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Email Password Remember Me Forgot password? Don't have an account? Sign up! The Latest. Grab a deal Deals. Latest Deals. New Adventures in Hi-Fi. Marillion Fugazi. The Beatles Abbey Road. Thu 30 Sep. Deal Alert. Wed 29 Sep. Sign up for the SDE newsletter. Tue 28 Sep. Slipknot 's Vol. Not only is it pushed to the limit of modern-day loudness, it doesn't even peak. And I'm not just talking about below-zero flat-lining or extreme soft-clipping here either.

I'm talking about rampant straight diagonal lines, suggesting that the mix was even worse than usual in the maxed-out clipping department, and the mastering engineer had to turn it down post-processing, just to meet today's ridiculous standards. And guess who was behind the production helm? That's right, Rick friggin' Rubin. Anything after Demanufacturereally and even that album could get rather clippy at points. Case in point: "Shock" starts up with a blast of distortion that clearly should not be there.

Their first album, Soul of a New Machineis an aversion, scoring an average DR10 despite a production which would sound really dated nowadays. Edguys album Tinnitus Sanctus gets this one badly. Iron Maiden seems to be suffering from this the video's author is shocked to see how balanced is the mastering of their recent song "Different World"! This happened to the and reissues of Powerslavetoo. It sounds rather muffled, and the vocals are now too loud compared to the drums.

Ditto for most of their other reissues, eg The Number of the Beast. Frankly, both albums are among the best-sounding of Iron Maiden's career. Mystery elucidated: A Matter of Life and Death producer Kevin Shirley mentioned in a message board post that Steve Harris specifically decided not to master the album to keep the "live" sound. The vinyl masters are also clipped, though they come out having more dynamic range due to the nature of the format. The most dynamic master is the version available on iTunes, which is DR9 and slightly less clipped.

Judas Priest 's remasters are also pretty bad. And with the newer special editions, it goes From Bad to Worse. Lacuna Coil 's Karmacode. It's a particularly egregious offender given that their earlier albums were characterized by dynamics that you could practically breathe in.

Rage Against the Machine 's final album Renegades suffers from this, most likely due to the fact that A the band had already split up, B it's a collection of covers that aren't all from the same recording session, and C Rick Rubin "produced" it. Interestingly, the track "The Ghost of Tom Joad" appears here in only slightly altered form from its previous release on a Brendan O'Brien-produced single, and the difference is quite evident when it's played directly opposite audio sludge like "How I Could Just Kill a Man".

The trope had started to creep in somewhat to their previous album The Battle of Los Angeles as well, and to an even lesser extent to Evil Empirebut neither of them is anywhere near as bad. Dismember 's "Pieces" EP has an album gain sitting at This was released in Bleeding Through's Declaration is so badly compressed that the kick drums drown out everything else whenever they're played.

Which happens a lot. It can be a painful listen, even though the production isn't that bad, other than the godawful compression. The strangest thing about all this? The producer wasn't some unknown, it was done by Devin Townsend of all people.

Have a listen. Ignoring the kick drowning things out for a moment, there's also some serious unintended distortion going on at places. In addition to the above example, Beneath The Grey's first verse opens with a lovely blast of noise.

DragonForce are loudness war criminals overall, but Sonic Firestormparticularly the reissue, is brickwalled to the point of being unlistenable. The vinyl release of Ultra Beatdown seems to be mastered a little more responsibly, however. If we're talking original releases, Valley of the Damned was significantly more guilty of this, with the following two being surprisingly reasonable in this regard, especially compared to their genre peers.

In fact, Sonic Firestorm is probably one of the best-produced and best-mastered songs of the decade. That said, Inhuman Rampage is easily the worst-sounding of the three for completely different reasons fatigue-inducing overproduction and searingly harsh upper-midrange dominant EQ, just to name a couple. Blackguard's major-label debut, Profugus Mortiswas pretty badly compressed to nobody's surprise in particular. But the follow-up, Firefighthas extremely conspicuous compression and clipping.

The parts that clip are in red. The drums are mixed loudand they'll clip even during the passages with clean guitars. Turn on the distortion, and you get a sea of red. Bad mastering must be a trend in djent then again, a lot of djent is self-producedbecause Periphery 's self-titled debut long-play record has the same and extremely audible clipping issues.

