AUDIO TECHNOLOGIES

Audio Technologies



Audio Technologies

Introduction

This paper exposes and analyses opposing factions in the so called "loudness war". There is developing concern about the nature of financially conveyed music that is crumbling as an after effect of blending what's more mastering practices utilized within the supposed "loudness war." Due to the conviction that "loudness is better," progress clamping is utilized to press more commotion into the recordings. This paper audits the history of the loudness war and its origins and investigates some of its conceivable issues developed in relation to advances in technology, incorporating tasteful concerns and listening weakness using acoustic, psychoacoustic and market related arguments.

Afterward, the loudness war is dissected regarding diversion hypothesis. Confirmation is exhibited to address the supposition that loudness is fundamentally related to audience inclination and deals rankings. The paper finishes up with handy suggestions for de-raising the loudness war. Through various stages of development, stereophony has enhanced the cinematic experience through the artistic, technological and economic factors. The paper further exposes the development of multichannel stereophony, from duo-phonic stereo to the ITU standard format (Middleton, 2004).

Modeling software, DAW-native plug-ins, acoustic emulation plug-ins, FX software emulators and amplifiers have sufficiently replaced the sound of a band performing together in a room. Results can be derived from standard microphone placement in a dedicated studio recording space. This paper exposes the degree up to which "working in the box" can replace music production in a physical studio (Middleton, 2004).

Discussion and Analysis

The ongoing increase in the loudness of recorded music has urged the musicians, mastering engineers and record companies, particularly on Compact Discs to apply dynamics compression and limitations for louder recordings in comparison of their competitors. This increase has attracted to develop interest towards Loudness war.

During the last half-century, different technological advancements have developed interest towards the musical paradise. The booming music industry has made it possible and it is done through depth, texture and dynamic range recordings. In order to communicate over long distances or in noisy environments has been throughout history have found ways to amplify or generate sound from one place to another. The human voice is not sufficient to have made use of acoustics in nature or, for example, constructed voice tube for talks between the bridge and engine room aboard a ship. During the 1800s we learned how to convert sound mechanical oscillations to electromagnetic ditto, and back again into audible sound, in which both the electric hearing aid that the phone was created. Later, sound radio and megaphone were created (Atlas, 1998).

Louder always tends to sound better. This is why, squeezing more and more loudness is achieved by the use of over-compression (or “hyper-compression”) in the recordings. The development of multiband compressors facilitates Hyper-compression in the form of software plug-ins and hardware boxes. However, audio quality gets damage by hyper-compression due to removing dynamics. These removing dynamics reduces the emotional power of the music and therefore, creates musical clutter. “Listening fatigue” may therefore be caused by the hyper-compressed ...