
Don't you love it when you're at a gas station and some yahoo pulls up with everything on the car rattling from the long excursion subs maxing out and everyone there getting gas cringing from the rap artist's many expletives ringing out across the parking lot, yikes.
The loudness-wars has caused a general mixdown-sound in every genre. It's the worst thing about current music. I understand you need to be loud enough for commercial reasons. But this is so beyond ridiculous now, besides the fact the new generation just sticks with it. As if it's a 'thing'. They want that cinema-sound with a stereo setup, and it sounds flat as hell. But they love it.
Something most people don't think about. In the 70s and 80s, most vinyl had about 1% to 2% distortion embedded into the recordings. Modern music with it's compression, limiting, autotune, quantization, etc. can reach 30% distortion, very easily. Next time you find yourself fussing over 0.001% and 0.0001% distortion from your playback equipment... just think how much distortion is coming right off your CD or Digital files.
Great flashback Paul! 😆 BTW kiss the ground Donald Trump walks on. I see you're one of the bubble people Paul. Do yourself a favor, get a pin and pop it now!
dynamics are rude miseducation. my mother couldn't watch mother films because the sudden loud explosions frightened her so could have a heart attack. i don't find funny the abuse of dynamics they do, neither in classical music. if i want to play loud mozart against the neighbours i don't want them to only listen to the peaks but the entire thing and you only get that homogenity by using at least 3 compressors. i don't see any joy whatsoever in the inconsistencies of volume. not even in piano, reason why i built a midi piano without dynamics so i don't have to fix the weak pinky finger in postprocessing. nowadays if you don't have a home studio with daw and plugins you are obsolete and missing the joy of a better music.
_"dynamics are rude miseducation."_ Dynamics are what music actually sounds like. I get using a compressor for your mom. But to do that to classical music is just a sin.
@Douglas_Blake i should redo and fix the entire classical music. i don't have to accept how the world makes the things bad. i open all songs within the cubase and my way to go one size fits all is the plugin Waves C6 Sidechain Stereo, used twice. i can easily draw the EQ and the amount of compressor for each portion of the EQ. if movies are set up blue, i don't have to accept it, i can make the colour back to normal. same with their colouration of equalizations. my taste doesn't necesarily matches the taste of the artists nor their new remastered editions. not only that but as a owner of 25 teras of kontakt vurtual instruments i don't have to listen to classical music that has REVERB. i can use the daw multitrack and panoramize super nearby close instruments that actually sounds higher quality. the physical impossibility of all them near is posdible thanks to the daw. and not only that but just droping the midi file which has the notes and rhythm i can set the bpm at half the speed which is the real speed mozart and all the classics intended to be, as demostrated by wim winters. and not only that but i can AVOID violins. i can use other BETTER choices of instruments, like ethnic timbres or other moder COMBINATORIES of timbres way more musical than the typical and boring orchestra. and i am actually doing that to Heydn sonata 36 in c major, 27 minutes long, where every sentence, that is less than 2 seconds has a different combination of timbres because i spent one hour of work per second of song in order to decide which approximately 3 % will not be muted out of the 111 total tracks, copies of the same syncronized song but with different dry nearby ethnic or modern virtual instrument that sounds WAY better than the reference boring piano version. and then i will overproduce it with plugins. in a candy for the ears amazing sound. i am at 20th minute and maybe i will make it double work by doing it all over again for the other ear. we do can do it better than the music of the past.
@@Douglas_Blake well, the band europe themselves said thank you to my reconstruction of The Final Countdown, because i do erase the parts so other parts who used to be shadowed now are brought back to life. and so the director of nirvana's smells like teen spirit was amazed by my restoration , both the green image turned into normal and the microphone colouring back to realistic, he said thank you i improved the sultans of swing far way better than the original, and my michael jackson's humn nature is twice as good as the original, as told by everyone who heard it. in the 80's and 90's we used to be passive, just consumers, costumers, watching tv or listening to the radio, we were the audience, and the media decided our taste what the mass was going to worship. not anymore since 14 years ago thanks to the revolution of the democratization of music, anyone can make music better than the celebrities, both original music or restoring material. i once turned the unintelligible speech by the queen of england at her 16th birthday into a pristine recording, by using this smart softwares called plugins, and my source was a poor quality youtube video. this technology makes us the midas king, we literally can turn into gold any turd. i don't even have to accept this video's sound i can touch the touchscreen of my korg kaoss pad on the fly and make multisamplered mocking in the style of daft punk. audiophiles are obsolete and are losing the glory and joy of manipulating the music to match your taste. this is the next level of the EQ of the 80's hi-fi. change the source. the song itself. get the multitracks. become a musician, become the director of the band, the leader. swap the voice of luke skywalker to yours, if you want. we have the power over the audiovisuals. unyellow the simpsons.