The flat parts are clipping. What the hell, Bulb? Surprisingly, their album Anthems of Rebellion averted this trope somewhat, a daring move for the time let alone now.

Alice in Chains ' post-reunion albums have been hit hard by the loudness war. Somewhat justified in Black Gives Way To Blue 's case, in that the album was also released in vinyl format, which requires the maximum volume level just to be half as loud as the CD. Unfortunately, the vinyl is also pretty clipped. If it's any indication, the Loudness War was already affecting them as early as when Dirt was released: it's still nowhere near as bad as the examples in this page, but it's heavily compressed by standards.

Black Metal band The Axis of Perdition 's early releases were horribly clipped. According to Audition, Fortunately, this tendency of theirs has abated with each subsequent release, to the point where their most recent releases Urfe and Tenements of the Anointed Flesh are aversions of this trope - both of these are mixed extremely quietly for black metal albums although there are also extended ambient passages on these recordingscoming in at around DR According to the band, the clipping on their early albums was apparently because they didn't know MP3 about mastering at the time, though it is particularly strange that their second full-length album has clipping at odd amplitudes like -6 dB, depending on the track.

Ildjarn made extreme compression an essential element of his style, except in his ambient works. Averted with side project Sort Vokter, whose sole album comes in at DR Certain Type O Negative albums, such as October Rustare similar to Throwing Copper and The Downward Spiral in this regard; they have decent dynamic range, but the louder peaks are clipped. Mastodon 's The Hunter is brickwalled to the point of being headache-inducing on low mid- to high-end speakers; even the LP suffers from this.

All of Mastodon's work, really, although it got a lot worse when they moved to a major label; the stuff before that was just brickwalled, but starting with Blood Mountain they were also clipped sadly, their last release on Relapse, Call of the Mastodonalso got hit heavily with clipping. Progressive Black Metal band Enslaved have this problem on nearly every CD they've released, with most of them being audibly clipped, although there are still dynamics on some tracks on most of the recent ones.

The recent vinyl releases of Riitiir and In Times avert this, being separately and sensibly mastered. Many of their older albums still have clipped LP masters, unfortunately, as there are several passages with obvious clipping on albums like Isa and Vertebrae although these versions MP3 frequently have dramatically higher dynamic range scores than the CD versions - we're talking a five- or six-decibel difference here.

Most of the albums from Alaska onwards still have some passages with dynamics, but when they get loud, boy do they get loud. Atheist 's Jupiter. While the band's s and s stuff are mastered at reasonable levels, Jupiter is egregiously loud; while Jason Suecof, who produced it, is notorious for this in general, this is a special case.

Word on the street was that he was going for a "raw" production, but his idea of a "raw" production involved horribly inconsistent instrument levels that varied from song to song, leading to such wonderful things as the rhythm guitar track almost completely drowning out the lead. To add insult to injury, the bass, one of the chief elements of Atheist's sound, was almost completely inaudible. Oh, and the whole thing was brickwalled to Death Magnetic levels. Jupiter as a whole was fairly divisive, but one thing that everyone agreed on was that the production was inexcusably awful.

It would probably be simpler to list the Death Metal and Grindcore releases from the last ten to twenty years that aren't plagued by this trope than the ones that are.

They're almost all brickwalled, and unfortunately, they're also almost all clipped. Vital Remains ' album Dechristianize is unsurprisingly quite loud given that it's a 21st-century Death Metal album, and because of that a bit of clipping would go generally unnoticed underneath all the noise.

Unfortunately, not only is it tracked at a ridiculous level The guitars themselves are compressed to hell and back even distorted guitars have some dynamics, but these have all of them stripped away and, when they are playing by themselves, peak as if the rest of the band were playing, who ducks the guitars when they begin playing, who are then ducked and unducked whenever Glen Benton gets on and off the mic.

The overall volume almost never changes; any time an instrument stops playing, the other instruments are turned back up to compensate and vice versa. It literally sounds like you are listening to a commercial radio station and Glen Benton is the announcer. The whole album is an exhausting, noise-ridden, pumping and breathing experience, and [insert God replacement here] help you if you can make it through all 60 minutes.

While Immolation is already mentioned above as a "repeat offender" of the Death Metal loudness MP3, 's Kingdom of Conspiracy deserves its own entry. Practically the whole album is pegged at a Death Magnetic -esque DR3 one track logs a hardly more acceptable DR4pretty much everything in the mid or high frequencies is blatantly clipped, especially the cymbals and the guitars are so badly compressed as to render many of the riffs indistinguishable from one another, while being mixed so loud as to drown out the bass altogether.

