The “loudness wars” are a growing trend in music production characterized by an increasing emphasis on loudness at the expense of dynamic range. This phenomenon is used to make tracks stand out on radio and digital playlists, which has a significant impact on the subjective quality of the music.
The loudness wars began in the 1990s, primarily with the rise of digital audio technology and the CD as the primary medium for music consumption. The basic premise involves compressing the dynamic range of a track, making quieter parts louder and louder parts louder, resulting in an increase in overall volume. While this makes songs sound more impactful in the short term, it sacrifices the subtlety and nuance that define a high-quality recording (USC, 2018). The main effect of the loudness wars is a reduction in dynamic range, which is the difference between the loudest and softest parts of a recording. Dynamic range is what makes a song tick. If it is compressed, music can sound flat and tired.
Here are some examples of the Loudness War:
Oasis – (What’s the Story) Morning Glory? (1995): This album exemplifies the early days of the Loudness Wars. The brickwall limiting used in its production led to a sound that many found harsh and fatiguing, despite the album’s commercial success.
Red Hot Chili Peppers – Californication (1999): Known for its loud and compressed sound, this album received criticism for sacrificing audio quality for volume, leading to a less engaging listening experience.
Research on the loudness wars is extensive, and various audio engineers, producers, and musicians have weighed in on the debate. According to mastering engineer Ian Shepherd, the loudness wars have led to a significant decline in audio quality (Shepherd, 2017). In his articles and interviews, Shepherd emphasizes that louder-sounding music is not necessarily better, and that excessive loudness can lead to listener fatigue and reduced enjoyment over time. A 2011 study by the Audio Engineering Society found that listeners generally prefer music with a wider dynamic range to tracks that are overly loud (AES, 2011). This preference suggests that the push for loudness is more industry-driven than consumer-driven.
As a musician or producer, this knowledge will profoundly influence my future work. I will strive to maintain dynamic range and resist over-compressing tracks. Then by focusing on the musicality and emotional expression that dynamic range provides, I hope to create music that is not only impactful, but also long-lastingly engaging and enjoyable for listeners.
References：
Audio Engineering Society. (2011). Perceived Loudness and Preference of Dynamic Range in Music. [online] Available at: https://www.aes.org/e-lib/browse.cfm?elib=16188 [Accessed 26 May 2024].
Shepherd, I. (2017). The Loudness Wars: Why Music Sounds Worse. Available at: https://www.youtube.com/watch?v=3Gmex_4hreQ [Accessed 26 May 2024].
The Loudness Wars – USC Viterbi School of Engineering (2018). https://illumin.usc.edu/the-loudness-wars/ [Accessed 26 May 2024].