How is this shit even allowed?

How is this shit even allowed?

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en.wikipedia.org/wiki/Loudness_war
youtu.be/DRyIACDCc1I
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>S-stop making music I don't like!

Who fucking cares? Did it ever occur to you it’s not normal behavior to sit and look at that shit?

The worst part is when they brickwall it all, but add soft limiters and shit so it won't clip, but in the end it'll sound like ass anyway

>Sup Forums
>normal behavior

Because the normies will buy it anyway, fool. Don't like it, don't give them your money, better yet, make your own shit with half decent mixing.

Also, I'm almost positive that the actual mixing of Smells Like Teen Spirit was a lot cleaner than that.

I can fucking hear it, too, you know.

Dynamic compression was a mistake.

20th Anniversary Edition. Practically impossible to find an original copy

Who. Fucking. Cares.

Get off this board if you don't care about something like this.

>hurrr I don't care if my music sounds like shit

Ah, that makes sense.

are you retarded

lots of people do, it's called the loudness war and shit is silly right now, you need to make sure your master is -0.2 dB or else people will complain that it's too quiet, it's pretty much the maximum volume that will not clip, at all times except intro and outro
forget about any serious radio playtime if it's below that

People who listen to music.

>Who fucking cares
I don't know dude, maybe people who care about music and the way it sounds? You are choosing to be here. What kind of fucking moron comes to ask people who at least purport to enjoy music and care about music and asks a question like "who fucking cares about the way music sounds"

How dense can you be

t. Rick Rubin

What's this?

I'm just replying to be sure you'll know how fucking retarded you are

You realize a lot of the people on Sup Forums nowadays are 2000s born high schoolers who only listen to shittily produced, un-mixed soundcloud rap on their earbuds right? Audiophiles they are not.

I hate the term audiophile as much as I hate soundcloud kids. More like audiofooled

>audiofooled
Meaning what, exactly?

KEK

You don't even need to be an audiophile to care about this. It does more than destroy the fidelity of the audio - it completely destroys any real chance of dynamic expression of individual elements within a mix as they are compressed to the point that their loudest and quietest points are almost indistinguishable volumes. This not only takes away from the dynamic expression in an artist's performance, one of the most important expressive tools in their control, but fosters the creation of and at this stage the continuation of music in which dynamics are useless, unusable, unimportant, and even arcane, as dynamic range has been destroyed by modern popular music production methods. Fuck off.

You don't have to be an audiophile to not want shitty mastering.

not that guy but it's perfectly valid to care less about production than songwriting imo.

the idea that production has to be industry standard for a record to be good is hugely discouraging to artists who aren't trustfund babies and haven't yet been lucky enough to get a proper deal.

It doesnt have to be 'Industry Standard'. Just dont file off the edges and have the floor match the ceiling

fair enough.
there's also a lot of freely available engineering guides online, so anyone who cares enough and has moderately decent equipment can make their music sound at least okay.

en.wikipedia.org/wiki/Loudness_war

tl;dr - modern processing algorithms and digital media allow music to be mixed down at a consistent, loud volume. The algorithm allows the natural "lows" in a dynamic sound to be brought up. Why? Music that is consistently loud like this is, psychologically, more "recognizable." Radio stations love this shit.

Also, you hear it (dynamic compression) on TV commercials to the extreme degree. Try watching an old film on TV, then hear how fucking loud the commercials are in comparison. It's not really that their peaks are louder, is that the commercials are a consistent block of loudness - like the OP pic. And this is the problem - no dynamics, and it makes instruments and the overall mix sound like shit.

I always wondered why they made commercials loud as fuck.

That is exactly it. They are also designed to wake your brain up if you were falling asleep during what you were actually doing.

There are FCC rules in place to prevent commercials or programming from "peaking" too loud, but the rules don't stop them from compressing everything to that wall of sound.

>when you're DJing and try to mix a track from 2018 with one from 1996

>some people on a fucking music board are okay with the loudness wars

Reminder that brickwalled music not only is unpleasant to listen to but very harmful to your health.

is there a video showing the effects of the loudness war? like a song "remastered" from a good mixing to LOUD ?

the best example would be listening to a copy of death magnetic, and then listening to another copy of death magnetic from the guitar hero game

youtu.be/DRyIACDCc1I
This is the best example I could find.

that's pretty interesting
guitar hero really boosted the hell out of those cymbals

Its worth noting that the Guitar Hero version was a promotional thing before the album hit shelves. They obviously fucked it up at the last possible minute.

its not just shitty mastering, its shitty recordings and the mixing engineer. shit ingredients.

Not so much that they're boosted, but rather everything else in the CD version is boosted to get that flat-line of volume.

And, it's not that they're boosting individual instruments, but rather (mathematically) boosting everything so that there are no dips in volume between those sharp cymbal crashes.

if the music emphasizes dynamics then it would be mastered accordingly. If it's out of the artists control and they don't care than it's bs music anyway.

True, but sometimes it really is out of the artist's control. Especially when old recordings are "re-mastered." This is why I try to avoid digital remasters, if possible.