@@arcadepiano Good for you. But I'll stay with my vinyl sourced Sultans of Swing with it's beautiful full range sound. Do a search for "OneMic Series", listen to some of the music. That is a one pass recording with no editing... what the musicians actually played. It's a real eye opener.
Loudness through compression, or loudness due to extra sub-harmonics, makes a huge difference in sound quality. The 2000 masters sound flat as hell in comparison with most modern masters with extra sub sounds. Plugins like Waves Maxxbass or LoAir do magic tricks to -9db average loudness masters in rock or hip-hop. It's like a dynamic sound with your subwoofer loud open. But like all things, too much is too much.
Decades of jumping to knee jerk conclusions with no evidence like you just did is exactly what led to that preposterous result in the first place! What makes you think Paul was referring just to that result and not to most of the candidates everyone had to choose from?
How about you keep your frivolous complaints out of the comments section and just deal with the fact that not everyone sees the world the way you do? P.S. enjoy the tariffs, you poor fool
Express your self if you want. However, telling other people what to say or not is quite different. There's too much noise out there. I repeat it louder: too much noise out there, so loud that I feel the political interference here. I could repeat it at 0 dBFS, although you might want some headroom to equalize (parametric equalization) the message and avoid clipping.
The Harris campaign spent 1.5 billion in the last 3 months of her campaign. I think this is the political loudness Paul must be referring to. I live in a swing state and my ears were bleeding.
For sure the tv commercial loudness wars are still going on strong.
Now it's compression wars too in music
There's actually laws for how loud commercials can be. Maybe it's time to report them.
@@geminijinxies7258 yeah buddy and the FDA and EPA care about your health, please wake up.
@@anotheryoutubed I believe it can be fixed but the problem is that most people don't know there's a law for it ready to be used.
The mute button is my friend
It’s refreshing to hear Paul agree with something I’ve been saying for decades. Im 66, and lived my teen years playing and listening to loud rock music. But I also sang with choirs, and played with brass bands and orchestras. So I know a thing or two about dynamic range. In the early 2000s I produced a rock album which preserved the natural dynamics of the band. Just before release, the record company told me test listeners said it wasn’t loud enough. But I stuck to my guns, and explained to the clueless record executives what dynamic range was all about. It eventually got released as is, and got good critical reviews. It happened again a few years later with another band and record company. I not only had to discuss the issue with the record company execs, but one reviewer who said the album was too soft. I actually told them “if it’s soft, then turn the volume control up. That’s what it for.”
Chinese Democracy album from Guns N Roses is a album with more dynamics than average. Mastered by Bob Ludwig
That fluorescent light needs to be repaired or converted to LED lights. lol. That GTO would worth a lot today, and be so cool.
There seems to be a blinky blink in almost every room
Paul, I’m 77 today and your description of the GTO with the 3 duces carbs was like to trip in Mr. peabody’s “Wayback Machine”. You are absolutely right about laud music.
My shipmate had a Roadrunner with 3 duces, I had a new Datsun 1600 roadster. We would go out into the back roads of Norfolk and have fun (and noise). I still remember passing some farm kids (on the other side of a deep ditch) who were yelling Git it Git it Git it. 'There is no substitute for cubic inches'
I considered that when building up my home (component) stereo. Tuned Bass Reflex 👍 Smoothness was the goal. not Loudness (not that I could not crank it up. Do yo know how long it took back then to plot an impedance curve from 20-22K? Hours, just to prove I got the ports right).
@@ChuckHeinze Hoping you had a go at Natasha while you were in there, or Boris if you prefer.🤣
29 years ago I was so amazed and desired to have those loudest subs in their cars that you can even hear 100 meters away, now at 52 I discovered that a simple cystal clear jazz music is enough for me to satisfy my ears.
The loudness war is over, we all lost. Dynamics be damned. It wasn't about streaming but it was about digital audio. Once digital brick limiters were introduced, everything got maxed out. If you don't use them, your stuff just won't sound like everyone else's, and not in a good way; in a "why doesn't it sound the same?" way.
I like a balance of loud and dynamic! Compression gives a track energy and excitement, allowing for sounds a spot to sit in the mix. No compression can lack said energy for individual sounds and can also cause unwanted fluctuations in volume. Overcompression can also sound terrible, with no feel and a barrage of noise in your face. Definitely a balance / compression in moderation is best for me.
Tbh if I didn't live in an apartment I would just turn the volume up until I had as much bass as I wanted. It'll get there lol. I think sometimes people don't give their ears time to get used to a certain listening level, but ultimately it's all about whatever u like
Yeah but that’s producing music to give it a certain sound, even if only to replicate how it sounded live before the studio mics got involved.
Why jeopardise the quality of the recording just to make everything seem louder when every listener can do that for themselves using a volume knob & mo powerrrrr?
