18 Jun
2018
18 Jun
'18
5:45 p.m.
On Mon, 18 Jun 2018 15:27:29 +0200 (CEST)
"Jeanette C." <julien(a)mail.upb.de> wrote:
thanks for this very detailed and critical feedback. I
suppose I'm
caught between two chairs here: the tension and increase of energy -
in some way - and the current pop production and loudness war. Two
sides not readily consolable. :)
As I progress in that field, it seems more and more that the loudness
thing has nothing to do with it. That loudness, and energy as mentioned
before, are not necessarily linked. Currently I'm amazed by what goes
on for instance in "Escape of the Hopping Rhinos" at 1:33: yes, one
keyboard level is raised, but other things are dropped. And then at
1:48 there's a clear feeling of setting back while still moving
forward, by the drop of the main drums and reverting back to the
electronic drums while the guitar gets thinner. These are currently
only but experiments. They happened almost just by themselves although
I realized what was going on and helped a little bit.
The main thing is that this go on within a LUFS context so to speak.
More and less energy in this context are not a product of loudness. I
think they are relative to one's perception. Like a painter would
arrange colours to give effects. The "notational" music in a piece is
only one aspect and not the only aspect to be interpreted/decoded by
listeners.
In a way like Michael White once said, basses are like the front of a
car one sees past a building wall. The onlooker will easily imagine
the rest of the car even though it is not seen. Basses are like that.
The brain can build basses from a tip being heard.
I would say that there's a lot more going on in music in the same vein,
which can be mostly out of the scope of notes and chords and rhythms
and melodies. Especially with the level of audio processing available
today, in Linux and elsewhere, and how it is possible to sculpt audio.
Cheers.