The former are usually tackled using a conventional compressor, while there are various approaches to dealing with transients. Making a mix louder usually involves both ironing out 'macro', or medium‑ to large‑scale dynamic contrasts - such as the gulf in level between a quiet verse and a busy chorus, or between a loud snare hit and the space after it - and taming 'micro‑dynamics', the momentary peaks that are often known as transients. Like it or not, we have to make our masters loud and, that being the case, we might as well do so in the way that causes least possible damage. But at the end of the day, we have to pay the bills, and it's a rare client who is happy to have his or her master half as loud as commercial releases in the same genre. We can point out until we're blue in the face that quieter mixes might actually sound better on the radio. We can complain about the loss of those dynamic contrasts we put so much effort into capturing in the first place. And for audio engineers, making mixes loud looms high on this list. There are some activities, like unblocking toilets or telling the children the cat has died, that everyone has to do, even though no‑one much likes doing them. That said, I'm on Twitter So holler.The idea that loud digital masters can retain real dynamics seems like a contradiction in terms, but it's exactly what Slate Digital are claiming for their new mastering plug‑in.
Oh, FYI, I'd love to write the Gargoyles movie for Disney.
In closing, let me remind you that the geek shall inherit the Earth. Business-wise, I make big cheddar (not really) as a copywriter and digital strategist working with some of the top brands in the Latin America region.
And yes, I've written sports for them too! Not bad for someone from the Caribbean, eh? To top all this off, I've scribed short films and documentaries, conceptualizing stories and scripts from a human interest and social justice perspective. I also write about music in terms of punk, indie, hardcore and emo because well, they rock! If you're bored by now, then you also don't want to hear that I write for ESPN on the PR side of things. On the geek side of things, I write about comics, cartoons, video games, television, movies and basically, all things nerdy. It was boring so I decided to write about things I love.
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