My class discussion on the increase in volume and compression, and decrease in dynamic range of music over time has been shaped negatively. I think the quality of music recordings now is better than its ever been. I can’t say for certain that it’s because of increased compression, a decrease in dynamic range or just better recording equipment and processes. What I can say is that there is a reason audio engineers choose to mix and master the way they do.
I looked through the Dynamic Range Database, and for the most part, albums with higher dynamic range tended to be instrumental and grand in their number of parts and instruments. Even classic rock songs whose audio engineers criticize the lack of dynamic range in modern music don’t have particularly high dynamic ranges. I found a lot of these modern rock albums have high dynamic ranges on their vinyl releases and not on their cd and digital releases. That makes sense since right now getting the sound quality of vinyl digitally takes up too much memory. I think as technology progresses digital music will eventually surpass vinyl sound quality. It’s currently feasible, but not practical. So in the future when it does become practical to have vinyl or better than vinyl sound with an mp3, we will see the return of dynamic range.
I think when you make a song there are two versions of it: the live and studio versions. The live version is raw and soulful, and the studio version is refined and processed. Between these versions of a song you end up with the two sounding the same, both being different, but sounding good, and the studio version sounding way better. Through these iterations, dynamic range may or may not be important to achieving the envisioned sound.
An artist or producer trying to emulate the live sound in the studio is going to create a more dynamic record. They’ll use recording techniques such as simultaneously recording the whole band at the same time. You’ll see this in classic Blue Note records. They’re very dynamic and sound relatively similar live. Below are two Art Blakey recordings, one live and one studio recorded, that sound pretty similar. Personally I think having a record and live performance sound almost identical defeats the purpose of wanting to see the artist live, but I do think it’s ideal for soulful music.
I maybe biased towards this scenario, but ideally an artist has a processed studio recorded album that’s great and an equally great live performance whose imperfections demonstrate a new side of the music. I think the contrast in having a lower dynamic range in the recorded version and higher dynamic range in the live version makes the live one stick out. This is not to say that higher dynamic range is better. It’s the contrast from the original version that makes it stick out. For example Scar Tissue off of Californiacation (mentioned as notoriously loud on the loudness war page) is a great song both recorded and live with differing dynamic ranges as seen through its solo.
check at 59 seconds
check at 5:20
I’m not really going to talk about the last one. That’s where the studio version processed and sounds great. However, the live version is crap or different mix of the recorded version being played at a venue.
On another note, I think this loudness war creates the idea that dynamic range defines what makes a good recording. The article almost paints modern music as devoid of dynamic range. In my opinion, good music is interesting to listen to. A change in dynamics is just one way of making music interesting to listen to. It’s the contrast in music that creates this interest factor. Examples would be the adding and subtracting of instruments, a change in the sound of an instrument such as clean to distorted guitar or a switch in musical range such as low to high.
Above is We Were Only Dreaming – Tides of Man. The song has the typical mid range scoop (which in my opinion makes recordings sound grander). I still think the song is incredibly dynamic. I’m not sure if its the actually dynamic changes or just the layering of instruments, but its very interesting to listen to.
Stay With Me – You Me At Six has contrast from the low notes the singer sings during the verses and the higher notes he sings during the chorus. Notes themselves lend a change in energy to a song. That’s why Sinatra needs to increase his dynamic range because his musical range is about 4 notes.
To tie it all together, I think dynamic range isn’t everything. Newer recordings are made at a higher level of quality, and contrary to what the article may think are not devoid of dynamic range. I think if you look at mainstream music it could be true, but it may just be the format misrepresenting the audio. It could also be that my ear is trained to enjoy a mid scooped compressed master, but I’ve given my 2 cents.