Full *You Could Have It So Much Better* dynamic edit playlist: [ Ссылка ]
I also 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 ]
This is what I like to call a ‘dynamic edit’ of “Evil and a Heathen” by Franz Ferdinand! *You Could Have It So Much Better* seems to have faced a considerable amount of dynamic range compression (not to confused with data compression, which concerns MP3s and such) during its mastering, and perhaps even clipping as well.
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 sells 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 quiet) and sometimes even clipping (attempting to push a signal beyond its peak) were used to make music as loud as possible. Clipping can introduce audible hiss or crackle into the mix, and I feel I noticed it on the vocals of “Outsiders” and the opening “iiiiiii” of “Do You Want To”.
Music that has faced a high degree of dynamic range compression in general can also be fatiguing to the ear. I attempted to fix up the clipping and compression on *You Could Have It So Much Better* with a program called “Perfect Declipper”, can not only help alleviate clipping, but also much of the dynamic range compression that occurs during mastering! With the program, I was able to make the result much more dynamic! In this case, I was able to turn the dynamic range from 6 to 11!
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 present this all with the caveat that dynamic range compression is not inherently a bad thing. Compression can be used to tighten up performances, provide color to mixes, and to achieve hard, punchy sounds.
