Podcasts about Loudness war

In de nieuwste aflevering van de podcast bespreken we het eerste en enige volledige album van de Antwerpse rapper Pepe. Planeet Pepe is meer dan alleen muziek – het is een verhaal, een reflectie van wie Pepe is als artiest en als mens. Verder hebben we het nog uitvoerig over de Loudness War die o.a. Beatboer Tony voert, de muziek die op onze radar staat en over de impact van Eigen Makelij op de Vlaamse scene.Shoutouts:BROCO x PROBLEMATISCHWU TANG x MANDINGOFLATBUSH ZOMBIES x 222 ft. Bridget PerezVUDU CRU x VUDU CRU (Joost Hoekaf & Dean Bowen)COAST CONTRA x IN CASE YOU FORGOT ACTS CHANGE x MOLUME 1ZWARTE WATER x LANCASTERINTRO (00:00:00)GROEN GENOEG: rechtzettingen (00:01:24)SHOUTOUTS (00:18:04)PEPE (00:33:36)PLANEET PEPE (00:47:45)FUCK DE WERELD (00:49:10)GEEN TIJD (01:03:48)TELEURGESTELD (01:12:35)ONVOORWAARDELIJK (01:20:10)NACHTJE DOOR (01:25:10)STROBOSCOOP (01:32:40)STROMEN (01:37:01)VERVLOEKT: (01:41:44)INFORMANT (01:49:50)ZWAK (01:55:27)HOREN ZIEN EN ZWIJGEN (02:03:13)MIJN STAD (02:07:52)STRATEN VAN ANTWERPEN (02:10:25)IJVERIG (02:14:05)AFTERTHOUGHTS (02:18:11)NEXT UP (02:33:36)- Next Up: RONCHA x FLEECEDEKENTJE THUGLIFE- Links: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://linktr.ee/beatsandbars⁠

We're on Patreon! Find us at https://www.patreon.com/AudioUnleashed This week, Dennis and Brent discuss how spending money and seeing measurements can influence subjective listening impressions, take a weird vicarious trip to a Japanese Kissa, and listen to a direct comparison between the same digital master delivered on a variety of different media. Buy-now links for products mentioned herein (As Amazon Associates, we may earn a small cut from qualifying purchases):

On this special episode of Vinyl Verdict, Bell, Jamie and Plouffe get together to talk the artists they own the most albums by in their collections. Starting the episode off, Jamie brings the Beatles album "Sgt. Peppers Lonely Hearts Club Band". Their eighth album, released in 1967, the band began work on this album shortly after retiring from touring in 1966. Many publications have cited this album as being a masterpiece in the Beatles catalogue, and Rolling Stone has named it both the #1 (2003, 2013) and the #24 (2020) album of all time. Bell's pick, Dan Mangan's "Being Somewhere", is his seventh studio album, released in 2022. A nice mix of folk and indie rock, the album was produced by OneDirection guitarist Drew Brown. The single "Fire Escape" had a music video that accompanied it featuring the actor Steven Ogg, perhaps best remembered for playing the character Trevor Philips in Grand Theft Auto V. Finally, Plouffe's pick, the Red Hot Chili Peppers "Californication", their seventh album, released in 1999. An album that was an unfortunate victim of the Loudness War of the late 90s to mid 2000s, the album was the first to include the guitarist John Frusciante in several years. After coming back to the band after nearly dying from a severe drug addiction and a house fire, John's return marked a new period of activity for the band, and they went on to record two more highly regarded albums in the next six years. From this album, the single Scar Tissue earned them a Grammy award. What can we glean about each host from the artists they religiously collect? What will the boys have to say about each record? Come along and find out!

In this episode the guys discuss the much debated loudness war and how it has developed over time. Has streaming completely ended the loudness war? Is there still a need to get your songs loud? Does quieter songs sound better? Are LUFS important? Lets find out.Please subscribe to our YouTube and rate our podcast it helps us alot! https://linktr.ee/myaudionerdshttps://www.helpmedevvon.comFollow Ushttps://www.instagram.com/helpmedevvonFollow The CastDevvon Terrellhttps://instagram.com/helpmedevvonLJhttps://instagram.com/prodbyljeanCourtney Taylorhttps://instagram.com/officialcourtneytaylor#podcast #mixing #producers

In questo episodio di Fuori Orario: Not Another Podcast non si parla solamente del nuovo singolo di Iggy Pop, ma anche del produttore Andy Watt e del “ritorno” della loudness war. A questo link http://tiny.cc/fuori-orario-shop trovi la musica, i film e i libri dei quali si parla in questo podcast.

