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Scat Laboy
This article is intended to be educational and empowering. Educational in understanding parts of the recording, mixing, and mastering processes that are detrimental to good sound quality and what can be improved. Empowering, if one so chooses, to voice your opinion in this forum or other forums dedicated to overcoming the Loudness War.
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While I have recorded minimalistic stereo recordings, I love rock and roll, which usually means multi-track recording. However, I love capturing the live off the floor feel of the band playing together, like they would be playing live. I would get the band to practice up a couple of times, without them knowing I was rolling tape. Those were often the best musical/emotional takes where the band was excited to play in the studio, unencumbered by not knowing they are being recorded. I digress.
The other aspect that had me really excited was how much dynamic range could be captured. Maybe it has been too long for folks to remember, but the raison d'etre behind commercializing digital audio is due to the physical limitation of analog tape and tape recorders.
The Digital Audio Technology book pictured at the beginning of the article was first issued in Japanese in 1979 and translated into English in 1982, the year I purchased the book. 35 years later, it is a fascinating read about the history of the commercialization of digital audio. As mentioned, the number one factor is the analog tape and tape machine had been optimized to the point where no further advancements were possible due to the physical limitations of both the tape and the machine. Thus the introduction of Pulse Code Modulation (PCM) and the revolutionizing of the analog tape machine.
Wow, look at that pulse response! So much for accurate sound reproduction from analog tape. Even in 1982, it was clear that the PCM digital audio recorders had significantly better specifications and measurements than state of the art analog tape recorders.
Fast forward 35 years and I would say virtually everyone has one or more state of the art digital audio playback devices, plus a virtually unlimited supply of digital audio recordings, offered in a wide variety of sample rates and file formats.
Remember that Studer 24 track tape machine I was talking about? It is a floor to ceiling, 900 pound physical monster. Here is a picture so one can grasp the magnitude of technological disruption about to unfold.
In fact, if you visit this is literally the marketplace for thousands of software DSP plug-ins. It is amazing what one can find as virtually any analog device and/or effect has been modelled in software DSP.
I could go on, but the point I am making is that compressors/limiters can unobtrusively do their job as overload protection and/or artistically enhance the music, or can be abused to the point of wimpy loud sound. Having lived both professionally through the technology adoption of digital audio and being on the consumer end, I must say that overly compressed sound is rampant.
As consumers, we are not getting anything remotely close to that when it finally makes it to our stereo systems. More often than not, the dynamics, especially the drums or the band itself controlling its own dynamics, is crushed to death with dynamic range compression.
I feel this two minute video gives an excellent audio/visual explanation of what dynamic range compression sounds and looks like. Even though the sound file is compressed when uploaded to YouTube (ironic), one can easily hear the audible difference, and correlate with the visual difference, between the compressed and uncompressed drums, independent of playback system:
Or hunt through your music collection, and if using JRiver, add the DR column to the music list and sort on highest DR first, pick a rock song, give it a listen, then sort on the lowest DR and without turning the volume down, try and give it a listen. See how long you can listen without turning the volume down. Rinse and repeat as many times as necessary to hear the dramatic loudness differences between music that sounds more real and dynamic versus the squashed, screechy, made for radio sound. The more accurate the sound reproduction system the greater the differences.
The art of the science is how much compression to apply to still retain the dynamic nature, but also mix to a certain level of loudness to retain an overall good dynamic range, i.e. DR +12. Not an easy task as one could have over compressed a track while tracking and there is not much one can do to restore it. Or the final 2 track mix before mastering is already over compressed.
I am not saying that dynamic range is the end all beat all attribute that determines the overall enjoyment of a musical piece, but there is a minimum bar that should be met on any musical piece. Sure, some music genres benefit more than others from dynamic range compression, like pure metal and thrash, but even still that music benefits from some dynamic range movement.
Music lovers and consumers have a voice and can exercise one's right not to purchase wimpy loud sound. Or at the very least, voice your concerns, at one of the many links at the end of this article.
