03-06-2017, 10:05 AM
The first thing you made me do, was turn it down.
I'm wondering if it's a combination of compression and hard limiting on the 2 buss that's causing some of your treble comments? I suspect you are a product of the Loudness War era, with this smashed outcome. Inevitably it leads to artefacts that are unappealing, harshness and brittleness being typical. This contributes to fatigue, but so too the complete loss of dynamics as in this instance.
I dropped it into Orban to put some figures to the ear analysis. It was confirmed, the objective results support the subjective ones and I present them here for info.
Integrated loudness -5.4 LKFS
LRA 1.7
Highest reconstructed peak level 0.3dBFS
Reconstructed peaks above 0dBFS 1154
In the short time I've been involved in the forum, I've noticed a lot of clipping takes place generally. I mentioned to one forum participant the other day, that clipping is the fastest way to ruin a pair of speakers, and the artefacts that it brings are not pleasant, though some mixes can get a way with a little now and again, more than others. I think this is one of those mixes that most definitely doesn't and we can see why from the info.
If you are used to loudness, that is, the artefacts of loudness for the sake of it despite it's destructive qualities on audio, you will be pretty hooked on the need for it's distortion.
If this was loudness matched against Spotify's playout spec of -16.5 LUFS, with -1.0 max peak, this mix would sound dull, lifeless, and musically emotionless and uninteresting against a more dynamic presentation that had a good balance between loudness and audio quality. The more dynamic mix, with the same imposed loudness normalisation, would actually sound subjectively louder than yours. It's to do with transients. A dynamic mix sounds exciting when it's turned up, and almost begs for it. I had to take it the other way, as I said.
The hard facts speak for themselves; your material would be uncompetitive in this era of loudness normalisation.
During the louder moments your mix is no more than 4dB from being pink noise.
Couple of things I'd mention. I am finding this a guitar centric production too, with the vocal becoming lost sometimes. It's suggesting you might have, maybe, a little bit of instrument bias perhaps? The intro guitar hasn't any ambiance or Haas signatures, making it sound like it was performed in the surreal space of an anechoic chamber which contradicts the genre.
By the way, the first time I heard the voice, I thought of Debby. You too?
I'm wondering if it's a combination of compression and hard limiting on the 2 buss that's causing some of your treble comments? I suspect you are a product of the Loudness War era, with this smashed outcome. Inevitably it leads to artefacts that are unappealing, harshness and brittleness being typical. This contributes to fatigue, but so too the complete loss of dynamics as in this instance.
I dropped it into Orban to put some figures to the ear analysis. It was confirmed, the objective results support the subjective ones and I present them here for info.
Integrated loudness -5.4 LKFS
LRA 1.7
Highest reconstructed peak level 0.3dBFS
Reconstructed peaks above 0dBFS 1154
In the short time I've been involved in the forum, I've noticed a lot of clipping takes place generally. I mentioned to one forum participant the other day, that clipping is the fastest way to ruin a pair of speakers, and the artefacts that it brings are not pleasant, though some mixes can get a way with a little now and again, more than others. I think this is one of those mixes that most definitely doesn't and we can see why from the info.
If you are used to loudness, that is, the artefacts of loudness for the sake of it despite it's destructive qualities on audio, you will be pretty hooked on the need for it's distortion.
If this was loudness matched against Spotify's playout spec of -16.5 LUFS, with -1.0 max peak, this mix would sound dull, lifeless, and musically emotionless and uninteresting against a more dynamic presentation that had a good balance between loudness and audio quality. The more dynamic mix, with the same imposed loudness normalisation, would actually sound subjectively louder than yours. It's to do with transients. A dynamic mix sounds exciting when it's turned up, and almost begs for it. I had to take it the other way, as I said.
The hard facts speak for themselves; your material would be uncompetitive in this era of loudness normalisation.
During the louder moments your mix is no more than 4dB from being pink noise.
Couple of things I'd mention. I am finding this a guitar centric production too, with the vocal becoming lost sometimes. It's suggesting you might have, maybe, a little bit of instrument bias perhaps? The intro guitar hasn't any ambiance or Haas signatures, making it sound like it was performed in the surreal space of an anechoic chamber which contradicts the genre.
By the way, the first time I heard the voice, I thought of Debby. You too?