Uno "spiegone" su cosa sia la tanto nominata Loudness War. Da metà video però alcune considerazioni sulle quali riflettere: il passato, il presente ed il futuro della musica .Ne parla Sabino Coppolecchia de " ilMicrofono.it "www.ilmicrofono.it

Uno "spiegone" su cosa sia la tanto nominata Loudness War. In che cosa consiste e come viene combattuta.Da metà video alcune considerazioni sulle quali riflettere: il passato, il presente ed il futuro della musica .Ne parla Sabino Coppolecchia de " ilMicrofono.it "www.ilmicrofono.it

Quinto episodio de esta segunda temporada, conversando de una manera más casual sobre loudness war, hacia donde vamos con la llamada "guerra del volumen" y si las recomendaciones de loudness de las plataformas de streaming han ayudado a que esto se estandarice. En que nos afecta esta reducción del rango dinamico como oyente y que podemos hacer en nuestro rol de ingeniero/técnico para que esto pueda mejorar de alguna manera. Gracias por escucharnos y por compartir nuestro podcast. NUESTRAS REDES Discord (Buscanos como Ruidos Paralelos) https://discord.gg/2cTJtnHVzW Siguenos en Instagram https://www.instagram.com/ruidos_paralelos/ y el clásico facebook: www.facebook.com/ruidos.paralelos.podcast Por si nos quieres escribir... ruidosparalelos@gmail.com

After a Saints victory the guys meet up at the hardwood to record this week show. Join Charlie, Kobi and Joe as they break down how hurricane ida affected them and big things happening at the Void.Feature music of the week is Loudness War with their song "Semolina". Loudness War has been crafting fuzzy riffs and weirdo rock since forming in 2014. Originally a secret recording project duo, the now four-piece band has released 7 albums and EPs, spanning sludgy sabbath influence to sunny psychedelia.

Our next guest accepts that he has become “The Loudness Guy.”  So buckle up!  This is an audiophile master course where we'll discuss everything from what the heck is “U-matic” to did Metallica make the loudest record ever?Ian Shepherd is a professional mastering engineer, owner of Mastering Media Ltd., and host of “The Mastering Show” podcast.  Over twenty some years he's worked on thousands of CDs, DVDs and Blu-rays for all of the major record labels, TV stations and independents.  He's worked on number one singles and award winning albums, with clients from The Royal Philharmonic Orchestra to Deep Purple, Keane to Culture Club.  Ian also runs the Production Advice Website with over 50,000 readers each month. Ian and I take a deep dive into such topics as: lossless vs. lossy audio; compression, limiting and EQ; LUFS; the Loudness War in music; correcting the misunderstanding that a “picture disc” is NOT a Blu-ray; and we'll even discuss whether D&D is cool again.  He describes the art of mastering as a weird mix of arrogance and humility, and there's no one better to simplify these concepts and get us up to speed, than Ian Shepherd. ========================IAN SHEPHERD- Mastering Media Ltd:  https://mastering-media.co.uk/ - Production Advice Website: https://productionadvice.co.uk/- Dynamic Range Day Website:   https://dynamicrangeday.co.uk/- Twitter: http://twitter.com/ianshepherd- "The Mastering Show" Podcast:  https://themasteringshow.com/- Meter Plugs (Ian's Recording Plugins): https://www.meterplugs.com/  SHOW REFERENCES- Endlesss app:  https://endlesss.fm/ - "You Are Not So Smart" Podcast:  https://youarenotsosmart.com/podcast/- Ian's "Wired" Article About Metallica's "Death Magnetic" (9.16.2008):  https://www.wired.com/2008/09/does-metallicas/========================BRENTON HUND PODCAST   - Facebook:  http://www.facebook.com/brentonhundpodcast- Instagram:  https://www.instagram.com/brentonhundpodcast/- Email:  brentonhundpodcast@gmail.com========================SOCIAL MEDIA BY:  The Social Sweetheart- Website: https://www.socialsweetheart.co- Email:  thesocialsweetheart@gmail.com========================LOGO DESIGN BY: Taylor Hembree- Website:  https://taylorhembree1993.wixsite.com/ohokmedia

Why do TV shows have s*** sound? We go investigating which takes us a lot deeper than we thought we'd go. Traversing the soundwaves of audio history we ultimately find an answer, and we have people to blame...

