I have seen numerous claims that the "loudness war" is killing dynamics. It makes a lot of sense. But did anyone actually test this hypothesis?How does one define dynamic range within a musically usable setting? Is it the difference between peak amplitude and ReplayGain value of every track? In that case, it is more precisely the "peak-to-perceptiveloudness-ratio". Or does one compare the rms values of every track to its peak value and then to other tracks? Id say that an album where some tracks are 50% quieter than others is probably "dynamic".It seems to me that RG is targeted at finding the percepted loudness of the loudest timeslots - usable for finding out how loud a track is. But for finding out how dynamic it is, one would probably be just as interested in the quiet passages. The ratio between the 50% quietest timeslots to the 50% loudest timeslots?Of course, if RG implies that a track is very loud, then it probably is not very dynamic. But that would seem to add some uncertainty? Some music probably is very loud naturally (Rock n roll music), with or without quiteter passages (long time-scale). At the same time, it may or may not contain loud percussive peaks from eg drums and bass that leads to a reduction of the rms level (short time-scale). And of course, with only the CD to judge from, no program can guess what the actual raw mix sounded like :-)If a relevant number can be found - ideally calculated by existing statistics such as RG, then it should be quite easy to plot "perceptual dynamics" vs "production year" and possibly "genre" from tags of a large music collection. Will this produce a y(x) =a-b*x kind of function? =)-k
The question is how to estimate its historical and cultural progress (as well as existance) when we dont have access to the original mix.
There is a "loudness war" and many modern CD's are compressed to the point of utter unlistenability, while we hear the labels complain that their sales are dropping off.You figure.
People have a finite source of money for which there's more and more competing attractions - inevitably it means there's less left over to spend buying CD's.