2018-02-23 18:58:03 +00:00
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---
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created_at: '2011-04-09T09:05:49.000Z'
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title: 'The loudness wars: Why music sounds worse (2009)'
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url: http://www.npr.org/templates/story/story.php?storyId=122114058
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author: aycangulez
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points: 42
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story_text: ''
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comment_text:
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num_comments: 24
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story_id:
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story_title:
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story_url:
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parent_id:
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created_at_i: 1302339949
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_tags:
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- story
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- author_aycangulez
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- story_2426825
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objectID: '2426825'
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2018-06-08 12:05:27 +00:00
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year: 2009
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2018-02-23 18:58:03 +00:00
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---
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2018-03-03 09:35:28 +00:00
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# The Loudness Wars: Why Music Sounds Worse
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2018-02-23 18:19:40 +00:00
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2018-03-03 09:35:28 +00:00
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[![](https://media.npr.org/assets/music/news/2009/12/dynamic_wide-c898637e90d85d0f536b39f9f24f797586dc957b-s1100-c15.jpg)](http://media.npr.org/assets/music/news/2009/12/poster2.pdf)
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2018-02-23 18:19:40 +00:00
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2018-03-03 09:35:28 +00:00
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****toggle caption****
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2018-02-23 18:19:40 +00:00
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2018-03-03 09:35:28 +00:00
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Christopher Clark
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[!['A Visual History of Loudness'
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poster](https://media.npr.org/assets/music/news/2009/12/poster200-c3c0b7b789635c7b4d7655e8ad74382aed86862f-s800-c15.jpg)](http://media.npr.org/assets/music/news/2009/12/poster2.pdf)
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Christopher Clark
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As we come to the end of the decade, we turn to one of the more dramatic
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changes we've heard in music over those 10 years: It seems to have
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gotten louder.
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We're talking about compression here, the dynamic compression that's
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used a lot in popular music. There's actually another kind of
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compression going on today — one that allows us to carry hundreds of
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songs in our iPods. More on that in a minute.
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But first, host Robert Siegel talked to Bob Ludwig, a record mastering
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engineer. For more than 40 years, he's been the final ear in the audio
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chain for albums running from Jimi Hendrix to Radiohead, from Tony
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Bennett to Kronos Quartet.
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Bob pointed to a YouTube video titled [The Loudness
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War](http://www.youtube.com/watch?v=3Gmex_4hreQ). The video uses Paul
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McCartney's 1989 song "Figure of Eight" as an example, comparing its
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original recording with what a modern engineer might do with it.
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"It really no longer sounds like a snare drum with a very sharp attack,"
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Ludwig says. "It sounds more like somebody padding on a piece of leather
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or something like that," Ludwig says. He's referring to the practice of
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using compressors to squash the music, making the quiet parts louder and
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the loud parts a little quieter, so it jumps out of your radio or iPod.
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Ludwig says the "Loudness War" came to a head last year with the release
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of Metallica's album Death Magnetic.
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"It came out simultaneously to the fans as \[a version on\] Guitar Hero
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and the final CD," Ludwig says. "And the Guitar Hero doesn't have all
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the digital domain compression that the CD had. So the fans were able to
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hear what it could have been before this compression."
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According to Ludwig, 10,000 or more fans signed an online petition to
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get the band to remix the record.
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"That record is so loud that there is an outfit in Europe called ITU
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\[International Telecommunication Union\] that now has standardization
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measurements for long-term loudness," he says. "And that Metallica
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record is one of the loudest records ever produced."
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**Old News**
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"The 'Loudness Wars' have gone back to the days of 45s," Ludwig says.
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"When I first got into the business and was doing a lot of vinyl disc
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cutting, one producer after another just wanted to have his 45 sound
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louder than the next guy's so that when the program director at the Top
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40 radio station was going through his stack of 45s to decide which two
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or three he was going to add that week, that the record would kind of
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jump out to the program director, aurally at least."
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That's still a motivation for some producers. If their record jumps out
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of your iPod compared with the song that preceded it, then they've
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accomplished their goal.
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Bob Ludwig thinks that's an unfortunate development.
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"People talk about downloads hurting record sales," Ludwig says. "I and
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some other people would submit that another thing that is hurting record
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sales these days is the fact that they are so compressed that the ear
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just gets tired of it. When you're through listening to a whole album of
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this highly compressed music, your ear is fatigued. You may have enjoyed
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the music but you don't really feel like going back and listening to it
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again."
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Ludwig's final assessment of the decade in music?
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"It's been really rough, folks," he says. "But it can get better and I
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think it will get better. I'm glad it's going to be over."
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**Digital Compression**
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Digital compression is the process that allows a song to go from being a
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very big sound file in its natural state to a very small file in your
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iPod — so you can carry your entire record library in your pocket. But
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at what cost?
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Dr. Andrew Oxenham is a professor in the psychology department at the
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University of Minnesota. His specialty is auditory perception — how our
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brains and ears interact. He also started out as a recording engineer.
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Robert Siegel asked him to explain digital compression.
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"Really, the challenge is to maintain the quality of a CD, but to stuff
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it into a much smaller space," Oxenham says. "Let's think about how
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digital recording works. You start out with a very smooth sound wave and
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we're trying to store that in digital form. So we're really trying to
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reproduce a smooth curve \[with\] these square blocks, which are the
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digital numbers \[the 1s and 0s that are used to encode sound
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digitally\].
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"Now, the only way you can make square blocks look like a smooth curve
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is by using very, very small blocks so it ends up looking as if it's
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smooth. Now using lots and lots of blocks means lots of storage, so we
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end up using \[fewer\] bigger blocks. Which means we end up not
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representing that curve very smoothly at all."
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Lost? Go back and re-read it — you'll get it.
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"The difference between the smooth curve and the rough edges you end up
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with in the digital recording, you can think of as noise because that is
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perceived as noise," Oxenham says. "It's perceived as an error,
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something that wasn't there in the original recording. The trick is to
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take the noise — which is the loss of fidelity — and just make it so you
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can't hear it anymore."
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**In Hiding**
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It's called "masking." Think of it this way: You're having a
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conversation in a quiet room, and you can hear every word, every mouth
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noise, every stomach rumble. But if you were having that same
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conversation outside on a busy street, you'd get the gist of what was
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said, but you'd probably miss a few words. The traffic noise would mask
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them.
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So let's say you're listening to a Brahms symphony.
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"\[The loud parts of the music are\] giving the coding system a lot of
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leeway to code things not quite as accurately as it would have to,"
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Oxenham says, "because the ear is being stimulated so much by the loud
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sound it won't pick up very small variations produced by the coding
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errors."
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In other words, the loud parts of a recording are used to "mask," or
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hide that noise produced by the rough-edged squares of those digital 1s
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and 0s.
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But are we missing something?
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"There are really different levels of MP3 coding," Oxenham says. "You
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can go from much less data — which people can hear the difference — to
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higher levels of coding which take up more space on your MP3 player but
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sound better and are basically indistinguishable from a CD. And I would
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argue that under proper listening conditions — if it's really
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indistinguishable from the CD as far as your ear is concerned — then you
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really haven't lost anything perceptually."
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Oxenham likes the convenience of portable MP3 players. But ultimately,
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he says, he prefers going to concerts.
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