Onkel Pietsch erzählt wieder vom Krieg...vom Krieg der Lautheit. Aber den pazifistischen Stephan interessiert das gar nicht so wirklich, da er in narzistischer Manier ohnehin nur die eigene Stimme aufzeichnet und damit alles in der Hand hat. Oder?! Lob, Kritik oder eigene Themenvorschläge an: halbwissenhoch2@gmail.com

On the show today we have tech entrepreneur and investor, Pascal Pilon. He is currently running LANDR, which, if you are in the music industry, I’m sure you have heard of.If you haven’t, LANDR is a cloud-based, automated mastering service that helps music makers get instant mastered tracks with just a few clicks.We see more and more of AI becoming a big player in the music industry, which comes with both benefits and disadvantages. I’d love to know where you stand on this. Is AI a good thing for the music industry? Will it take over jobs? Will it allow you to focus on more creative things? Let me know by shooting me an email to niclasjeppsson@gmail.comAlso, if you want to hear more AI and tech discussions, check out my conversation with Drew Silverstein, founder and CEO of Amper Music.In this interview, we spoke about:• How LANDR got started• Is LANDR just for the bedroom producer?• The importance of measuring results• Inventing vs trying a new combination• How to create super fans and marketing• Favorite books• If LANDR is pushing the loudness war in the wrong direction• The early struggles of LANDR• The 15-second rule and the rule of thirds• Why you need to listen and be curious to create a great product• Favorite failuresAnd much more►► Join The Audio Tribe To Get Exclusive Access To Interviews, Private Q&A’s And Live Streams: https://www.youraudiosolutions.com/exclusive-accessIf you like this podcast, please leave a rating and a comment to help promote the show and get your favorite people on!

WHAT THE LUFS?!? Get your LUFS right! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/producercast/message Support this podcast: https://anchor.fm/producercast/support

A pretty extreme term for something that was ultimately a bunch of producers pushing a slider further and further into the red, the Loudness War still managed to wreck some perfectly good records, and influence the way we hear music more than a decade later.Featuring:– The Stooges - “Search and Destroy”– Red Hot Chili Peppers - “Around the World” and “Californication”– Metallica - “Broken, Beaten and Scarred”– Arctic Monkeys - “I Bet You Look Good On The Dancefloor”

A pretty extreme term for something that was ultimately a bunch of producers pushing a slider further and further into the red, the Loudness War still managed to wreck some perfectly good records, and influence the way we hear music more than a decade later.Featuring:– The Stooges - “Search and Destroy”– Red Hot Chili Peppers - “Around the World” and “Californication”– Metallica - “Broken, Beaten and Scarred”– Arctic Monkeys - “I Bet You Look Good On The Dancefloor”

Chega mais!! Na última parte da série sobre jingle conto um pouco de como é feita a masterização, finalização e conto o um histórinha bem bacana sobre a Loudness War. **Bóra compartilhar conhecimento, pois conhecimento guardado não gera valor algum** ------- Instagram: @thierryamaraloficial Contato: equalizadamente@gmail.com Apoio: Flórida Música @florida_musica

The Loudness Wars. Special guest mastering engineer Dave McNair and Grover Neville help explain the Loudness Wars. How did we get here? Where are we going? Are things getting better, or worse? Dave and Grover give first hand experience to help us better understand the current state of things in regards to dynamic compression and its effects on popular music.  S4E3 Sponsors: QOBUZdotCOM - Authentic Music Experience MCINTOSHLABSdotCOM – Legendary Audio Equipment The LSA Group and CorePower - State Of The Art Power At Real World Prices

Tvoje písničky musí hrát dobře ve studiu, v autě, nebo z rádia mamce v kuchyni! A od toho je tady mastering. Co se v tomto procesu děje a co masteringový zvukař dělá? Co je Loudness War a.k.a. Válka hlasitostí? Po tomhle díle budeš mít singl, CDéčko nebo klidně vinyl který hraje dobře všude! https://www.milionovakapela.com/

Neste episódio falamos sobre como surgiu a guerra dos volumes e como a partir dos anos 90 os problemas com as mixagens e masterizações chegaram a um nível bizarro e praticamente insuportável.

