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The first hydrogen-powered car is here! Except it’s a toy
Pull out a vinyl record from the 70s or early 80s, and listen to it. Odds are it’ll have a big dynamic range — it’ll be whisper-quiet in some parts and booming loud in others. You’ll pick up new nuances every time you listen to it. Now listen to any music track recorded in the last ten years, and it’ll be radically different. That dynamic range is gone: The entire track is loud, all the way through. The sound sounds a lot more intense, and it “grabs” you more quickly the first time you hear it. But does it still reward re-listening?
Nope, says a writer at Stylus magazine. In this amazing and lengthy piece, he argues that the “loudness wars” are destroying music. Record labels for decades have tried to make records louder, on the mostly-correct theory that louder music is more likely to pull you in on first listen. But the way you make music louder is via “compression”. In a normal recording of music, the loudest parts — the peaks — are much higher than the quietest ones, the valleys. Compression shrinks the difference between the peaks and valleys, so there’s less dynamic range; this frees up more room up top so you can boost the whole volume of the entire song.
See those two graphs overhead? The original is Abba’s “One of Us” as recorded in 1981, and you can see the wide dynamic range. The second graph is “One of Us” remastered in 2005, compressed to make all of the sound-wave “big” and louder. The author also argues that the jump-the-shark moment for the recording industry was … Oasis. In 1987, the average album like Appetite for Destruction by Guns ‘N Roses had a dynamic range of 15 decibels. Oasis’ 1994 (What’s the Story) Morning Glory had a range of a mere 8 decibels — compressed to make it louder and louder.
But so what? Why does this hurt music? Because of the psychoacoustics of how loudness and quietness affects us. When a song has less dynamic range, even if it’s louder we are — paradoxically — more likely to tune it out, as the author argues. It’s worth reading his entire essay, but here are some excerpts:
I’ve messed around with lots of home-recording technology — for music and for my Wired podcasts — and this guy’s right. Compression is addictive. I use a Joe Meek MQ3 to compress recorded instruments and voices, then T-Racks’ software compressor to further pump up tracks inside Pro Tools, and with each rev the sound gets fatter and more intense. But maybe I’m removing all dynamic appeal from what I’m recording?
(Thanks to Andrew Hearst for this one!)
I'm Clive Thompson, a writer on science, technology, and culture. This blog collects bits of offbeat research I'm running into, and musings thereon.
Currently, I'm a contributing writer for the New York Times Magazine and a columnist for Wired magazine. I also write for Fast Company and Wired magazine's web site, among other places. Email or AOL IM me (pomeranian99) to say hi or send in something strange!
May 20, 2011 » 02:28 PM
From Christopher Kennedy’s very droll book “Neitzsche’s Horse”.
July 28, 2010 » 07:35 AM
“Wr” - S
July 06, 2010 » 10:05 AM
My Xbox broke, and I was trying to Google some possible technical solutions, when I noticed that Google appears to be encouraging me to make a typo. I suppose it’s possible that Google’s algorithms know that typing “wont” instead of “won’t” would produce better results.
June 29, 2010 » 05:00 PM
On the other hand, when I tried the test for multitasking, I was pretty abysmal. I performed worse than people who identify themselves as heavy multitaskers, and those who identify as low multitaskers.
June 29, 2010 » 04:58 PM
I finally got around to trying out the interactive “test your distractability and multitasking” page at the New York Times, which they put up alongside their story earlier this month about how computer distractions are eroding our lives.
According to the test, I guess I have good focus — I’m not very distractable!
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