(For all the evidence you need, click here)
(For all the evidence you need, click here)
What is different is that I’d like you to start doing all those things now.
If we wait, the risk is there’s a flurry of activity on the day, people get interested… and then it’s over. Opportunity missed.
Because if you start talking about it now, there’s time for word to spread, and for even more people to be actively involved on the day.
Which is what it’s all about.
(If you don’t know what it’s all about yet – click here to get up speed)
So, stop what you’re doing, right now !
First – share this post somewhere – anywhere – with a message saying you support the event.
Next – look at your calendar. Pick a time this week, and mark in some time for “DRD promo”. Whatever you can spare – an hour here, an hour there – whatever.
When the time comes, do something. Email some friends, post on Facebook, Twitter or Instagram, record a short video clip on your phone saying what DRD is and why you support it, why you’re taking the challenge, whatever – and share. Spread the word about what you’ve done as far as you can, and post it on the DRD Facebook page so we can re-share it.
That’s it ! Job done.
Except – before you go – maybe pick another time in your calendar, and do it again ?!
And of course, create a huge, dynamic online on the day itself 🙂
Thanks for reading, and thanks for being part of this.
Please share this page far and wide !
Youtube have started using “loudness normalisation” – so that everything plays back at a similar volume, no matter how hard it was pushed in the recording, mixing or mastering.
It’s like having your own personal DJ, making sure you don’t have to keep reaching for the volume control.
And it cancels out the effects of the loudness war in a single stroke.
For a slightly more detailed explanation, click here.
“Now and in future, our music’s loudness is going to be measured and controlled by computer algorithms, and this affects the way it sounds in comparison to everything else. So we need to measure it and listen to the result”
– Ian Shepherd in Audio Media International magazine, Feb 2015
Ian Shepherd and MeterPlugs have announced the release of Perception, a new loudness-matching plug-in in VST, AU and AAX formats for Windows and Mac OS X.
Here’s what they say: “Loudness changes our perception of music, often deceiving us into thinking something is better when in fact it’s simply louder – and in some cases actually sounding worse as a result of excessive processing. Perception allows you to hear past this “loudness deception” and find the loudness “sweet-spot” for your music.”
Perception is a “one click reality check” for mastering and mixing, allowing synchronized, realtime “before and after” comparisons of any audio processing chain, loudness-matched using the new EBU R128 standard.
“More conclusively however, Shepherd’s diligence appears to be paying off. His Dynamic Range Day is growing. With sponsors as diverse as TC Electronic, Bowers & Wilkins (B&W), Solid State Logic (SSL), NAD, Harrison Consoles and Fluid Mastering, an increasing cross section of consumer electronics and pro audio companies are getting behind this initiative.”
Learn the surprising secret of ‘how to sound loud in the 21st century’ – as demonstrated by U2:
To watch Ian Shepherd’s full presentation at AES Mexico last year, click here.
Bob Katz, a respected audio engineer, reckons the Loudness War will soon be over because of the launch of iTunes new streaming service iTunes Radio. The default setting on iTunes Radio is for every song to be normalised to the same volume settings, meaning that whatever level a song was mastered at, it will play at the same volume as the song before it.
I wanted to learn why some songs are produced to be louder than others, so I talked to audio engineer Ian Shepherd from Dynamic Range Day. Click to read full article.
HAS THE LAST BATTLE OF THE LOUDNESS WAR BEEN WON ?
“The debilitating loudness war has finally been won,” said mastering engineer Bob Katz on the eve of the Audio Engineering Society AES Convention in New York City. The last battle will be over by mid-2014.”
“I have just completed loudness measurements of iTunes Radio using iTunes version 11.1.1. Tunes Radio’s audio levels are fully-regulated, using Apple’s Sound Check™ algorithm. This is a very important development,” Katz said.
via Digital Domain.
“We overcooked it,” bassist/singer Geddy Lee tells Rolling Stone now. “The mixes were really loud and brash. The mastering job was harsh and distorted.”
Eleven years after the album came out, Rush fixed the situation by hiring producer David Bottrill to remix the album. “He understood what it should sound like,” he says, “so I’m very pleased with the end result. I think he’s finally brought some completion and some justice to some of those songs we’d put so much of our heart and soul into.”