CD maximization redux..when did it start?

Maybe, but to negate the influence of today's crazy, in-your-face, over- the-top extremism on the sound (as well as the "music" of today) is a bit short-sighted. To not see the connection between extremism and volume is an oversight. Music is affected by the times we live in, as is the sound. The digital age has yielded inferior sound, overall, and maximization is just another annoying manifestation of this problem. There was a time when louder did not necessarily mean better, after all. To deny the influences of today's times on this issue is to gloss over some of the most important influences which have led to this situation.

 

Don't blame Bruce Swedien's "Accusonic" or "Quantum Range Recording Process"! All it is, is chaining two or more tape machines together and recording EVERYTHING in stereo, even the room ambience! One mic for each channel! This is explained in the liner notes on the jacket of Quincy Jones' "Sounds...And Stuff Like That" LP from 1978, the first album he used the process on.

The slamming of the dynamics is the work of Bernie Grumdman, who just happens to be the choice mastering guy for many R&B/rap albums.

 

I think you are right.

 

Grant, I did not know that. I'll listen to "Bad" a bit more closely next time. Thanks!

 

There is plenty of "music" out there that is melodic, thoughtful, inventive, and above all, enjoyable.

The artists are not on major labels. They have very big followings. They are young and old. They are not the flavor of the month. They are not MARKETED to us. We have to look for them, but they are out there. I've mentioned a number of bands in other threads, often when somebody complains about so-called modern music.

The big five might as well be Walmart. I don't go out of my way to listen to much major-label stuff, though there's plenty of good artists still (for now) on major labels.

To bring this back on topic... I think I didn't hear a lot of the mastering trends throughout the mid/late 90s because I wasn't listening to big-selling records. Only now is that sort of thing cropping up on independent releases. More people are using computers, so there you go.

 

Thanks Grant for describing how Bruce's "Quantum Range Recording Process" works. I really didn't mean to put the blame on him for how the disc turned out. He 'was' listed as having a hand in the mastering. There isn't an icon for sarcasm. I just thought it ironic that a disc would be recorded with a 'quantum range' and turn out having practically none. It's all !!!

 

I always thought he went wild with the process on albums recorded in 1979-1981, like The Brothers Johnson's "Light Up The Night", "Masterjam" by Rufus & Chaka (Khan), and "The Dude" by Quincy Jones. You have to admit that records recorded and mixed by Swedien since 1978 have a very wide, airy/dense sonic picture.

 

Take a look at this excellent interview with Rick Rubin by Michael Fremer on his musicangle site (3 links since it's in 3 parts):

http://www.musicangle.com/feat.php?id=38

http://www.musicangle.com/feat.php?id=39

http://www.musicangle.com/feat.php?id=40

 

Thanks Martin for the links to that wonderful interview. This interview dosen't sound like the guy who kind of fostered CD maximazation and compression. In fact, Rick comes off as a careing audiophile, one that would not condone compression. But of course, words are cheap. I really appreciate reading this kind of stuff.

 

Here's a part of the interview:

 

I find that rather interesting. If true, then the music sounds better to those who use "inferior" players, which includes those who can't afford big-time music systems. But these people are music fans, too.

I only see one solution, then. Expensive music systems for all!