Er nahm das Nummer 1 Chart-Album "Preachers of the Night" von Powerwolf in seinem Kohlekeller Studio auf. Kristian "Kohle" Kohlmannslehner arbeitet seit Jahren erfolgreich als Produzent für harte Metal-Musik und macht neuerdings auch mit YouTube Videos und als Gast-Mischer des URM Academy Online-Formats "Nail The Mix" auf sich aufmerksam macht. Er produzierte Alben mit Gruppen wie Hämatom, Powerwolf, Aborted, Eskimo Callboy oder Crematory, die zum Teil sehr hohe Chartpositionen erreichten. Kristian "Kohle" Kohlmannslehner ist in der Metal-Szene weltweit als Produzent und Studiobetreiber etabliert. Sein Kohlekeller Studio wurde vor 20 Jahren gegründet und hat sich in dieser Zeit zu einer Top-Adresse für Metal-Bands aus dem In- und Ausland entwickelt. Außerdem entwickelte mit dem "Grindstein" ein eigenes Effektgerät für E-Gitarren und ist als einziger deutscher Produzent in der URM Academy vertreten. Die Online Recording Schule wurde von den drei US-Produzenten Joey Sturgis, Joel Wanasek, und Eyal Levi ins Leben gerufen. Wer kennt schon die "Statistiken für Nerds" auf YouTube? Im Podcast-Gespräch mit Alexander Schröder betrachtet "Kohle" seinen eigenen Werdegang, die Entwicklung von Sound und Arbeitsweise in dem von ihm favorisierten Genre, beurteilt zukünftige Aussichten der Studioarbeit und gibt fundierte Einblicke zum Mastering von Songs für digitale Plattformen wie YouTube oder Spotify. Dabei geht er dem "Loudness War" aus dem Weg und folgt mittlerweile der Prämisse Lautstärke der Dynamik unterzuordnen. http://www.kohlekeller.de http://www.redfield-records.com

In part 2 of the story of mastering, we explore the consequences of the Loudness War and call out some of the worst offenders. We’ll also hear about the artists and mastering engineers who have been fighting back, and learn how modern listening habits might finally put an end to this sonic arms race. Twenty Thousand Hertz is produced out of the studios of Defacto Sound and hosted by Dallas Taylor. Follow the show on Twitter & Facebook.  Become a monthly contributor at 20k.org/donate. If you know what this week's mystery sound is, tell us at mystery.20k.org. Check out Ian Shepherd’s podcast The Mastering Show. Check out Greg Milner’s book, Perfecting Sound Forever. Consolidate your credit card debt today and get an additional interest rate discount at lightstream.com/20k. Try ZipRecruiter for free at ziprecruiter.com/20k. Episode transcript, music, and credits can be found here: https://www.20k.org/episodes/loudnesswars

The Loudness War is upon us, children and fans. Three Idols down, the Church of Idolatry angry in the extreme. Will the Idols finally fall or will our "heroines" fall before the power of fanatic funded religion? It's time to see who has the ovaries of iron in Gnashville and rev it up to tear it down!

Chega mais!! Na última parte da série sobre jingle conto um pouco de como é feita a masterização, finalização e conto o um histórinha bem bacana sobre a Loudness War. **Bóra compartilhar conhecimento, pois conhecimento guardado não gera valor algum** ------- Instagram: @thierryamaral Contato: equalizadamente@gmail.com Apoio: Flórida Música @florida_musica

In our 60th show the Loudness War strikes again, we discover that quite a few bands owe Nile Rogers royalties and herald the return of a 90s post-hardcore icon. THIS WEEK: Gold & Grey by Baroness / 834.194 by Sakanaction / False Alarm by Two Door Cinema Club / Un-becoming by J. Robbins / Crime […]

Nach einer kleinen Pause sind wir wieder zurück. Und weil wir so aufgeregt waren, ist Jacobs Mikrofon auch übersteuert. Typisch Tontechniker. Aber den Loudness-War gibt es nicht nur bei uns sondern auch bei verschiedenen Bands, die im April Alben auf den Markt gespült haben.

Deathcats: Surfing in My Head | PALS: Stay-Leave | Loudness War: Pharaoh (Live at Wayfair) | Ditches: Losing Touch | Bummers: 1967 | Psychic Ills: Tried to Find It | The Sunburns: Surfin' the Net | Melted: Old Lady Avenue | Mallows: Stay Home Follow Long Weekend: Instagram | Twitter

Napjaink egyik legfontosabb kérdésről van szó, a hangerő háborúról! Szükséges-e még az utolsó decibeleket is kisajtolni a zenénkből? Támogaitóink a Zaj Studio és a Hitspace.

Neste episódio, apresentamos alguns dos artistas da Tratore com material novo previsto para 2019, além de explicarmos sobre a chamada "Loudness War", ou Guerra dos Volumes, que leva a padronização de compressão do áudio para diferentes mídias.

