Glad you found it helpful – and yes, I absolutely agree, EQ is crucial to getting a good result in mastering.

DR7 isn’t a disaster, especially for sample-based stuff, but you might find the DR5 songs sound better with a little more space to breathe !

Cheers,

Ian

Those who clearly dismiss the whole DR war are obviously being deafened by what they listen to lol

This DR lv is all new to me but listening to modern music you can tell that instruments are having the living shiz squeeded outta them with heavy compression..

Ive tested my tracks and im shocked that most are around 5 ~ 7 ) so im a little gutted about that..
However the music i produce i mainly sample and soft synth based which as you have said are already compressed : /

For me im not too bothered about the end master volum level, i would like to get the distinctive polished sound that you can hear each and every instrument in the mix as clean as if there in the room with you.. im not sure how they do that maybe a punchy compressor setting along with good EQing i dont know but if you know what i mean let me lol.

I think that EQing is one of the most underestimated practises in mixing a track.

Thanks again for this great info, i will defo take DR into account in my future tracks and i might even try remixing my tracks.

http://dynamicrangeday.co.uk/challenge/

As far as Turn Me Up goes though, everyone who signed up there did so when DR14 was the target, so I don’t think we can change that without consulting them first. But, I’ll certainly raise this and talk about shifting the emphasis in future.

Ian

As also discussed on:
http://www.soundonsound.com/sos/sep11/articles/loudness.htm
http://productionadvice.co.uk/loudness-war-dynamic-range/
http://www.soundonsound.com/forum/showflat.php?Cat=&Number=940573&page=0&view=collapsed&sb=5&o=&fpart=1#940573

… I really believe that the TT Dynamic Range Meter results should be considered with caution, for two reasons.

1) it doesn’t measure micro-dynamics, or macro-dynamics, or any kind of dynamics.

As a very simple proof, consider the following sample:

http://private.1-1-1-1.net/SOS/CF_samples/square_cos.wav

It has no dynamics whatsoever. DR as measured with the TT Dynamic Range Meter should be 0. Yet it is 11dB, which makes it comparable to albums from the Smiths or Tom Waits.

2) it doesn’t measure compression per se. As a simple proof, consider the following sample:

http://private.1-1-1-1.net/SOS/CF_samples/OboeLongP.wav

It’s a perfectly natural oboe sample. Yet the TT Dynamic Range Meter says its DR is 3dB, which http://www.dr.loudness-war.info/ considers as overlimited (“bad”). I am aware an oboe sample is not a piece of music, but still, caution concerning the TT Dynamic Range Meter results come to mind.

………….

The cause according to which music shouldn’t be overcompressed may be perfectly just and noble, but I’m not sure such confusion between the Crest Factor (which is used by the TT Dynamic Range Meter) AND dynamics AND overlimiting really helps…

I actually think that systems like ReplayGain will end up doing this for us, without policing required – and hopefully, as producers and artists realise this, they’ll change their ways…

I wrote about this in more detail here:

http://recordproduction.com/blog/2009/10/how-spotify-will-end-the-loudness-wars/

Ian