I find it ironic that after 35 years of digital audio, which is at an all-time high technology adoption, where virtually everyone has access to one or more, super high resolution, low noise, accurate digital audio player, the music content is at an all-time low for dynamic sound quality. How the heck did this happen? Even more so if it is the root cause of the vinyl revival.
The way music is overly compressed today, and for the past 23 years, basically wipes out the reason for having the requirement for a wide, dynamic range, low noise, digital audio playback device, software, or system. Crazy.
While I was writing this article, AC/DC (DR 12) was playing and my daughter was goofing around dancing and then I put on Texas T (DR 7) above and she stopped dancing and put her hands over her ears. Enough said.
I love music and audio. I grew up with music around me, as my mom was a piano player (swing) and my dad was an audiophile (jazz). My hobby is building speakers, amps, preamps, etc., and I still DIY today.
I mixed live sound for a variety of bands, which led to an opportunity to work full-time in a 24-track recording studio. Over 10 years, I recorded, mixed, and sometimes produced over 30 albums, +100 jingles, and several audio for video post productions in several recording studios in Western Canada.
I love accurate sound reproduction. For a more detailed perspective, I wrote this 327 page eBook that provides a step by guide to Accurate Sound Reproduction using DSP. Click on Look Inside to review the table of contents and read the first few chapters for free.
I agree totally on the compression problem...I find that too on vinyl as well as CD, but it is not has prevalent...which is why people seem to be gravitating back to old vinyl. Good CDs sound much better than vinyl, but compressed CDs sound worse. IMHO vinyl is more forgiving to weak recording technique than is CD. I have found remixed blu-ray audio discs excellent ...at least for the dozen or so that I have listened to.
In my limited experience recordings are not too terribly compromised when you get DR12 (yes a generalization). Yet they are in a condition where you can enjoy them in a moving car or similar conditions. Of course they get better when you start getting DR15 scores. Your writing makes me think that is more or less in agreement with your thinking on this.
I've been ranting about this for a while now. I've occasionally recorded friends' bands, knowing they'll first complain it isn't loud enough, then trying to please them without hurting my ears too much. Of course I keep the original version also...
Declippers aren't entirely useless though. Obviously they can't remove compression per se, but so many CDs have heavy clipping, that with *some of those* one can restore a few dB to the kick. Sometimes it doesn't work. Sometimes any change is lost in the sonic muck. But occasionally, with a little tweaking, something that had DR before being clipped cleans up remarkably. Your guess is as good as mine how close it may be to the original waveform.
It really is sad how unfortunate it has become that music production has over time stooped down to truly the very lowest "common denominator". The unsophisticated concept of "louder sounds better" presumably for just the psychological reason of catching people's attention between songs on radio (and streaming these days). Such desperation for whatever perceived "edge" this gives that whatever joy and value the music itself could have truly expressed becomes sacrificed on the altar of misguided popularity. Even if this worked (ie. the loud mastering gets a number of folks to click "Buy" on their iTunes for 99 cents), it would be yet another example of short-term gain at the expense of long-term enjoyment. It really is a sad reminder of how disposable music has become and such disrespect for the art form.
I also like your reminder that music production takes skill and experience. After 20+ years of MAKE IT LOUD ALL THE TIME music, there are a lot of studio conventions/habits to overcome I suspect! Just like how gradually the sound has shifted over the years, it might take the next generation of audio engineers as well as assertive musicians, and educated consumers to work together to turn this around. Who knows, given the cycles in society, maybe we're finally due for artists/producers/engineers to step forth and rebel against the ugly practices of so many years in the rock/pop/blues/alt/metal/country genres.
Sadly, with all the high-resolution equipment we have at our disposal these days, the blatant disregard for quality reminds me of the proverbial casting of "pearls before the swine". Not only could this be fueling the rise of the LP (not in itself a bad thing per se... just not really high fidelity by digital standards...), but perhaps ultimately also the inexorable decline of the recording industry for not producing engaging music by their self-inflicted degradation of the very product they're peddling.
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