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If a song is compressed enough, the waveform will look like a flat block, almost like a floating row of bricks in Mario. Greg: When the sound clips, the soundwaves actually look like mountaintops with the peaks shaved off, which is not the way soundwaves ever behave in nature. But if you look at a song that’s clipping, you’ll see that the soundwaves no longer have these dramatic peaks and valleys. If you look at the waveform of a song in an audio program, you can see how the soundwaves swell at the loudest parts, and shrink at the quieter parts. Some people will even say that it's a physical fatigue, that your eardrums are just being bombarded by these compressed parts and you are less likely to listen to music for long periods of time.

Greg: This is very difficult to prove and I don't know if it ever will be proven, but you ask a lot of engineers and they'll tell you that it causes fatigue.

Human ears aren’t supposed to hear this type of noise all the time. So whenever a song is clipping, it’s like a little bit of the music has been cut out, and replaced with white noise. If you kept going and going, eventually, you’d be left with pure white noise. Pretty soon, all of that clipping would start to overpower the actual music. Just imagine what would happen if you started pushing up every nanosecond of a song until it clipped. Greg: At that moment, the digital system is just saying, 'I can't read this.' So, if you're careful with it, you just do it every once in a while and the clips last just a fraction of a second, supposedly you're not going to be able to hear those parts, but a lot of recording engineers and musicians will say, 'Yes you can.” Greg writes about music and technology, and wrote a book called Perfecting Sound Forever: An Aural History of Recorded Music. Greg: When you clip, you literally are inserting a little blip of noise.Īnd that’s Greg Milner.

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That’s Ian Shepherd, a professional mastering engineer who also hosts a podcast called The Mastering Show. Ian: Beyond that, you can actually start to get distortion, where, if you just push the loudness up so that it hits that digital ceiling, where the tops of the waveforms, the musical waveforms, are literally sliced straight off, you get an effect called clipping. But if you’ve already compressed a song as much as possible, what happens when you try to make it even louder? The Loudness War had begun.įor some people in the industry, even music that was pushed right up to the limit wasn’t quite loud enough. But all of this volume came at a price, and music became so compressed that it lost a lot of that impact and depth. Artists also started trying to one-up each other with how loud their songs were, and music overall got louder and louder. New audio technology allowed mastering engineers to make songs much louder. This gives the music a much more spacious and vibrant quality.īut once digital technology took over, things changed pretty quickly. Pick nearly any song from the 70’s or older, and you’ll find a striking contrast between the quietest parts, and the loudest parts. While this may sound like a bad thing, the upside is that music from this era has really strong dynamics, almost across the board. Up until the 80s, the constraints of analog equipment meant that music had to be mastered on the quieter side. In the last episode, we looked at the history of mastering. You’re listening to Twenty Thousand Hertz, I’m Dallas Taylor, and this is part two of the story of mastering. To get your 20K referral link and earn rewards, visit 20k.org/refer.Ĭheck out Ian Shepherd’s podcast The Mastering Show.Ĭheck out Greg Milner’s book, Perfecting Sound Forever.Ĭonsolidate your credit card debt today and get an additional interest rate discount at /20k. If you know what this week's mystery sound is, tell us at. Twenty Thousand Hertz is produced out of the studios of Defacto Sound and hosted by D allas Taylor.īecome a monthly contributor at 20k.org/donate. Money Making Machine Instrumental by Jamie LonoĪirliner Remix Instrumental by Secret Americanĭo What We Want Instrumental by Spirit City Wonderful Life Instrumental by Reagan James Working Man is Always Poor by Live Footage 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. In part 2 of the story of mastering, we explore the consequences of the Loudness War and call out some of the worst offenders. This episode was written and produced by Casey Emmerling.

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