Joel Fontenot
Screenwriter
Hello all.
I have an issue to ask about here for all you audiophiles out there. This is a long one, so if you’re interested please hang in there .
If you listen to a new CD by some group, or even a re-issued one (whether it’s listed as a “re-master” or not, or even a “greatest hits”) and you notice that it seems to play back significantly “louder” than your old one (or, in the case of a “greatest hits”, any song plays louder than your album version of the same song on CD), is that a good thing?
I ask this because of several things I’ve discovered making my own mixed CDs for the first time after years of doing this on tape. I make mine on a PC using a digital extraction program that works very well called “Exact Audio Copy”. It’s been recommended on this forum, and I concur.
I also call attention to the thread entitled Finally! Supertramp re-masters!
I have an issue to ask about here for all you audiophiles out there. This is a long one, so if you’re interested please hang in there .
If you listen to a new CD by some group, or even a re-issued one (whether it’s listed as a “re-master” or not, or even a “greatest hits”) and you notice that it seems to play back significantly “louder” than your old one (or, in the case of a “greatest hits”, any song plays louder than your album version of the same song on CD), is that a good thing?
I ask this because of several things I’ve discovered making my own mixed CDs for the first time after years of doing this on tape. I make mine on a PC using a digital extraction program that works very well called “Exact Audio Copy”. It’s been recommended on this forum, and I concur.
I also call attention to the thread entitled Finally! Supertramp re-masters!
I found the A&M re-mastered CD to be more punchy with more going on than the MFSL CD. The MFSL version was more reserved and clustered. However, while the A&M CD was more dynamic, it was somewhat more "digital" as well. The A&M CD brought more of a digital edge the vocals, but it was certainly not the sort of edge that peels paint. As a result, I did not have to go to Home Depot after the listening session for painting supplies. Still, there was no denying to my ears that the MFSL CD was a tad warmer in the vocals.What caused that “digital edge” on the vocals?
As I understand it (and someone please correct me if I stray way off base here), digital sound files on a CD are stored similarly to WAV files for a PC – it’s a straight PCM file with a set number of values that can be assigned at any given sample. The number happens to correspond to quite a wide dynamic range and is the reason PCM audio has greater dynamic range than, say, consumer audio cassette tapes (I’m simplifying, I know, but bear with me ).
In a Wave file editor on a PC, the top end is usually labeled as 100% or 0dB above and below a base line. Anything above that gets “clipped” – in other words, any sound that is recorded louder than 0dB is flat-lined as a sound wave at 0dB for however long the time above that level goes for – any other frequencies that may be there above that range does not get recorded with any other values.
Now I have 2 examples to share. I extracted two versions of the song Heartless by Heart. One from the 1998 Greatest Hits CD on Sony Records and the other from the original album version on the Capital CD Magazine from the original Mushroom Records masters (which Capital acquired after Mushroom went under).
The ’98 Greatest Hits version plays significantly louder than the album version. In fact, all the songs on that CD are much louder than any album version. It’s also much louder that the earlier Greatest Hits/Live Epic CD that used digital re-masters of the original recordings for the original double LP release in 1980 (as the liner notes stated on the LP, and later CD, – re-recorded using the Sony PCM 1600).
This Greatest Hits CD does seem to have more “punch”, but also has that “digital edge” that KeithH experienced in his listening of that Supertramp remastered CD. I, in fact, noticed quite a bit of digital distortion going on. Compared to the Magazine version which sounded much “warmer” and “cleaner”, with no distortion in the vocals (and remember that Ann Wilson has got quite a set of pipes in her throat). And this from a CD released back in 1985.
So, I did the extractions on the two versions and loaded then up in a wave editor to see what the physical difference is in the sound wave.
I’m linking to a webshots album page as that’s the only way I can post images, but, take a look for yourself:
Full wave file of the Album version of “Heartless”
Full wave file of the ’98 Greatest Hits version of “Heartless”
Closeup of the opening note of “Heartless”, Album version.
Closeup of the opening note of “Heartless”, ’98 Greatest Hits version.
As you can see, massive clipping occurs from the first beat, and every beat after is clipped in the Greatest Hits version. Frequencies that were carried in those louder ranges in the album version are gone in the Greatest Hits version. In some cases, up to 40 samples are topped out (or bottomed out as the case may be). That means that digital clipping is occurring for long enough time that it becomes noticeable to the hearing.
I believe that this is the “digital edge” we are hearing.
We are losing the true dynamic top end of a song when this is done. There is no reason that Sony had to do that to their Greatest Hits CD. All they had to do was find the song with the loudest passage, use that as the bases to normalize the other songs such that no one song gets clipped.
I’ve noticed this on other CD’s.
In Pat Benatar’s Synchronistic Wanderings compilation, every song is clipped to some degree and loses the “real” dynamic range in many songs in the process compared to the original CD songs which reveal a wider sonic range - even if you do have to turn it up a bit more, it makes the louder punches on the original CD’s come through that much more.
Duran Duran’s Greatest compilation is another offender compared to the earlier Decade compilation. The original dynamics of A View To A Kill take a serious beating in Greatest.
Paul McCartney and Wings Band on the Run. This one was brought up before when someone asked about the differences in the re-masters that were done - the Steve Hoffman DCC Gold Disc, and Capital’s own 25th Anniversary Re-master. Several posters thought the 25th Anniversary version was better, some saying because it was “louder”. I posted that I thought the DCC version was cleaner and less distorted in some of the louder passages – especially in the final crash at the end of Nineteen Hundred and Eighty Five. I later found out why. The 25th Anniversary Edition is indeed louder – to the point of clipping quite often. The DCC version also has a wee bit of clipping, but much less often and for much shorter period of samples. It makes you wonder what you are missing in the 25th Anniversary Edition. Those frequencies (sounds, tones, notes,) are gone.
I like the idea of re-masters. Many sound just fine, and many do much better than some initial CD releases that used poor masters to begin with. But I’m not happy about the idea of punching up the volume, topping out the range and calling it a “re-master” simply as a selling point. It seems that “Greatest Hits” and some soundtrack compilations are also big offenders. The soundtrack to “Buffy the Vampire Slayer” is another one, by the way.
Anyone else have any thoughts, musings, rebuttals, corrections to my rantings?
Thanks for getting this far,
Joel