The loudness war (or loudness race) is a trend of increasing audio levels in recorded music, which reduces audio fidelity and—according to many critics—listener enjoyment. Increasing loudness was first reported as early as the 1940s, with respect to mastering practices for 7-inch singles. The maximum peak level of analog recordings such as these is limited by varying specifications of electronic equipment along the chain from source to listener, including vinyl and Compact Cassette players. The issue garnered renewed attention starting in the 1990s with the introduction of digital signal processing capable of producing further loudness increases.
With the advent of the compact disc (CD), music is encoded to a digital format with a clearly defined maximum peak amplitude. Once the maximum amplitude of a CD is reached, loudness can be increased still further through signal processing techniques such as dynamic range compression and equalization. Engineers can apply an increasingly high ratio of compression to a recording until it more frequently peaks at the maximum amplitude. In extreme cases, efforts to increase loudness can result in clipping and other audible distortion. Modern recordings that use extreme dynamic range compression and other measures to increase loudness therefore can sacrifice sound quality to loudness. The competitive escalation of loudness has led music fans and members of the musical press to refer to the affected albums as "victims of the loudness war".
The practice of focusing on loudness in audio mastering can be traced back to the introduction of the compact disc, but also existed to some extent when the vinyl phonograph record was the primary released recording medium and when 7-inch singles were played on jukebox machines in clubs and bars. The so-called wall of sound (not to be confused with the Phil Spector Wall of Sound) formula preceded the loudness war, but achieved its goal using a variety of techniques, such as instrument doubling and reverberation, as well as compression.
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Mastering, a form of audio post production, is the process of preparing and transferring recorded audio from a source containing the final mix to a data storage device (the master), the source from which all copies will be produced (via methods such as pressing, duplication or replication). In recent years digital masters have become usual, although analog masters—such as audio tapes—are still being used by the manufacturing industry, particularly by a few engineers who specialize in analog mastering.
Dynamic range compression (DRC) or simply compression is an audio signal processing operation that reduces the volume of loud sounds or amplifies quiet sounds, thus reducing or compressing an audio signal's dynamic range. Compression is commonly used in sound recording and reproduction, broadcasting, live sound reinforcement and in some instrument amplifiers. A dedicated electronic hardware unit or audio software that applies compression is called a compressor.
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