¡Tenemos remeras de Pizzel!Links para comprarlas por Mercado Libre abajo. Hay dos opciones: “económica” y “premium”. La remera es la misma, misma calidad. La única diferencia es el precio.Hablamos de dinosaurios, y descubrimos que en el fondo estuvimos mal al reírnos de Susana Giménez todo este tiempo. Pedro explica qué es un meme y desmenuza las inexactitudes de Jurassic Park. Javier anuncia el fin del Loudness War gracias a nuestro controversial amigo: Spotify. Luego Pedro nos cuenta de la Biblioteca de Alejandría y el fenómeno de Bit Rot. También… ¡Hay remeras de Pizzel!Notas del episodioRemeras de Pizzel “Económicas” (MercadoLibre)Remeras de Pizzel “Premium” (MercadoLibre)Saurópodo (Wikipedia)Terópodo (Wikipedia)Dinosaurios con plumas (Wikipedia)Deinonychus (Wikipedia)Velociraptor (Wikipedia)Espinosaurio (Wikipedia)Patagotitan (Wikipedia)Fotos de mamut bebé congelado (BBC)Charla TED sobre convertir a una gallina en un dinosaurio (YouTube)Loudness war (Wikipedia)Spotify (Wikipedia)Compresión de audio (Wikipedia)Biblioteca de Alejandría (Wikipedia)Charla TED de Vint Cerf sobre bit rot (YouTube)Eyección de masa coronal (Wikipedia)Evento Carrington (Wikipedia)

The gang dives into the Loudness War. Are you already a vicim? Find out!

Lars Mossberg, Ingvar Öhman och Anders Olsén försöker definiera ljudkvalitetsproblem i dagens ljudvärld.

The loudness war means we are all competing to create the "loudest" jingle, music track or radio station on the planet. How does loudness actually work and should we always strive to be loud?

I sit down with mastering engineer and blogger Ian Shepherd to talk about the loudness problem in today's publishing industry, how to combat it, and whether mastering is worth learning as a bedroom producer. Find out more about Ian Shepherd: http://productionadvice.co.uk Read full show notes: www.edmprod.com/62

Ein Thema das in Musiker und Audiophilen Kreisen polarisiert. Der Loudness War. Fakt ist Musik ist in den letzten Jahrzehnten immer „lauter“ geworden. Doch ob das nun gut oder schlecht sein soll und ob ihr eure Musik auch „laut“ mischen sollt, besprechen wir hier.   Reviews:   Toska – Infantile (Dino): https://youtu.be/UEgIsBepx9E   Kaiser Franz Josef – Slaughterhouse (Markus): https://youtu.be/qGfDtyIl1tE   Igorrr – Opus Brain (Marcel): https://youtu.be/Z5Qk89_xMcs

- When Clients are WRONG! - Producing While Engineering! - Effects: When and Why! - Peace in the Loudness War! - This Week's Plugin Winner Is…… Julian Fader! ...And More!

Primeira parte das perguntas dos ouvintes, um desafio que lançámos há algum tempo. Deu para falar de vários assuntos, desde a revelação de como este podcast é feito, fazemos a review a outro podcast, damos a nossa opinião sobre as edições remasterizadas, a Loudness War e até dos debates Donald Trump x Hillary Clinton que também parece uma Loudness War. Com: Gustavo Vieira e Paulo Rodrigues.

You've already seen who my guest is this week, so why are you still reading this ?!? Click Play now ! Seriously though, a guest whose discography includes U2, Dave Matthews, The Pogues, The Stones, Peter Gabriel, Talking Heads, Morrissey, The Psychedelic Furs, The Las, The Killers and 30 Seconds to Mars plus about 500 others *really* shouldn't need any further introduction from me ! There are SO many great anecdotes and useful nuggets of wisdom in this episode I can't even begin to list them, but just in case you need any more persuading, here are a few sample topics we discuss: - How Steve became a music producer, and why he did it mostly out of fear - What he hates about the production of “Sunday Bloody Sunday” - Why he always mixes the records he produces - The secret of his success (which anyone can steal) - His feelings about the Loudness War, and whether stem mastering is a good idea or not Now stop reading this and listen ! Links Steve Lilywhite (Wikipedia) https://en.wikipedia.org/wiki/Steve_Lillywhite Steve on Discogs.com https://www.discogs.com/artist/50809-Steve-Lillywhite 10 records that changed Steve's life - some may surprise you ! http://www.musicradar.com/news/guitars/steve-lillywhite-the-10-records-that-changed-my-life-612922 Documentary teaser https://youtu.be/13ohHBmviE8

Why you might NOT want to master your music - or get it mastered; what I think of LANDR and other online "mastering" services; when mastering ISN'T mastering; plus the problem with re-mastering; a brief tangent on Dave Grohl; can you master on the mix buss? And why deciding not to master is STILL mastering. Links LANDR: Automated online mastering – but is it any good ? My test http://productionadvice.co.uk/landr/ How the Loudness War is crushing Dave Grohl's analogue ambitions http://productionadvice.co.uk/how-the-loudness-war-is-crushing-dave-grohls-analogue-ambitions/ The heart and soul of mastering http://productionadvice.co.uk/heart-and-soul/

