- May 20, 2020
actualy it doesn't matter for radio, since radio stations aditionaly compress the hell out of everything
Indeed, and the people who make those compressors have asked mastering people to compress less, because it makes the final squishing out of all enjoyment even harder.
this is a good find, gave me some new insights.
I originally had the impression that if a piece has low DR it's bad, but seeing through some more I begin to wonder though, if a piece is meant to have, say some background audio throughout the track, then it seems that the DR will naturally be low, no?
If so would it still be considered bad?
yeah I realized that after thinking about it a bit, good tracks with no silence will probably still have low DR.DR is a prety bad indicator of quality lol
Darude Sandstrom probably has a good DR beause of that more silent part....but is crushed
There's quite a bit of dynamic range in the Telarc Berlioz Requiem, 2nd track!yeah I realized that after thinking about it a bit, good tracks with no silence will probably still have low DR.
Trying to get the loudness part of this whole ordeal right now, gotta make sure I don't go deaf.
That's mostly true. Here's an example of an exception that proves this rule: https://play.primephonic.com/album/3760195734520
So disappointing, because that's a great performance ruined by excessive dynamic compression.
Other than these rare examples, classical music is blessedly outside the blast radius of the loudness wars.
As far as I know, classical music CD are never DR compressed and if done it would be a huge mistake, I guess.
They can be compressed, but usually mildly or not at all because such music is targeted to a different audience. Most classical music lovers will probably listen through a proper hi-fi system rather than on crappy earphones on the subway.
When CDs were introduced, I anticipated that music (style and production ) would become more dynamic to take advantage of the wider dynamic range...
the vinyl cutting and playback process (including the RIAA recording & playback EQ) changes the wave shape and introduces phase shifts. That affects the way the peaks line-up making some peaks higher and some peaks lower. A similar thing happens when you make an MP3. That doesn't affect the sound of the dynamics, but if you measure the crest factor (peak to average ratio) the vinyl will "measure" more dynamic than the CD (made from the same master) because of the new higher-peaks. A lot of people are fooled into thinking the vinyl has wider dynamic range because of those measurements. And, blind listening isn't that helpful because you can always tell the vinyl (from the noise).
It's just a matter of taste. Dark Side Of The Moon seems dynamic (compared to most rock recordings) but I don't think it's as dynamic as classical or jazz... I do enjoy the dynamics of some rock recordings... I like to hear the drums & cymbals "pop out" instead if being mushed with the rest of the music.
I don't find myself adjusting the volume control in the car with Pink Floyd ...
DVD HTWWW may in fact be the best overall LZ recording in terms of dynamics and/or lack of compression. iirc the dvd offers nice DR values, but i dont remember if the CD version had the same values ...The absolute best Led Zeppelin recording I have ever heard is the DVD-Audio disc "How the West Was Won". It is a live performance and very well engineered. The more quiet and delicate Zep songs that I really enjoy do indeed get quiet enough that the sounds of the audience become immersive. When I get goose-bumps I know it's a good recording!
Since this thread has been bumped...
Classical music listeners won't listen through headphones on the subway *because* of the dynamic range. There are periods where the music is below background noise where you aren't even sure what is playing followed by ear-damaging loudness.
When CDs first came out, they were largely played on two-channel playback equipment with high noise-floor DACs that were terrible by today's standards.
The most common playback system was a bookshelf or boombox style equipment that cost what was about a weeks pay for most people. The volume controls manually attenuated the DACs. By mastering "hot" (and forcing the volume to be turned down for the same SPL), this kept the DACs running near peak and improved the overall audio quality for the vast majority of listeners.
Pop/Rock started mastering hot from day one maybe because of historic loudness wars.
Classical mastered in a way that sounded great if you had insanely expensive equipment out of reach of most people.
It sounded pretty great even on a mass market 2-speakers + receiver system back then. Like mine. The main production issue was (is) that with *really* dynamic content -- from whisper-quiet to triple forte -- few home listening environments were (are) quiet enough to allow listeners to hear both the quietest and the loudest parts comfortably without fiddling with the volume knob.
Was in your shoes some 5 years ago, ended up throwing to the garbage most of my CD collection and I started over.
Compressed DR has been proven to have a strong correlation with listening fatigue. This extra loudness / brightness will eventually result in listening fatigue, especially if your speakers are on the bright side.
I didn't have that exact model but something similar. You are making my point for me without realizing it. What you are call an "actual standalone receiver... and two actual speakers on stands" was something that maybe only 1% of the population (at that time) could afford.Sony CFD 'semi portable'? Something like this?
That's a glorified boombox. It's silly to generalize about early classical CD sound (or any CD sound) based on those. Though I quite enjoyed outdoor/beach listening on my old Panasonic boomer with its 'super bass' button. And I did play classical music discs/tapes on it too.
I'm talking about an actual standalone receiver, like a Technics, Sony, etc, a CD player (which at one point was a 'Realistic' portable discman type), and two actual speakers on stands or floorstanding, a typical home system that was particularly 'portable' (though I could and did deploy them 'offsite' for parties).