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@ Kosmosi: I appreciate that it is easier to see detail in the new lead image. But the new image is a bit larger than we normally use for this purpose. Is it possible to create a trimmed version of this for the lead? ~ Kvng ( talk) 15:58, 28 June 2018 (UTC)
It might be worth mentioning that modern digital limiters such as Waves's L1 Ultramaximiser made pretty transparent extreme limiting possible. It was apparently released in March 1994. That probably had a lot to do with the loudness wars.
It may also be worth noting that CDs have a greater dynamic range / lower noise floor / better signal-to-noise ratio than their analogue predecessor formats such as vinyl records and Compact Cassette, so if anything, they also allow mixing and mastering engineers to go in the opposite direction to the loudness wars if they want to. I suspect a bigger cause was people encoding music in lossy formats like MP3s, then listening to them on a portable music player in a loud environment, namely cities. If you're listening to music while walking past construction work, trains braking, and so on, the reduced dynamic range helps you to hear even the quiet parts of the song you're trying to listen to.
ZoeB ( talk) 17:01, 1 August 2019 (UTC)
@ Vossanova: Producer/Mixer/Master column is relevant because they are usually the one/s who decide on and carry out loudness adjustments. Jonpatterns ( talk) 07:47, 2 November 2019 (UTC)
Currently, this article has a Criticism and a Debate section. Since “debate” naturally contains pros and cons, it is the more general headline. We should therefore merge the two sectors under that name. Or was there another intention behind separating these two sections? If the intention was simply to give some semblance of structure to the long text, I would rather recommend separating personal impressions from measured trends (LRA, crest factor, EBU R128). ◄ Sebastian 10:07, 3 December 2019 (UTC)
The loudness war has been a prominent part of the broadcast industry. It really took off in the early 1980s, 10 or 15 years ahead of CD loudness wars. This article speaks too little about the broadcast industry. Timothy Stockman ( talk) 16:45, 22 October 2021 (UTC)
This is the
talk page for discussing improvements to the
Loudness war article. This is not a forum for general discussion of the article's subject. |
Article policies
|
Find sources: Google ( books · news · scholar · free images · WP refs) · FENS · JSTOR · TWL |
Archives: 1, 2, 3, 4, 5, 6Auto-archiving period: 180 days |
This article is rated B-class on Wikipedia's
content assessment scale. It is of interest to the following WikiProjects: | |||||||||||
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The following references may be useful when improving this article in the future:
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Hello fellow Wikipedians,
I have just modified one external link on Loudness war. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
When you have finished reviewing my changes, you may follow the instructions on the template below to fix any issues with the URLs.
An editor has reviewed this edit and fixed any errors that were found.
Cheers.— InternetArchiveBot ( Report bug) 19:16, 6 January 2018 (UTC)
@ Kosmosi: I appreciate that it is easier to see detail in the new lead image. But the new image is a bit larger than we normally use for this purpose. Is it possible to create a trimmed version of this for the lead? ~ Kvng ( talk) 15:58, 28 June 2018 (UTC)
It might be worth mentioning that modern digital limiters such as Waves's L1 Ultramaximiser made pretty transparent extreme limiting possible. It was apparently released in March 1994. That probably had a lot to do with the loudness wars.
It may also be worth noting that CDs have a greater dynamic range / lower noise floor / better signal-to-noise ratio than their analogue predecessor formats such as vinyl records and Compact Cassette, so if anything, they also allow mixing and mastering engineers to go in the opposite direction to the loudness wars if they want to. I suspect a bigger cause was people encoding music in lossy formats like MP3s, then listening to them on a portable music player in a loud environment, namely cities. If you're listening to music while walking past construction work, trains braking, and so on, the reduced dynamic range helps you to hear even the quiet parts of the song you're trying to listen to.
ZoeB ( talk) 17:01, 1 August 2019 (UTC)
@ Vossanova: Producer/Mixer/Master column is relevant because they are usually the one/s who decide on and carry out loudness adjustments. Jonpatterns ( talk) 07:47, 2 November 2019 (UTC)
Currently, this article has a Criticism and a Debate section. Since “debate” naturally contains pros and cons, it is the more general headline. We should therefore merge the two sectors under that name. Or was there another intention behind separating these two sections? If the intention was simply to give some semblance of structure to the long text, I would rather recommend separating personal impressions from measured trends (LRA, crest factor, EBU R128). ◄ Sebastian 10:07, 3 December 2019 (UTC)
The loudness war has been a prominent part of the broadcast industry. It really took off in the early 1980s, 10 or 15 years ahead of CD loudness wars. This article speaks too little about the broadcast industry. Timothy Stockman ( talk) 16:45, 22 October 2021 (UTC)