I also want to present this all with the caveat that dynamic range compression is not inherently a bad thing. Only in the most extreme examples have I heard the program produce odd artifacts that would appear unintended in the album’s mix.
While one may not be able to "declip" an album as one would be unable to "unbake a cake", I find the results here to be a convincible attempt at doing so. In my edits, it’s important to note that the dynamics are not being restored with the "Perfect Declipper" program that I use, but rather, they are being approximated. You can see a few examples of my edits here: In this case, I was able to turn the dynamic range of the album from 5 into 11! I attempted to fix up the compression on this release with a program called “Perfect Declipper”, can not only help alleviate clipping, but also much of the dynamic range compression that occurs during mastering! The result is much more dynamic. Music that has faced a high degree of dynamic range compression in general can also be fatiguing to the ear. In regards to this album, there doesn’t appear to be any clipping, but everything is undeniably loud, brickwall-compressed to extremes in its mastering. As with any medium, however, there is a peak loudness a signal can reach, so dynamic range compression (which makes the louder parts of the signal quieter while keeping the quiet parts quiet) and sometimes even clipping (attempting to push a signal beyond its peak) were used to make music as loud as possible. This is what I like to call a “dynamic edit” of Black Holes and Revelations by Muse! This album is one of the most dynamically-compressed (not to be confused with data compression, which concerns MP3s and such) in Muse’s catalog, and these are my attempts to fix up that heavy compression!įor those not in the know, the Loudness War is a phenomenon beginning in the mid-90s onward, in which music was mastered louder and louder, with the underlying reasoning being that louder music sells better.
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