I rescanned 'Champagne Supernova' with the 'overcompressed CD' setting and found 6545 clippings. I will look to those in more detail later. Thanks for the tip, cliveb.
Agreed, and that's what good limiters try to achieve.
I can imagine people liking this sound, but I don't. As you can guess from my username I was 15 years old when this album was released. I had no clue about sound, mixing, mastering and how CDs work back then, but I remember that was the first time I heard that something was 'wrong' with the sound, even though I liked the songs. I can't help imaginging how it would sound with 2-3 dB's more dynamic range. It will probably be way more in your face, powerful and punchy than it is now.
QUOTE (mixminus1 @ Feb 1 2013, 19:20) <{POST_SNAPBACK}>
Just because a waveform visibly clips doesn't automatically mean it sounds bad...after all, this is HA, right? ![wink.gif]()
Clipping, and its potential audibility, is always a matter of degree, whether in the "classic" sense of hitting the input to an A/D hard enough to produce overs, or in the more "modern" sense of utilizing a digital brickwall limiter. I've heard plenty of albums that have visible clipping throughout, but sound great (Aimee Mann's "Lost in Space" is a favorite example of mine). It's all a matter of the decisions made by the artist/producer/mixer/mastering engineer. Just because something *can* be misused and abused, and frequently is, doesn't mean it *has* to be.
Clipping, and its potential audibility, is always a matter of degree, whether in the "classic" sense of hitting the input to an A/D hard enough to produce overs, or in the more "modern" sense of utilizing a digital brickwall limiter. I've heard plenty of albums that have visible clipping throughout, but sound great (Aimee Mann's "Lost in Space" is a favorite example of mine). It's all a matter of the decisions made by the artist/producer/mixer/mastering engineer. Just because something *can* be misused and abused, and frequently is, doesn't mean it *has* to be.
Agreed, and that's what good limiters try to achieve.
QUOTE
It's interesting that Oasis's "Morning Glory" album was mentioned - I absolutely love the sound of that album. I think it's the perfect representation of *that* music being played by *that* band. Would the same production and mixing have worked for, say, Radiohead? Of course not, and vice versa. The sound on "Morning Glory" strikes me as a great example of Olde Skool analog production methods and equipment being used to great effect. It always makes me think of standing in a small rehearsal space with a good rock band going full tilt. It's just this huge mass of sound - DR0! - and the visceral impact is literally breathtaking.
I can imagine people liking this sound, but I don't. As you can guess from my username I was 15 years old when this album was released. I had no clue about sound, mixing, mastering and how CDs work back then, but I remember that was the first time I heard that something was 'wrong' with the sound, even though I liked the songs. I can't help imaginging how it would sound with 2-3 dB's more dynamic range. It will probably be way more in your face, powerful and punchy than it is now.