Yea but the highest peaks of the dr are ticks, pops, and other assorted noise.Official DR value: DR12
Yea but the highest peaks of the dr are ticks, pops, and other assorted noise.Official DR value: DR12
First you subtract the surface noise level off the bottom, and then from the top subtractAndré Previn, Royal Philharmonic Orchestra - Holst - The Planets Op. 32 (1986), Vinyl, TELARC, Germany
In this case DR is Diminished Range.First you subtract the surface noise level off the bottom, and then from the top subtract
View attachment 68751
Whats left in between is the real DR
Yea but the highest peaks of the dr are ticks, pops, and other assorted noise.
DR Peak RMS Duration Track
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DR11 -1.41 dB -14.12 dB 2:42 01-I'm Not Getting Excited
DR11 -2.08 dB -14.17 dB 3:34 02-Dying to Believe
DR10 -1.40 dB -13.22 dB 5:12 03-Jump Rope Gazers
DR11 -1.72 dB -14.13 dB 4:07 04-Acrid
DR11 -1.33 dB -14.41 dB 4:16 05-Do You Want Me Now
DR11 -3.15 dB -16.43 dB 3:40 06-Out of Sight
DR10 -1.91 dB -14.12 dB 4:11 07-Don't Go Away
DR11 -1.57 dB -14.55 dB 2:53 08-Mars, the God of War
DR10 -2.20 dB -15.52 dB 3:51 09-You Are a Beam of Light
DR10 -2.26 dB -14.03 dB 4:24 10-Just Shy of Sure
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Number of tracks: 10
Official DR value: DR11
Frank Zappa - Over-Nite Sensation (1973), Vinyl, Pallas 180 gr 2013, Germany
The Mothers - Over-Nite Sensation (Vinyl, LP, Album) | Discogs
DR Peak RMS Duration Track
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DR13 -1.78 dB -17.41 dB 3:58 01-Camarillo Brillo
DR12 -0.62 dB -16.59 dB 3:34 02-I'm The Slime
DR13 0.00 dB -15.41 dB 2:57 03-Dirty Love
DR12 0.00 dB -13.70 dB 6:09 04-Fifty-Fifty
DR12 0.00 dB -14.29 dB 5:09 05-Zomby Woof
DR12 -1.68 dB -16.09 dB 6:02 06-Dinah-Moe Humm
DR14 -2.06 dB -18.57 dB 6:33 07-Montana
--------------------------------------------------------------------------------
Number of tracks: 7
Official DR value: DR13
CD, 2012 DR 10
Over-Nite Sensation by Frank Zappa & The Mothers of Invention on Amazon Music - Amazon.com
dr.loudness-war.info Frank Zappa - Over-Nite Sensation
I worked as a mastering engineer at Future Disc in Hollywood for 25 years. Level wars were my biggest struggle. But if handled artfully, one can produce a master which is full in level, loud enough to compete, but isn’t slammed. For starters you need a client who gets it. More than once I referred clients elsewhere because I didn’t want my reputation attached to what they wanted me to do, which was slammed levels without a budget/time to do it right. I see waveforms posted here. Ever seen one that looks like a brick? That’s what any serious mastering engineer is up against. Here are some of the basics of how I worked.
Let’s say the client is Raphael Saadiq. He brings in a one inch two track analog tape master. He also brings his own machine (Ampex ATR 102). I have the 1” heads, etc., for the same machine, but 1” tape stretches azimuth and head bump to the limit. Using the same machine that recorded the tapes is the way to go. The first thing I did was to pull all the record cards. No bias current screaming around quiets the machine.
As I reproduced the master tape, I had two things happening at once. One of my two Pacific Microsonics model two codecs was creating a flat copy at 24x96 as an archive for the record label. The other model two was downstream, digitizing step one of my process. The playback of the analog master was going through the analog gear as I saw fit. My options were several pieces made by Manley, all vacuum tube. A compressor, soft limiter, and the amazing Massive Passive EQ. I also had at my disposal the well-known vintage Sontec Eq and one made by Focusrite. I would pick and choose my chain of gear to enhance, even punch up the sound, while being careful to give myself something I did not have to undo. That analog processed audio went through the second Pacific Microsonics unit and into the Sonic Studio workstation at 88.2x24 bits. Why 88.2? Integer relation to the final 44.1 CD master. In between the PM ADC and the workstation, I had a DBX digital limiter. I used it gently, I called it giving the music a haircut. But I got some level in a transparent way.
Once locked into the digital domain, I had a huge advantage, a Daniel Weiss 24/96(88.2) digital console. The dynamics processors and eq in this device were, at the time, unequaled. By the time I was finished I had a master with sufficient RMS level to compete, but the waveform didn’t look like a brick.
My point? If you have the luxury of a great chain of gear, or if your working with a variety of emulations on a laptop, massage the music with a little processing here, and a little more there. Using one tool to do the job is not the recipe for success.
My question has always been WHY did they have to crush everyone's music? There has always been compressors and limiters available to anyone that wanted/needed it. I remember people complaining to the local FM radio stations (rock) back in the 80s and 90s about all the heavy handed compression going on. If the labels wanted limited DR for their cassette tapes and radio stations, they had the tools, hell they've been compressing masters designed for vinyl use forever to stay within it's technical limits.. Now we had this miracle of digital recording in our hands and they had to go fu-ck it up for everyone so their releases could sound louder (better to the laymen) on low quality sources. CD and later HiRez recordings, were designed to bring TRUE HIGH FIDELITY to those who wanted it, instead we get the time and effort of recording the best sounding, widest DR master, and put on a 1950s, drag a rock thru a ditch medium., I ask you how a-s backwards is that?As to the question, "why?" In popular music, and increasingly in jazz and now even classical music idiot producers and record company A&R people decided somewhere along the way that a louder CD was a more competitive CD.