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Lingua funked'n Monked
#11
Found the CD by accident last night which has a triangle and it's playing for quite a while too. Not listened to it closely because I was doing other things, so take what you can from it.

Incognito, Positivity - track 09 Do Right.

If you have no option than to listen to a lossy file, be careful because it will tend to exaggerate the resonance which might give a false perspective.

"Nearly half of all teenagers and young adults (12-35 years old) in middle- and high-income countries are exposed to unsafe levels of sound from the use of personal  audio  devices": https://tinyurl.com/6xeeahc5 Read my bio.
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#12
(26-05-2018, 05:09 PM)Cudjoe Wrote: listening through headphones the mix sounds lacking punch,maybe a pref thing but sounds lacking that mid range punch?not sure! something.

Looking at some recent threads and feedback you have given, suggests to me a need for over compression and the loudness and distortion artifacts it brings. It's perhaps understandable that you are finding difficulty with your analysis here because this is a dynamic mixmaster. I put audio quality before loudness from over compression, excessive brickwall limiting, and clipping on the master buss which not only distorts at the digital to analogue interface, it also makes the lossy codec distort !!!

So, why the apparent difficulty? Let me explain what I think is happening.

Punch comes from transients. A song that has a lot of dynamic range therefore by definition, has more punch than the same one that has had significant compression and limiting applied. Reduced transients limit a woofer's excursion compared to dynamic material, so moves less air.

Cheap monitors have poor excursion. Headphones have virtually none. This is one of the reasons why mixmasters produced over such equipment tend to be over compressed beyond the point of tradeoff. They think they are getting punch, but instead it's loudness at the expense of reduced audio quality.

Punch comes from moving air. The more air that's moved, the better the punch.

Unnecessarily loud mixmasters are, by definition, moving significantly less air.

It's all too easy to confuse loudness, and therefore reduced transients, with punch. If loudness matching is subsequently applied correctly, so the louder is matched with the dynamic one, the original loud mixmaster will sound lame and weak with far less punch. It will be unexciting.

There is a loudness war in this forum, perhaps partly for this reason. Loud impresses because of it's psychoacoustic shenanigans. However, turn up a dynamic mix to the same equivalent loudness, and things change. The dynamic mixmaster will sound more lively and engaging. It's also less likely to be fatiguing. There are more differentiators, but I'll let you research.

If you come across loud mixmasters in this forum, you won't have to look hard to find comments like, “I loudness matched this against a reference song”. This is an excuse to be competitive in the absence of loudness normalisation, which is hardly educational. Blaming someone else diverts responsibility and accountability. Be mindful that such mixmasters have impaired audio quality. Many musicians aren't hifi enthusiasts, which puts audio quality at the bottom of their list of priorities.



"Nearly half of all teenagers and young adults (12-35 years old) in middle- and high-income countries are exposed to unsafe levels of sound from the use of personal  audio  devices": https://tinyurl.com/6xeeahc5 Read my bio.
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