Am 11.07.2011 22:03, schrieb Arnold Krille:
On Monday 11 July 2011 21:43:41 Folderol wrote:
On Mon, 11 Jul 2011 15:04:44 -0400
"S. Massy"<lists@xxxxxxxxxxxx> wrote:
Hi,
I won't jump into this fray of art vs. technique, as its just too dicey.
I agree with you, Fons, on the distortion introduced by limiting; but do
you have any theory as to why most people actually seem to like it? My
experience is that people seem to feel lightly compressed, open mixes
are weak, but will take to a "brutalised" mix enthusiastically. Do you
have a theory? Also, aren't we a bit of a slave to whatever people
happen to like, however much we might feel it is inferior?
Cheers,
S.M.
I wonder if it is simply the fact that the distortion gives us a clue that
the equipment is working as hard as it can. I've noticed that Fuzz on a
guitar seems to make it sound louder than a clean signal that is actually
a far higher amplitude. More 'width' seems to outweigh more 'height'.
I think (at least) for distorted guitars its the amount of high-frequencies
that counts to our ears.
These are the formats that shape consonats and thus they are most
important if people talk to each other. The hearing tends to focus on
them to make sure one catches the words of the other. So distorted
Guitars "sound" louder than their amplitude would suggest.
Pure amplitude isn't everything, you have to look at
the level per (logarithmic) frequency band. White noise "sounds" louder than
pink or brown noise too.
Have fun,
Arnold
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