@bsadewitz yeah,I get you. Depends what music but for electronic stuff I think somewhat compressed gives everything a more whole sound that sounds like a finished production instead of a rough mix.
@anonimushbosh I used to think like you too but after lots of testing my ears preferred compression. Of course allowing peaks and dynamics to cut through. You can hear more detail, energy and groove. It's not compromising quality. I would argue it can make a better sounding output.
Overly limiting on the other hand often sounds crap and can cause unwanted artifacts. But there's also a place for that too. Say, an overly loud spike in dynamics that can blow your speaker or hurt your ear.
My belief is there are uses for compression, limiting and an appropriate loudness based on quality of sound as the goal (rather than loudness).
@bsadewitz the other thing for compression is limiting the dynamic range to an appropriate level. If too much variance, you won't be able to hear quiet parts and loud parts could wake up your neighbour's in the next Street. Sure you could ride the volume know during a track, but who wants to do that! I like to set and forget, at least until the next song!
Your flourescent lamp needs a new starter 🙂
Yes, very irritating.
Imagine working there
Modern fluorescent lamps do not have starters.
I'm surprised the tubes haven't been replaced with LEDs. which would not flash that way.
The shoemaker's children always goes barefoot.
I concur. I've seen it flashing in several videos, even when its off camera. Hope u can get it changed soon; or, perhaps choose a different room to film in.
I loved the story, and I cam relate to it. When I was younger, I drove a very loud Camaro, now I have an appreciation for quiet EVs.
The one that made the most sense was heard in the political campaign. The one that was aiming for perpetual destruction was not.
The destructive forces are people like you trying to inject politics into irrelevant topics.
The loudness wars are still a thing as they were on CDs and other media before that, it's just hidden because most streaming services have volume normalization enabled by default. But if you turn it off you'll find great differences in levels. It's a good idea to turn it off because most implementations degrade the sound.
A thing about streaming services. If you pull up a tune by itself and don't like the sound, go back and listen to the album on the same service. You might be pleasantly surprised.
@@InsideOfMyOwnMind ????? that makes no sense.
@@anotheryoutubed At least some streaming services will put the song through different processing depending on the context of your listening to it. Usually louder when listening as a single but as part of an album the original mastering kicks in and you get closer to what the whole album was supposed to be in the first place.
@@InsideOfMyOwnMindI’ve noticed this on Spotify where albums i’m 100% sure have never had a remaster sound less dynamic than my old 80s CD. I’ll have to try it the equalization off.
Love the GTO story Paul. I'm 69 & had a dear friend who had a 1965 GTO/389/3-Deuces back in the day. Fastest car I've ever rode in. 140mph. I was a punk kid at 14 drinking slow gin & hanging out the window until grabbed my ass & pulled me back in. lol. Sadly he just recently passed. Great times.
Lol, when I was 18 (1998) I had a Ford Taurus SHO and topped it out at 137mph (which was top speed, drag-limited at ~5k RPM. With underdrive pullies to save the alternator, etc. from dying, u could raise the idle and top out at 160 @8.5k rpm in 5th by getting up to 137 in 4th first (that is, you could just drive at 8500, it would be fine as long as you changed the oil more often, etc., that engine was crazy), but 137 in that thing was enough for me haha) on I87 north of Albany NY. The speedometer went up to 140 so this post caught my attention--that number. The wind noise was UNREAL. I was comfortable doing 110-120 on a rural highway, but above that was kinda sketchy stock.
My dad had a 68 stingray, but it got stolen out of his HS parking lot several months after he got it, stripped, and returned.
That's awesome u got to ride in a 65 GTO. I've never been in a classic car like that before.
I loved how 5th gear was literally just an overdrive. Right up to 137mph in 4th haha
Do you really think the election was decided on who was louder? And if you do, do you think someone who raised a third of the money was louder than someone who spent over a billion dollars and had the amplification of the federal govt? I'm not trying to get political; just responding.
I don’t know about any wars, but recording with little dynamics is still happening today. It’s a shame because it
happens to recordings of exceptional voices, arrangements and instrumentation.
People with record with dynamics obviously, they do not print dynamics though. If you're not using the maximizers and brick limiters to max out volume, your stuff just won't sound 'as good' to the average listener. If you want to make music for musicians only, that only musicians will appreciate, you will be pigeon holing yourself to 1% of your possible audience.
Good luck with that business model.
@@anotheryoutubed
_"If you're not using the maximizers and brick limiters to max out volume, your stuff just won't sound 'as good' to the average listener"_
Absolutely not true.
I have both the original pressing of "Brothers In Arms" and the 2012 re-release. The original was ripped from vinyl and has about 20db of dynamic range. The re-release has about 4.
When I play songs from the vinyl rip alternatively with the same song from the re-release ... without exception my friends have always picked the original version as "better sounding' and "more detailed".