Why “Dynamic Range Day” is a really bad name. And come to think of it, why “dynamic range” probably isn't what you think it is. And neither are “dynamics”! And why the Loudness War hasn't changed them. At least, not one kind – or not in the way that you think. Because physics. It's complicated! Plus special bonus topics: Autotune and Taylor Swift (!) Links: Dynamic Range Day http://dynamicrangeday.co.uk/ How to use the TT ‘Dynamic Range' Meter – and where to get it http://productionadvice.co.uk/how-to-avoid-over-compressing-your-mix/ The ‘Dynamic Range' Database http://dr.loudness-war.info/ Dynameter http://www.meterplugs.com/dynameter?a_aid=edmmr&a_bid=3bb60bda Did they REALLY just auto-tune Aretha ? SERIOUSLY ? http://productionadvice.co.uk/aretha-autotune/ So Taylor Swift is louder than Motorhead, AC/DC and The Sex Pistols… – wait, WHAT? http://productionadvice.co.uk/taylor-swift-loudness/

致歉！由于飞行员们都在出差，节目更新上有些许跳票。本期也由于大家都在异地录音，所以孟获和地下丝贼的声音并不是很稳定。Blame Skype for that.五一小长假，这个草长莺飞的季节，国内又迎来了音乐节的高峰。刚刚看完Iron Maiden 现场并录制了Bootleg 的地下丝贼老师与大家分享一下铁妞宇宙无敌的现场表演，比起铁妞，国内的音乐节，都是辣鸡。飞行员们分享了自己的出差设备，以及各种坑爹的出差行程里自己如何解决听歌问题。Loudness War，一个关于专辑录音响度的问题。参考链接《结束大音量人人有责！一定要了解的 Loudness War 响度战争》http://www.headphoneclub.com/thread-417062-1-1.html。但我们的讨论七拐八拐，说了许多奇怪的话题。最后奉上丝巾老师的Iron Maiden 乐队Encore 部分的风衣录音。#01. Number of the Beast#02. Blood Brothers#03. Wasted Years

致歉！由于飞行员们都在出差，节目更新上有些许跳票。本期也由于大家都在异地录音，所以孟获和地下丝贼的声音并不是很稳定。Blame Skype for that.五一小长假，这个草长莺飞的季节，国内又迎来了音乐节的高峰。刚刚看完Iron Maiden 现场并录制了Bootleg 的地下丝贼老师与大家分享一下铁妞宇宙无敌的现场表演，比起铁妞，国内的音乐节，都是辣鸡。飞行员们分享了自己的出差设备，以及各种坑爹的出差行程里自己如何解决听歌问题。Loudness War，一个关于专辑录音响度的问题。参考链接《结束大音量人人有责！一定要了解的 Loudness War 响度战争》http://www.headphoneclub.com/thread-417062-1-1.html。但我们的讨论七拐八拐，说了许多奇怪的话题。最后奉上丝巾老师的Iron Maiden 乐队Encore 部分的风衣录音。#01. Number of the Beast#02. Blood Brothers#03. Wasted Years

Happy New Year! This week, I came across this blog post, highlighting the 50 best free VST plugins of 2015. Along the way, I talked about the plugin Ambience from smartelectronix. One of the best algorithm-based reverbs I’ve come across (not that I use them much these days; I mostly stick to convolution reverbs). Plus … Continue reading "Episode 153 – Who’s responsible for the Loudness War?"

Andra delen i vår miniserie om förlorad ljudkvalitet handlar om ett mycket större problem än det första. Ett problem där musikbranschen är enig om att ljudstyrkekriget har gått för långt. I 30 års tid har medelnivån på inspelad musik ständigt blivit starkare och starkare, detta för att vinna konkurrensfördelar - framför allt i radio. Men musikens naturlagar gör att vi samtidigt drabbas av massor med distorsion, förändring av det musikaliska uttrycket, saboterad tajming, läspande reklamröster, låsning vid våra fjärrkontroller och märkligast av allt: Musik som blir ytterst olämplig att verkligen spela starkt - om vi vill. Programmet försöker reda ut orsakerna, följderna och vad vi faktiskt kan göra åt det. Och självaste Barack Obama har nyligen agerat i frågan. Länkar för den intresserade finns längre ner på sidan, samt ett utförligare svar från ansvariga på Sveriges Radio. På hemsidan finns möjlighet att ladda hem programmet i form av de förlustfria, högklassiga formaten FLAC & ALAC (Apple). Om en version inte fungerar kan det bero på din webbläsare, testa då den andra versionen. Hör gärna av er med synpunkter! Medverkande: Ingvar Öhman: Forskare psykoakustik, akustiker, högtalar- och elektronikkonstruktör Lars Rosin: Ljudtekniker/Masteringstekniker Torbjörn Wallentinus: Ljudtekniker och elektronikkonstruktör Thomas Lund: Teknisk direktör, TC-Electronics Danmark, Ordf CENELEC Lars Mossberg: Teknisk utvecklingsingenjör vid Sveriges Radio Barack Obama: President USA Tack också till: Claes Wettebrant: Ordf i Ljudtekniska sällskapet Nikki Pryke: Ljudtekniker, producent och DJ Linda Aktén: P4 Stockholm - "ställföreträdande reklamröst" Loudness War - Vad är det som låter? del 2  - en P2 Dokumentär av Anders Olsén / Ogjort

