Kind of an interesting one to look at and something you will definately notice if you go through folders of tunes is that older songs progressively seem quieter, they didn't at the time; now songs are FUCKING loud, some songs do well with this fact, others, not so much. How do you guys reckon it's impacting on breaks and what target levels should we be aiming for with production? Be interested to see people opinions.

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I think you should be aiming for levels that work best for the tune in question for the format it's going to be released on. DJs can adjust levels in the mix.

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Not really quiet, just more dynamics rather than the flat wall. I think this is why I don't like new Berks much. It is very tiring on the ear.

The Loudness War!

I have just put a load of old tunes from '09 on my phone and was listening to them in the car and even they seem quieter that new tunes. I think this is something that is just going to keep happening, with one album every so often managing to stand the test of time.

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We've gotta be near the point of saturation. Shit can only be so loud before distorting like crazy.

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agree with that ^

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louder is not better. a shit loud song is still a shit song etc etc

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super loud modern mixes sound good on electro house et al

they peak around +10db and have great big boshing drum sounds that sound ok when walloped like that

breaks with texture and dynamics tend to sound a bit shit at this level , i find they can get to about +7db or at a push +8db

as a result most breaks is now electro house

loudness isnt really the problem to me, its people trying to mix tunes so they sound like a soundsystem in the studio

then the dj in his/her infinite wisdom cranks up the treble and the bass on his mixer, neatly driving the mixer into the red, bye bye transients

then the engineer in the club clamps a behringer autocom over the whole mix, this box has an "intelligent" limiter which will squash anything, bye bye last remnants of transients

then the engineer gets bored and starts fucking about with the graphic eq, mmm whats needed here then?

i know! a big "smile" boosting the treble and bass even more, from where the engineer is sitting in the sound engineers cage it sounds proper bitching like

this is for the good of the people as it means the club owner will never have to replace a single component in the sound system and can concentrate his funds into spreading salt on the floor of the club.....

by now the crowds ears are clamping down like ag4111 with nipple clamps

this is fantastic and we should all aplaud

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the solution is to get some amstrad speakers in there

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yep

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its all music not just berks though izzzzzzzzznit

arguably hyper compression sounds good on some stuff, the problem is no one wants be the quiet one at the shop front and a lot of djs dont know their arse from their elbow when it comes to gain/eq controls and head room, if youre already smashing the granny out of the levels with an uber compressed tune then youve got no room to manoeuvre with the next one thats 3 db quieter so it probably wont get played. No ones really that keen to back down either, sales/return are low (various reasons), pro mastering and studio time is expensive (get what u pay for), so is decent kit to give a polished sound, why would people put the effort in when the return has turned to shit

its more of a problem for more commercial pop music (im talking ballads etc which are as loud as metallica) which stylistically doesn't really need to be brick walled so hard

be interesting if the new 'standards' they are trying to bring through actually make any difference

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not really. why what happened?

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