I get that you're probably in the business of making extremely loud masters... but you gotta know that is NOT what anyone who truly enjoys music wants.
@@Douglas_Blake bro, you are not an average listener. You're completely missing the entire point.
You have no perspective other than your own.
@@anotheryoutubed
The entire point is that you are producing brick-walled crap that nobody really wants to listen to.
Look around... there are dozens of places where the whole "loundess" thing is dumped on very savagely.
Like most people I don't want some seriously loud, in your face, assault of butchered up noise. I want to hear the music as the musicians played it.
At 45, earlier this year, I got an offer from a friend on a 12" subwoofer and amp for the car, and my car had the wires all ready to go, and I got it it and connected it. So whenever I drive alone, there is a lot of bass pounding 😄 That's what I'm after in a car, the overpowering bass that just shakes your body. I don't think I will get tired of that. Also why I am saving up for the Apos Caspien headphones 😋
All well and good ... but remember to protect your hearing if you don't want to end up 70 years old and deafer than a fence post.
We don't want loudness, we do want dynamics!
It gets a bit exhausting to listen to overly compressed music, it's like eating at McDonald's with that instant gratification that afterwards makes you realise that there wasn't any contrasts/dynamics in flavor and texture like a good homemade meal.
Volume itself can also cause issues in some DAC's depending on its configuration, so some might enjoy normalisation of volume between different recordings on things like streaming services and others might have issues.
I completely botched his question. I thought he was talking about the ‘loudness’ button that we used to have on hi fi receivers. I recall the 1st stereo I bought straight out of college was a Marantz, I think it was called a 2252, had a loudness button. The various brands of that era were all fitted with loudness button that made the music, particularly the lower 3 octaves louder by 3db. Of course that was over 40 years ago when every stereo had bass, treble and sometimes midrange controls. Fortunately all of that is distant memory even though my kids still give me a hard time for not owning a cd player and listening to vinyl and R2R.
High quality amps back then usually had a tap on the volume pot that gradually phased out the loudness circuit as you raised the volume. I inherited my dad's Sansui au-9500, and it is like that. I love this thing.
Guess I’m a weird one. My first car was a 1974 Olds 98 regentcy broughm loaded. 455 with a 4 barrel That I had up to 105 miles per hour and still had more peddle left it went airborne over a set of train tracks so I didn’t push it any further. Just like the car my music must be comfortable too and have power also. Music without wide dynamic range and a amp to handle that range sounds like noise to me. Making the car doors vibrate is and never will be music to me. My favourite singer is Geoff Castellucci. Lots of dynamic range and volume
The book Mastering Audio by Bob Katz is a great read about the subject of the loudness war.
Loudness wars actually started way back in the late 50s early 60s. I remember a interview with Buck Owen's talking about mastering for AM radio and making his voice louder and to stand out by compressing the drums and bass so his songs would be louder on AM Radio.
Music made in the past 10 years is the best I've heard from a recording perspective. Voices are usually crystal clear and the music has a fullness and clarity that just sounds so well balanced. The mastering is extremely loud though. It's amplified right up to 0dB and the peaks of the waveform are chopped off. You can often hear clipping and it doesn't leave any headroom for equalization.
Trust me... there is a reason my pop music collection ends abruptly in 1998. Almost all music produced or re-released since then is just way too "in yer face" and driving loud to be considered anything but noise.
The problem is that most people under 30 years old have likely never heard a properly recorded and produced album or song. For you it's normal ... for me it's like fingernails on a blackboard.
@@Douglas_Blake I agree. In 1998 recordings were quite loud but it was never sharp and shrill as the post '98 stuff.
@@geminijinxies7258
At that point they had discovered the digital threshold at 0 lufs and they were pusing peaks to the edge of clipping. But when they started with the heavy compression and limiting, they ended up increasing the treble levels in the music while limiting mids and bass. Some of it was pretty hard to listen to.
When I was a teen CB radio in cars was the big thing. It had a PA function had a PA horn speaker under my hood that I could talk through. Talk about being a loud teen!
Around 2:00 your comments about the kid driving by with earth-shaking bass -- you're absolutely right. Once everyone was young, and often inconsiderate. With luck, some of that changes. Good for you! (P. S. I'm almost 85 and loud noises bother me, too.)
I love the story. As someone who has less "dynamic range" of hearing at 70ish than when 18, I went to many rock concerts and tortured my eardrums with Jimi Hendrix, The Who, Joe Walsh and the James Gang, and Ted Nugent in a very small venue. I suppose it is normal to the species. I still have a loudness button and use it with my current system when necessary.
Actually, streaming might be actively solving the problem. All streaming apps have a "normalize volume" or "loudness normalization" toggle, which disincentivizes the loudness wars
It seems like the habit of adding compression to everything isn't really going away, I remember watching a recent video (don't remember where) of a big music producer being asked about use of compression and they said they love layering lots of different compressors as if each one is a way to add their own flavor/creative spin. I find that insane but it seems to be gospel among some in the industry. Really it's just rationalizing old shitty practices that were introduced to make more money, not better art.