In this interview I talk to Nicholas Di Lorenzo, mixing and mastering engineer based in Melbourne. We talk about a range of topics including: what mastering is, why communication should be essential in an engineer's arsenal of tools, and tips for building a career in the industry, whether as an artist or business person. --------------------------------------------------------------------------------- Download a free PDF containing tips from podcast guests: edmprod.com/podtips --------------------------------------------------------------------------------- Cool things mentioned in the show: - Mixing With Your Mind (http://amzn.to/1EPAR2N) - Mastering Audio (http://amzn.to/1EPASnk) - Your Mix Sucks (http://www.mixedbymarcmozart.com/buy-mixing-books-tutorials/) - Zen & The Art of Recording (http://amzn.to/1JXHBug) - Bialetti Moka Express Stovetop Coffee Maker (http://www.coffeacoffee.com.au/bialetti-moka-express) Nicholas Di Lorenzo on the web: Website: http://www.panoramamastering.com.au/ Facebook: https://www.facebook.com/PanoramaMastering Email: nicholas@panoramamastering.com.au Download for free on The Artist Union

Today’s episode is about a thing we struggle with every week making this podcast — the Loudness War! Since the early 90s, music has gotten progressively louder. Everybody’s been turning it up to “11” and we talk about how and…Read more ›

Stefan Nierwetberg und Andreas Hille von der P&P Studios Audio-Agentur erläutern, zu welchen Ergebnissen der Wunsch nach maximaler Lautheit Im Radio oder bei Audioproduktionen generell führen kann.

