I’ve wondered if it would be possibly to end the loudness war by specifying everything with floating point values. If you can trivially make your music a trillion times louder, there’d be no point.
At the very least, until people get to the upper edge of it, it would mean that regardless of how loud it’s “supposed to be”, you can turn it down so it doesn’t clip.
“You see, most blokes will be playing at 1e50. You’re on 1e50, all the way up, all the way up...Where can you go from there? Nowhere. What we do, is if we need that extra push over the cliff...infinity. Infinitely louder.”
The standard is still 16⁄44, because that can hold the entire hearing range of any human ever tested (see also videos), though the trouble is that’s different from what people actually use it to hold. And it’s what’s on CDs and what most compressed files expand to.
I’ve wondered if it would be possibly to end the loudness war by specifying everything with floating point values. If you can trivially make your music a trillion times louder, there’d be no point.
At the very least, until people get to the upper edge of it, it would mean that regardless of how loud it’s “supposed to be”, you can turn it down so it doesn’t clip.
“You see, most blokes will be playing at 1e50. You’re on 1e50, all the way up, all the way up...Where can you go from there? Nowhere. What we do, is if we need that extra push over the cliff...infinity. Infinitely louder.”
The standard is still 16⁄44, because that can hold the entire hearing range of any human ever tested (see also videos), though the trouble is that’s different from what people actually use it to hold. And it’s what’s on CDs and what most compressed files expand to.
Probably the most likely way out of the loudness wars will be Apple telling engineers not to do that, because LOUDNESS WARS mixes will be made quieter in iTunes. Cross fingers.
Yeah, that would be great, but I’m not holding my breath waiting for that to happen.