No it doesn't. We want to hope it will disincentive the loudness war but you misunderstand how maximizers work. Spotify can't UNMAXIMIZE a track, all they can do is set it at the same relative volume as everything else. But literally everything goes to 0 dBUFS so... Spotify isn't actually doing anything. If anything Spotify would be normalizing unnormalized tracks that get uploaded to the platform, so they're at a higher volume like everything else. You can't go backwards. You can't put dynamics back in after you take them out...
@@wellivea1 This has been done since compressors were invented and used... People have been running a 1176 into a LA2A for decades. The first compressor tames most of the dynamics and the second smooths out the rest so the vocal can sit right at the top of the mix the entire time.
Hate to break it to you but engineers love bus compression once they finally start using it and learn how to use it.
@anotheryoutubed I know they love it, that was my point. Also, it's not just used on vocals. If they can't get the mix right without a compressor, that's just a poor recording. I guess we're losing that skill.
@@anotheryoutubed I think their argument is that tracks with a high avg volume will not actually be louder when flipping through tracks which is technically true but I'm sure music producers still believe that compression helps with numbers anyway. Making sure a song starts out loud probably also helps with people not skipping but I'm not sure.
Paul is right, well mostly. It started when FM radio went to rock, pop, what have you. Then came high performance car audio. Remember cars back then that most people bought, even stock, were insanely noisy inside by today's standard and anything below 95db got lost to the engine, the rattles, the wind noise, pick your part, it was stupidly noisy. Also many cars lacked AC so those windows were open. If you went to Dave's Car Audio and paid for a good time it had to be loud and if the FM was this wimpy sounding little feature that couldn't keep up with the car that just wasn't gonna work. FM was the goto for anyone who forgot to throw that cassette collection in the car before heading out. It had to be the "best." Just like the American food industry it had to have that bold, sweet, more addictive flavor or nobody was gonna buy it.
Thanks, Paul! ❤
"Louder is better David. On this planet, louder is better." - J. Garcia.
I blame the starter on the fluro tube !!!!!!!😂😂😂😂
There is no starter. The tubes are bad.
Paul, please do not make any more of your videos in that part of the building until you FIX THAT RANDOMLY FLASHING OVERHEAD LIGHT !!!
Paul, this reminds me of the Fletcher/Munsing curve. It states a human being hears different frequencies and different volumes. so, the lower the programming, the more higher and lower frequencies have to be increased. BTW, a good example of the loudness war is motor cycles. A lot of the owners, for some reason think by running straight exhaust pipes. Very loud, very objectionable. (to me). ha ha
"Loud pipes save lives"
Replace that bulb! It’s been flickering for days! 😂
Back in my early teens (early '80s) I preferred the radio stations that weren't as loud because the music sounded better to me.
Love motorcycles. Dont love folks runnin their bikes with straight pipes. Sound of some motors can be enticing, but not at 120+db through the single intersection of a quiet mountain town w/ restaurant patrons and pedestrians about.
I remember years ago, back before cell phones that AT&T advertised a dramatic increase in SQ over their phone lines. What was this amazing technical process that achieved it? They boosted the bass and increased the volume.
so they amplified the signals...? How is that not an increase in sound quality?
It is ironic that CDs came on the scene with the design intent of increasing dynamic range and SNR only to have the loudness wars take over.
There is in general an end to HiFi for most people as you don’t need big speakers to play compressed music, any many just listen on their phones or small speakers.
There are still some that care and we are in the golden age of recording and playback technology.
Wow, “3 two’s, haven’t heard that in ages!😊
Correction: AM radio is when it started. AM = Amplitude Modulation. Truly, the higher the amplitude (loudness), the more power the transmitter is transmitting, and the further your station would reach.
If you remember, in "Back to the future 1" Marty McFly and his group were cut off because they played "loud". Not because they sucked at playing but because they were "too darn loud". 😅
But your kids are going to love it...
Streaming is very relevant: the fact that your master will be normalised down to -14 LUFS makes it much more obvious that competing on loudness is pointless. To be clear, it was always pointless, because you get normalised manually if not automatically! But my impression is that the loudness wars are easing off, and I think streaming normalisation is the main reason.
you seriously do not understand maximizers, at all. You cannot put dynamics back in. Lowering the master fader -14 dB DOES NOT CHANGE THE DYNAMICS OF THE TRACK! ALL OF YOUR MAXIMIZING CHANGES ARE STILL GOING TO BE THERE!!!! You don't understand this, at all!
