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Unsupported Operating System. General G. Teen T. Mature M. People dismiss my concerns as being no more than 'personal preference'. Why focus on Metallica? Here's a list of what I consider Expensive Coasters that I've bought in the last year or so, where the sound is so ugly that silence is preferable, and repeated listening just can't penetrate the wash of indifference the compressed sound creates. I'm just consistently disappointed lately. Oh, i'd theorised the 'sweet spot' as being around myself. Check out the b's 'Roam' for a clean, spacious sounding recording.

HomeFrontRadio I agree, it's a tough one to explain. The "great" thing about Death Magnetic is how blatantly obvious the problems are.

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Almost anyone can hear the damage, and that gives a basis to explain what has happened. That's why I haven't "branched out" into criticising other albums, really. This keeps the issue clear and simple. What I've seen is once people hear and understand about Death Magnetic, they start hearing similar problems elsewhere,w ithout me pointing them out. Also, writing about the problems with excessively high-level albums doesn't really interest me so much - there are many other issues in mastering that are much more important and interesting, I think!

Having said that, if people want to "Name and shame", head over to JusticeForAudio. Anything above that should be unacceptable. PS:I've maximized the volume of the day that never comes from which is way too low for a metal song,to around ,WITHOUT clipping or limiting,and it sounds brilliant.

Thanks Lee, glad you found it useful! If you enjoyed that post, you might also like this one: How to avoid over-compressing your mix From my other site. Awesome job, great advice! I wrote an article about the loudness war a while ago, and how to avoid it by using RMS to find a "starting spot" in the mix. You might find it interesting. Hi there,I enjoy reading through your article post, I wanted to write a little comment to support you and wish you a good continuationAll the best for all your blogging efforts. Every weekend i used to pay a visit this web site, because i want enjoyment, as this this web site conations genuinely nice funny stuff too.

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As regular readers of this blog will know all too well by now, I am firmly opposed to the so-called CD " Loudness Wars ", where everyone tries to get their CD louder than anyone else's by pushing the recorded level higher and higher. This is ultimately a self-defeating process - the CD spec defines a mazimum recordable level, and the harder you push your music up against that level, the more squashed, flattened, crushed and ultimately distorted it gets.

Meanwhile there is far less scope within the tracks on the CD for the contrast needed for a satisfying musical result. BUT as a mastering engineer I spend a lot of my time lifting the level of people's music so that it can compete with the high levels of other CDs out there. And, as I've said in a previous post , I feel that this is actually a positive step for most albums. How do I reconcile these two apparently contradicting views? The answer is something I've also said several times before here: Louder is Better, but Too Loud is Worse By which I mean - every track and group of tracks has a "sweet spot", where it's loudness and by implication compression, level, EQ etc is just right.

It sounds the best it can be. If it's not compressed enough, then quiet passages won't have enough presence, the mix may not "gel" or have enough impact, detail may be lost, and loud passages will make you wince. Whereas if it's too loud and compressed it can sound squashed and dull meaning bland and lifeless, not lacking treble and ultimately fatiguing. If the idea of using compression on a mix surprises you, it's worth knowing that as a rule of thumb people tend to like quite loud, compressed music, especially for pop and rock.

Rick Rubin, who produced Metallica's latest album "Death Magnetic" currently being heavily criticised for it's excessively-squashed, distorted sound said in an interview from And again, he's right.

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Sadly, this is exactly the case with Death Magnetic. Clearly this is a delicate issue, and one that even the most respected engineers sometimes misjudge. Music needs just the right amount of compression and level, based on the style of music and the original recording. So, how loud is Too Loud? Where do we cross the boundary from sweet-spot into overcooking? The answer of course is - Something is Too Loud when it starts to sound worse. But what is worse? Everything is subjective. Rubin obviously thought Death Magnetic sounded good when he was working on it - perhaps he still does.

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Lars from Metallica has no problem with it, but I and many others think it's a great shame that so much distortion had to be introduced. Ultimately the only real way to judge this is to use your ears , but for what it's worth, here are a few facts and figures. I have analysed the loudness of several tracks using a free Mac utility called AudioLeak to measure their long-term A-weighted RMS level. RMS stands for "root mean square" and as applied to music roughly describes the loudness of a musical signal. A-weighting improves on this by taking into account the fact that the ear is less sensitive to bass and treble when judging loudness, and provides a better guide to how loud we think things.

The highest theoretical value possible is zero, and slightly confusingly they are measured down from there, so is louder than , for example. So, with the loudest at the top, we have:. There are plenty of interesting things to be seen looking at these numbers - firstly, the Oasis track actually measures fractionally louder than Metallica!

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However by looking at the raw RMS values we can see that in brute power terms Metallica has a higher level - they just have more low-frequency in the sound than Oasis, so the A-weighted value doesn't reflect that. This higher raw RMS may also explain why the distortion on the Metallica tracks is even worse than on Oasis. Looking at these tracks it would seem that with care the A-weighted RMS can actually be pushed as high as dBFS without obvious distortion.


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