This is what I like to call a ‘dynamic edit’ of “Country Down” by Beck! *Morning Phase* faced quite a lot of dynamic range compression (not to be confused with data compression, which concerns MP3s and such) in its mastering, which can make the album fatiguing to listen to over time. In this, I attempt to undo that compression, making the album more dynamic, and hopefully more listenable as a result!

For those not in the know, the Loudness War is a phenomenon beginning in the mid-90s onward, in which music was mastered louder and louder, with the underlying reasoning being that louder music sounds better, and thus, should sell better. As with any medium, however, there is a peak loudness a signal can reach, so dynamic range compression (which makes the louder parts of the signal quieter while keeping the quiet parts the same loudness) and sometimes even clipping (attempting to make a signal louder than maximum loudness) were used to make music as loud as possible.

The issue with this is that overuse of dynamic range compression and clipping can make music fatiguing to listen to, and sometimes even audibly distorted. Additionally, clipping, poor compressors, or overuse of compressors can result in artifacts such as hiss or crackle being audible atop the signal. While I didn’t hear any crackle throughout *Morning Phase*, I did feel parts of the album, such as the snare and kick on “Heart Is a Drum” and the final crescendo of “Waking Light”, sounded pretty limited to my ears due to their compression.

I attempted to undo the mastering compression present on *Morning Phase* with a program I have called “Perfect Declipper” (creating something I dub a “dynamic edit”). The editing process makes the album more dynamic and can undo the distortion caused by compression (where applicable)! I was able to turn the dynamic range of the album from 6 to 11 as a result!

It’s important to note that the dynamics are not being restored with the “Perfect Declipper” program that I use, but rather, they are being approximated. While one may not be able to “declip” an album as one would be unable to “unbake a cake”, I find the results here to be a convincible attempt at doing so. Only in the most extreme examples have I heard the program produce odd artifacts that would appear unintended in the album’s mix.

I also want to note that dynamic range compression is not an inherently bad thing. It can tighten up performances, add grit, and help remove dynamic outliers that would take you out of the mix. Additionally, mastering engineers are often underneath the implicit and explicit pressures of artists and record labels to master albums loudly, so the results of mastering may not necessarily reflect a mastering engineer’s intentions for how they wanted an album to sound.

I produce many more dynamic edits on this channel as well as further descriptions in posts over on Reddit! You can look at this for a full list of the albums I’ve done: [ Ссылка ]

свернуть