@@anotheryoutubed
Do you understand LUFS (Loudness Units Full Scale) ... it's an alogrithmic way of comparing perceived loudness. These streaming services aren't normalizing to -14db ... they are normalizing to -14lufs ... so that most of the music is perceptually the same loudness.
Now if you're dull enough to produce a brick walled recording that has next to (or actually) no dynamic range... that music is going to have an average level of 100% and it's going to get turned down a LOT more than -14db ... making it actually less loud than properly mixed and mastered music.
I know full well all your compression and limiting will still be there... and I laugh whenever I see it drive some crappy unnatural sounding piece of loudness trash practically silenced by the algorithm.
@@Douglas_Blake Bro you understand literally every use of dB ever is a logarithmic scale yes? You can't put dynamics back in.... Spotify lowering the 0 dBFS to -14 dBFS WILL NEVER PUT DYNAMICS BACK IN!!!
@@anotheryoutubed
Yes I know that ... but lowering it by -14lufs will take that song out of the playlist for many people. So maximizing (which is a stupid thing to do) actually backfires on you.
Re streaming: Streaming companies are foghting the loudnes war by a reqiuerment for restrictimg the maximal loundness level of each track. Typical limitaion is -14 LUFS. They reduce A louder track to that level, so a -10LUFS track is played "choped" at -4dB le vel. On other hand a -18LUFS track is played with no bossting, meaning that a higher dynamic range track is kept as is.
I like car stories. Do you have more? Do you have any stories about the 426 HEMI with two four barrels?
I think that the loudness war claim is BOGUS! Compression actually did the listener a service. Noisy cars, 8Track or cassettes in the car NEEDED compression to help keep the music audible. Compressed music gave the customer a listening experience that would not have been there without it.
Today we have SOME quieter cars but still can not safely focus while driving.
I can tell you that if I listen to radio in the car I have to reduce the volume compared to the music on my usb stick which mostly isn't compressed or clipping.
Which recordings of Beethoven's piano sonatas suffer from loudness war? Or point me on recording of Tchaykovsky's 6th. symphony which is too loud.
That blinking fluorescent light tells you everything you need to know about this guy.
Please elaborate...
In the 80s, home hifi was unimportant. The only hifi I cared about was my car stereo. I lived in that thing.
_"In the 80s, home hifi was unimportant."_ ... billions in the sale of high powered home equipment not withstanding. Right?
@Douglas_Blake I was talking about me, not the industry.
@@thepracticalaudiophile
Then you should say so.
_"In the 80s, home hifi was unimportant to me"_
America, loud and proud. Klipsch speakers hooked up to a 350 watt phase linear amp! Turn it up to 10!
What?
Phase 700 running Cerwin Vega AT 15s.
Tinnitus surely
well said!
Eemians are trying to beam Paul up.
Oh! To be young & stupid!
Paul .some of us like our music Loud...
So crank it up. This isn’t about the volume you can choose but the quality of the signal after it’s been unnecessarily messed about with.
@anonimushbosh . Bingo.. ok lets discuss the rurddles associated with making a top shelf sq system... next lets clear the chalkboard and draw a winning spl system..ok . Then we get serious..IF YOU CAN DO BOTH. Ur above most people that proclaim that their smart. And if you can do that you spend 5 more years design a home theatre system..and finally have a system that can do it all. Compromises..but its the goal.
Want to know what the loudness war was all about?
Look up some of your favourite albums or songs on the "Dynamic Range Database" ... you might just be surprised how bad it got.
Take the "Dynamic Range" measurements in the database with a grain of salt. I'm not sure what they are measuring but it is not the true dynamic range. I've measured recordings that have zero compression on them and their tool was telling me it was very compressed. I think it was Handel's Messiah. It was recorded with 2 mics into a 2 channel mic pre and straight to two track, the level was raised so that highest peak a was about a half a dB below 0dBFS the beginning and end was trimmed. That was the total extent of the processing and when using their measurement tool it told me 7 dB of dynamic range. I use little to no compression even in rock recordings, typically, bass and vocals only. I don't like buss and master channel compressors, so I don't use them, any final compression is a slight amount done by the master engineer for the final release formats. Of course vinyl releases are always heavily compressed and EQ'ed, and barely resemble anything I heard when I recorded it. But, some people love that sound.
@@dannelson6980
I don't disagree.
From what I understand they calculate the lowest level and the highest level that lasts more than half a second and the ratio is the dynamic range. It's not necessarily a scientific examination, but as long as it's applied consistently it does appear to give a fair comparison.
I've used it mainly to filter out brick walling of rock and blues "classics" and as far as I can tell it gets the job done.
18-20 year old are the only ones who love to bump bass? I think not.
beyond -12db rms becomes self indulgent
All deciBel figures need a reference, though in some cases the reference
is implied by the context rather than being explicitly stated.
The phrase "-12db rms" has no actual meaning in Any context.
And even if it did, it should be properly capitalised as in "-12dB RMS".
