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Why your audio is bad and why you can't do anything about it
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as long as there are clubs and festivals the loudness wars aren't over. many mixing and mastering engineers had been moving towards wider dynamics in the new era of -14 or -16 LUFS standard and normalization on streaming platforms and true peak awareness (EG Walter Coelho's work for Louie Vega is a good example of club records at a slightly quieter and streaming friendly master with ever so slightly wider dynamics than are typical in house), but DJ booths are not loudness normalized and the last couple of years the push back in the other direction grew back. DJs still expect brickwall sound that feels perceptually louder at 0 full scale, without need for pumping the gain on the Pioneer mixer, though they probably do that anyway as well in over eagerness. so dance music producers be it in DnB dubstep trap or house, typically master to hit around -6 LUFS and in doing so inevitably reduce dynamics a few dB. And in the era of the likes of Fabfilter L2 we can get away with murder in this regard before it turns to trash. And to them and to their audience once the dynamics are reduced they are "better" anyway.
So calling it bad is misleading.
People like what they're used to. they're used to brickwall , so, they like brickwall. When they hear wider dynamics they say it sounds like a demo. Commercially successful producers who don't give that much of a crap about wider dynamics. audiences that don't give a crap about wider dynamics. if you're making folk or jazz or classical then sure maybe it's "better" when dynamics are a wider range. no one else much cares, much. So arguably the case for classical dynamics is an overstated one.
I say that as someone who enjoys wider dynamics and never runs a pioneer mixer's gain knobs past 11 o clock, yet can appreciate Skrillex is not meant to have wide dynamics and that would not be "better".
TLDR, Poor Bob Katz, his work will never be complete as long as their are clubs.
What @Bruques said. When I master my own music to upload to SoundCloud and Bandcamp, I always go for -14 LuFS. I think it was around the time I got into Lofi November 2022 that I became sick to death of squashing the life out of my music.
That said, when I made my friend Sascha a happy birthday song EDM cover, I mastered it to slightly above -8 LuFS. Kinda pained me inside to do so, but eh. If he wanted to play it out at one of his live shows, he could do so and match the levels of other overcompressed pieces of EDM music.
I do like to glue my mixes with an opto compressor or MagicDeathEyeStereo before limiting, but that's compression to glue things, not smash things all to heck and back. Preserving the dynamics by mastering to -14 LuFS is much more pleasing to my ears.
Yup, I made something for someone not too long ago and was told it sort of worked but sounded 'too retro' so I spent ten minutes, compressed the shit out of it, waited a day to give it to them and then they were happy.