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The loudness wars revisited
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Our world appears to have no shortage of conflicts. The “Loudness Wars” is a long standing battle of opinions between artists, studio engineers, producers, and behind the closed doors of record labels. The debate is about how loud a recording should be. It comes down to volume/compression vs. dynamic quality. Many record labels want their records louder than the ones from the guys down the street. Some engineers and bands have argued that the compression used to expand and range of volume sacrifices the quality of their recordings. On the other side of the argument there are record companies who believe that the louder the recording the more attention it grabs and the more it resembles the live performance. But the live performance assumption has no basis on fact.
Our ears can easily distinguish between “live” and “recorded” music even from a distance. This is due to what is called “Crest Factor.” Our ears hear and interpret the natural levels in live sound as opposed to the peaks of manufactured sound. That is why if a live band is playing at a distance, we instantly know it is a live band. If someone is playing their stereo system equally as loud from the same distance, we hear a canned, compressed sound and instantly we know that it is manufactured.
It is thought that loud recordings will grab more attention. However, it is important to mention that some bands do sound better when the record is loud. But instead of focusing on what is best for the bands overall sound, labels pursue loudness for the simple sake of loudness. This has contributed to a competition for high volume. No one wants their record softer than the competition. However, artists are dismayed by the fact that many of them are not given the choice between a dynamic record and a loud-compressed record.
Record labels feel that for some reason if they produce recordings that are more dynamic in range, the consumer will not have enough sense to turn-up the volume if they prefer. .jpg)
The loudness philosophy is a marketing decision based on ‘attention-getting.’ Play a CD from ten or fifteen-years ago and listen closely to the volume levels. Then put on a recently released CD, you will hear a distinct difference in volume levels. The same practice is used in television. How many times have you watched a television program at a satisfactory level only to find that the commercials are blasting you out? Sometimes you must turn the commercial down and increase the volume once the show comes back on. Movie theaters also are extremely loud. At home, many of us struggle to find a happy medium with our surround-sound systems when watching films. The dialog is too soft and the action scenes are much too loud. Many artists have complained that their recordings have been turned into a “brick wall of sound.”
It all comes down to what the consumer will and will not accept. So far, it seems that the youthful consumers of technology will purchase whatever the record manufactures produce and leave these companies to set the standards unchallenged. But remember, these standards are being set by marketers, and not usually by the artist or band. Look at how quickly the U.S. automotive industry revamped their cars when consumers stopped buying them. The technology exists to create a dynamic as well as versatile record that can satisfy the varied desires of the consumer. There are several groups supported by engineers, artists, and producers who are making get strides in addressing this issue and getting the word out.
For more info: Even Heavy-Metal Fans Complain That Today's Music Is Too Loud! - Musicians Push for Better Sound Online and On Disc - Fans Complain After "Death Magnetic" Sounds Better On "Guitar Hero" Than CD - Loudness - • Music Into Noise: The Destructive Use Of Dynamic Range Compression
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