GTO: Garbage Truck with Overdrive!
Turn up.
the gain riding conundrum.
the answer to not having decent dynamic range or a detailed system to reproduce source material accurately.
there is no accounting for lack of taste or inability to do a decent recording. qualifiers for each at your discretion.
Sure buddy, and the tens of thousands of #1 records that don't have a huge dynamic range are all wrong because random youtuber commenter says so. Hilarious.
@@anotheryoutubed popular isn't always right and like i stated...there is no accounting for taste or the lack thereof....pal.
@@anotheryoutubedThere’s 11 Fast and Furious movies, therefore there’s all good because there’s so many and they make money.
@@gizmothewytchdoktor1049 not the point I was making at all lol
@@mikeg2491 again not the point I'm making. How successful have any of your songs been? How many people know how good they are?
No one cares.
Wasn't the "Loudness War" more focused on the slight bass and treble boost and not so much the volume?
No the loudness war was a competition to be the loudest song on the radio. They used massive levels of compression and then cranked it up into the limiters, resulting in horridly distorted music with almost zero dynamic range.
I think you're thinking of the switch on many vintage receivers ... it's not about that.
No, that’s just what the loudness button on an amp does.
Oh no not more stuffed flouro's
Streaming is not the cause of loudness but it is neither the solution. Lately I have been hunting down the first CD editions instead of remasters of my favorite bands. Bliss. Talking about real music not the muzak audiophile labels produce😉.
Except that...
Some early CDs were also terrible-sounding for one reason or another.
It depends on the individual title, making generalizations useless.
@ I can give you one generalization: the first ten years cd players sucked. Oh, and a second one: most remasters just pump up the volume.
@@spacemissingthe very early, early CDs many had issues. I think once the format settled in from around 85’ to the mid 90s is when you usually can’t go too wrong in picking out a random CD and it sounding good.
Not just the loudness Wars it's the pitch correction now! that is just used willy-nilly all the time even in live concerts, you might as well have AI singing it. Artists wake up you need to step in say no I don't want it, otherwise you'll be taking over by AI because you sound both the same at 440Hz. stop!!! pitch correction! and auto tune. if you can't sing you shouldn't be in the industry. I hope octave records don't use pitch correction please tell me you don't but I got feeling you do!
Second video with a dodgy light 😊
Defect LED driver that can't stay on.
Don't you love it when you're at a gas station and some yahoo pulls up with everything on the car rattling from the long excursion subs maxing out and everyone there getting gas cringing from the rap artist's many expletives ringing out across the parking lot, yikes.
That I can live with, what gets me is the ones who pull into the line at a fast food place and crank it up when I’m trying to order.
*Google Homepod*
The loudness-wars has caused a general mixdown-sound in every genre. It's the worst thing about current music. I understand you need to be loud enough for commercial reasons. But this is so beyond ridiculous now, besides the fact the new generation just sticks with it. As if it's a 'thing'.
They want that cinema-sound with a stereo setup, and it sounds flat as hell. But they love it.
You are against having a good president over a terrible one. I'm no longer buying PS or BS.
WHAT?
Something most people don't think about. In the 70s and 80s, most vinyl had about 1% to 2% distortion embedded into the recordings. Modern music with it's compression, limiting, autotune, quantization, etc. can reach 30% distortion, very easily.
Next time you find yourself fussing over 0.001% and 0.0001% distortion from your playback equipment... just think how much distortion is coming right off your CD or Digital files.
Yeah! It's very tiring to listen to, and it sounds like noise because it is!
lol dude if you think modern tracks are 30% distortion you're beyond hope.
@@anotheryoutubed
Do your homework ... I'm not the only one who *knows* this.
Perhaps if the loudness wars bug you... you're listening to crap commercial music.
Dump your Tesla.
Great flashback Paul! 😆 BTW kiss the ground Donald Trump walks on. I see you're one of the bubble people Paul. Do yourself a favor, get a pin and pop it now!
Your too politically correct, Paul..
The "loudness war" is the epitome of the stupidity of idiots that think they are actually intelligent.
2000?😂 Loudnesswar started in the 60s, stepup trans and riaas
"Only the loudest voices get heard".
That is Not Why we got what we got.
dynamics are rude miseducation. my mother couldn't watch mother films because the sudden loud explosions frightened her so could have a heart attack. i don't find funny the abuse of dynamics they do, neither in classical music. if i want to play loud mozart against the neighbours i don't want them to only listen to the peaks but the entire thing and you only get that homogenity by using at least 3 compressors. i don't see any joy whatsoever in the inconsistencies of volume. not even in piano, reason why i built a midi piano without dynamics so i don't have to fix the weak pinky finger in postprocessing. nowadays if you don't have a home studio with daw and plugins you are obsolete and missing the joy of a better music.