El Postprocesado de un audio es una tarea llena de dudas, ¿por donde empiezo? ¿Que tipo de efectos debo utilizar? ¿Como ajustar esos efectos una vez utilizados? Estas 3 preguntas pueden hacer que un podcaster se sienta intimidado durante el postprocesado de su audio. El primer paso que necesitamos realizar para poder hacer un buen postprocesado del audio es grabar bien, uno no puede convertir un mal audio en un audio bueno, solo puedes hacer que no sea tan malo. Para continuar explicando los procesos dinámicos debo empezar por el final, tengo que explicar cual debe ser nuestro resultado final. El resultado final de nuestro audio debe ser normalizado según unos estándares de sonoridad. Hasta hace relativamente escaso tiempo siempre se ha medido un audio con respecto a sus picos, las zonas mas altas de volumen, pero ya no vale. La normalización de la sonoridad es un proceso por el cual procesamos y medimos el nivel de intensidad de nuestro audio. Desde el 2011 se han creado y homologado nuevos estándares en normalización que pretenden normalizar todos los audios al mismo nivel. La sonoridad es un concepto muy fácil de explicar porque todos lo hemos sufrido y lo estamos sufriendo, todo audio tiene un límite tras el cual se produce distorsión y saturación, por debajo de hay tenemos nuestro Rango dinámico que puede ser mas grande o pequeño, la sonoridad es la intensidad con la cual el oído humano percibe ese audio. Lo que ocurre es que la Sonoridad es distinta para cada audio, la intensidad con la cual cada uno de nosotros percibimos esos sonidos varía de podcast a podcast, o por ejemplo, y mucho mas fácil de entender, cuando nosotros estamos viendo TV y hacemos Zapping puede que el siguiente canal tenga un volumen general muy alto o mas bajo e incluso si nos mantenemos en el mismo canal puede ocurrir que estemos escuchando una serie a un volumen determinado, que posteriormente veamos un documental mucho mas bajo de volumen y que luego nos asalte la publicidad a todo trapo. Esta situación llevó a lo que se denominó la guerra de la Sonoridad o en inglés Loudness War que ha llevado a la música comercial a lo que los ingenieros de sonido denominan una catástrofe basada en la premisa de que cuanta mayor sonoridad mucho mejor. La tendencia de incrementar el volumen se puede apreciar en esta secuencia de onda de la canción "Something" de The Beatles masterizado cuatro veces desde 1983. Via: Wikipedia La Sonoridad es totalmente subjetiva, a dos señales parecidas un grupo de personas puede determinar que una tiene un mayor volumen sobre la otra. O incluso la situación, si tienes resaca, todo te parecerá que tiene mayor volumen. El Rango de frecuencias también afecta por razones evolutivas a la apreciación de la intensidad del volumen, somos mas insensibles para las frecuencias bajas. Los picos de volumen, en cambio no contribuyen a la percepción de un mayor volumen. La publicidad y la música comercial recortan los picos y suben el volumen general de todo el audio para aumentar artificialmente la percepción de intensidad y volumen, pero los picos tienen una función muy importante, nos permiten ampliar el rango dinámico y nos ayudan a que nuestro audio sea percibido con mayor calidad y que este sea mucho mas natural. Para conseguir evitar esto se propuso un standard abierto de sonoridad. La unidad de medida de la sonoridad es LU Loudness Units y un LU es igual a 1db y LUFS, donde la FS indica Full Scale, el máximo tope digital al que un sonido puede llegar. LU es la medida Relativa y LUFS es la medida absoluta. Las recomendaciones de audio para audio en dispositivos móviles y podcast son -16 LUFSy el pico máximo se recomienda que sea un valor máximo de -1,5 db para que haya margen posterior. En la imagen podemos apreciar la distinta forma de la onda de dos podcast comerciales americanos, el de arriba normaliza muy bajo y el inferior tiene escaso rango dinámico y todos los picos recortados. Herramientas para medir la sonoridad de nuestro audio: Estas herramientas son gratuitas y sirven para analizar el nivel de sonoridad de nuestros audios y que podamos modificarlos para cumplir los estándares de sonoridad. Para Mac tenemos r128x, una utilidad alojada en Github. y que podemos descargar directamente desde este enlace. Es una utilidad muy simple con una ventana donde arrastramos los audios que queremos analizar, automáticamente el programa nos dará los valores de sonoridad para cada uno de los audios que hayamos arrastrado a su interior. Las tres últimas columnas son las que nos indican los valores necesarios para conocer la sonoridad de nuestro audio. la que se encuentra mas a la izquierda es la que nos indica el nivel de LUFS de nuestro audio. La recomendación es que esta cifra marque -16, el segundo valor es el rango dinámico de la sonoridad, es decir, la diferencia en LU de las partes altas con las bajas, los ingenieros de sonido recomiendan que este valor esté por debajo de 8 para que se escuche nuestro audio sin diferencias notables en el volumen, la última columna muestra el píco máximo, la recomendación es que como mucho sea de -1,5 db. Para Windows existe otra utilidad gratuita con mas opciones de manipulación de nuestro audio, como la posibilidad de normalizar directamente desde el programa a -16 LUFS. Se llama R128GAIN y podéis descargarla a través de este mismo enlace. ¿Como normalizar a -16 LUFS?Para normalizar un audio a -16 LUFS se recomiendan los siguientes pasos: Determinar las estadísticas de sonoridad de nuestro audio, podemos utilizar r128x o r128GAIN. Normalizar ese audio a -24 LUFS calculando la diferencia que tenemos con nuestro audio. ej si nuestro audio tiene 13,5 LUFS debemos reducir el control de volumen en nuestro editor 10,5 db, si nuestro audio sale con 25,8 LUFS hay que aumentar la ganancia principal en 1,8 db hasta llegar a los 24 LUFS, hay que tener en cuenta que 1 LU es igual a 1 db. Pasar un limitador al canal principal ajustado a -9,5 db Darle una ganancia a nuestro audio de 8 db Al final obtendremos un audio a 16 LUFS y un pico máximo de -1,5 db Imagen de la onda de este programa grabado, como podéis ver la onda principal que corresponde con mi voz tiene una dinámica poco brusca y los picos no están recortados.

Horst JENS, Gregor PRIDUN, Christian 'HOP' und Thomas PERL plaudern über freie Software und andere Nerd-Themen. Shownotes auf http://goo.gl/hmw7K9 oder http://biertaucher.at

Vi trodde vi hört allt, tills vi lyssnade på veckans avsnitt av Superlife Podcast (vilket är lite märkligt, eftersom vi är med i det). Ni kan inte ana vad H.M. Hammarin hittar på härnäst! KLICKA OCH LYSSNA, FORT! Inlägget #117: Det offerlösa ”loudness war”, hemmaodlade penisar och Twin Peaks återkomst. dök först upp på Superlife Podcast.

This week, Jim Addie weighs in on the Loudness War, including providing us with this link to Audyssey’s room calibration tool for your DAW, a link for AudioLeak, and a link to a technical document on the subject of loudness, Geoff Hankerson points us toward a recent epsiode of the Home Theatre Geeks podcast, and … Continue reading "Sine Language – Episode 129"