_"dynamics are rude miseducation."_
Dynamics are what music actually sounds like. I get using a compressor for your mom. But to do that to classical music is just a sin.
@Douglas_Blake i should redo and fix the entire classical music. i don't have to accept how the world makes the things bad. i open all songs within the cubase and my way to go one size fits all is the plugin Waves C6 Sidechain Stereo, used twice. i can easily draw the EQ and the amount of compressor for each portion of the EQ.
if movies are set up blue, i don't have to accept it, i can make the colour back to normal. same with their colouration of equalizations. my taste doesn't necesarily matches the taste of the artists nor their new remastered editions.
not only that but as a owner of 25 teras of kontakt vurtual instruments i don't have to listen to classical music that has REVERB. i can use the daw multitrack and panoramize super nearby close instruments that actually sounds higher quality. the physical impossibility of all them near is posdible thanks to the daw. and not only that but just droping the midi file which has the notes and rhythm i can set the bpm at half the speed which is the real speed mozart and all the classics intended to be, as demostrated by wim winters. and not only that but i can AVOID violins. i can use other BETTER choices of instruments, like ethnic timbres or other moder COMBINATORIES of timbres way more musical than the typical and boring orchestra. and i am actually doing that to Heydn sonata 36 in c major, 27 minutes long, where every sentence, that is less than 2 seconds has a different combination of timbres because i spent one hour of work per second of song in order to decide which approximately 3 % will not be muted out of the 111 total tracks, copies of the same syncronized song but with different dry nearby ethnic or modern virtual instrument that sounds WAY better than the reference boring piano version.
and then i will overproduce it with plugins. in a candy for the ears amazing sound. i am at 20th minute and maybe i will make it double work by doing it all over again for the other ear.
we do can do it better than the music of the past.
@@arcadepiano
You can do what you want with your private collection. Just don't expect me to enjoy (or tolerate) it on the open market.
@@Douglas_Blake well, the band europe themselves said thank you to my reconstruction of The Final Countdown, because i do erase the parts so other parts who used to be shadowed now are brought back to life.
and so the director of nirvana's smells like teen spirit was amazed by my restoration , both the green image turned into normal and the microphone colouring back to realistic, he said thank you
i improved the sultans of swing far way better than the original, and my michael jackson's humn nature is twice as good as the original, as told by everyone who heard it.
in the 80's and 90's we used to be passive, just consumers, costumers, watching tv or listening to the radio, we were the audience, and the media decided our taste what the mass was going to worship. not anymore since 14 years ago thanks to the revolution of the democratization of music, anyone can make music better than the celebrities, both original music or restoring material.
i once turned the unintelligible speech by the queen of england at her 16th birthday into a pristine recording, by using this smart softwares called plugins, and my source was a poor quality youtube video. this technology makes us the midas king, we literally can turn into gold any turd.
i don't even have to accept this video's sound i can touch the touchscreen of my korg kaoss pad on the fly and make multisamplered mocking in the style of daft punk.
audiophiles are obsolete and are losing the glory and joy of manipulating the music to match your taste. this is the next level of the EQ of the 80's hi-fi. change the source. the song itself. get the multitracks. become a musician, become the director of the band, the leader. swap the voice of luke skywalker to yours, if you want. we have the power over the audiovisuals.
unyellow the simpsons.
@@arcadepiano
Good for you. But I'll stay with my vinyl sourced Sultans of Swing with it's beautiful full range sound.
Do a search for "OneMic Series", listen to some of the music. That is a one pass recording with no editing... what the musicians actually played. It's a real eye opener.
Loudness through compression, or loudness due to extra sub-harmonics, makes a huge difference in sound quality. The 2000 masters sound flat as hell in comparison with most modern masters with extra sub sounds. Plugins like Waves Maxxbass or LoAir do magic tricks to -9db average loudness masters in rock or hip-hop. It's like a dynamic sound with your subwoofer loud open. But like all things, too much is too much.
Hey Paul keep politics out of audio,,, if you were not happy with the election results You might want to consider your political party😁
Decades of jumping to knee jerk conclusions with no evidence like you just did is exactly what led to that preposterous result in the first place!
What makes you think Paul was referring just to that result and not to most of the candidates everyone had to choose from?
How about you keep your frivolous complaints out of the comments section and just deal with the fact that not everyone sees the world the way you do?
P.S. enjoy the tariffs, you poor fool
Get a life... 🤦🏼♂️
Express your self if you want. However, telling other people what to say or not is quite different. There's too much noise out there. I repeat it louder: too much noise out there, so loud that I feel the political interference here. I could repeat it at 0 dBFS, although you might want some headroom to equalize (parametric equalization) the message and avoid clipping.
The Harris campaign spent 1.5 billion in the last 3 months of her campaign. I think this is the political loudness Paul must be referring to. I live in a swing state and my ears were bleeding.