Oh yeah, and it ducks and unducks in a fashion similar to Vital Remains' Dechristianize. If there was any doubt about producer Paul Orofino's note Orofino's worked on all the band's releases since 's Failures for Gods ; not coincidentally, that album started their reign of loudness, coming in at DR6, while its predecessor Here in After came in at DR10 place at the bleeding, ear-splitting edge of the loudness wars before this, it's been put to rest now.

Mastering-wise, it wasn't disastrous we are talking some pretty intense, thrashy Progressive Metalcore here but still pretty over-the-top However, when the band signed to Solid State Recordsthey decided to give it an extra "push" for the CD release. At Sadly, their full-length follow-up Captors has done little to remedy this, although that's nowhere near the biggest problem with that album. All of Dir en grey 's output fits this trope Some tracks come in at DR0.

Others still have a fair amount of dynamic range left, but they're still clipped. His '90s stuff is mastered reasonably but ever since he got out of prison he's been brickwalling all of his metal albums to death, even Fallenwhich he claimed was going to be mastered "as if it was classical music" it's actually more clipped than the album that preceded it.

Most tracks are DR4 and clipping is very audible throughout. In an interesting turn of events, the album's mastering engineer Zack Ohren joined in a discussion following a review of the album that was very critical of the production and even linked to an audio track combining volume matched samples from an alternate quieter master and the release master for comparison. Judging by documented conversations that fans have had with the band, they've acknowledged their role in it as well and admitted to wanting a bombastic, "larger-than-life" production, but realized that they went way too far in that direction.

Luckily, this was released on vinyl with a different master. The vinyl is DR Sigh have released a number of albums that qualify as victims of this trope, going back to 's Infidel Art at DR7, which isn't terrible in and of itself, but there was quite a lot of clipping of the waveform.

Of their original album releases since, Gallows Gallery and the international release of Graveward are the only ones not to have any clipping, at DR9 and DR6 respectively the latter was still obviously heavily compressed, but the mastering engineer took care not to clip the peaks.

Note, however, that the Japanese version of Graveward comes in at DR3 and is heavily clipped, but also features some bonus tracks not available elsewhere. Strangely, both versions of the album were mastered by the same person, the band's guitarist. Ghastly Funeral Theatre and Scenario IV: Dread Dreams seem like they would be better, at DR10, but there is still some clipping, though it probably won't be something casual listeners would notice.

As for the band's remasters, many of them are brickwalled and clipped as well. Blood Music's remaster of Gallows Gallery is an exception The End's remaster is notand Hammerheart Records' 2CD remaster of Scorn Defeat from isn't bad either, coming in at DR9, albeit with some clipping on the original album the bonus tracks are free from it, however.

Enucleation's remaster, once again, is heavily brickwalled at DR5, though at least this one isn't badly clipped. Scenes from Hellthe band's worst offender at DR4 before the Japanese Gravewardanywaywas re-released in a 2CD version with an alternate, slightly quieter master which also benefits from having much better instrument separation, making it sound way clearer.

And several of the band's albums have gotten vinyl releases, which are usually quieter. The lesson we can all draw from this is that it pays to do your research on the mastering of various releases of an album before purchasing it.

The remaster is even worse, coming in at DR3. Baroness' Purple is mastered at DR4 with horrible compression and clipping. The average DR is between 4 and 5, with most songs on the lower end. Ironically, their live albums are often surprising aversions by modern standards; Ted Jensen did a good job keeping the dynamics mostly intact.

The second studio album Metal Resistance sadly also plays the trope straight, however. Darkestrah's side is DR5, which is bad enough. Al-Namrood's side is DR1. Both sides are clipped badly. Strangely, Darkestrah's next full-length, released shortly thereafter, wound up being significantly more dynamic and barely clipped.

Darkestrah's other releases wind up not being extreme examples of this trope by modern metal standards, except for their debut, Sary Oywhich provides an odd Zig Zagging of it: the first two tracks are badly clipped DR3 and DR6 respectivelywhile the final one does not appear to have had any dynamic range compression applied to it at all.

The difference in volumes is immediately noticeable and quite jarring. As for Al-Namrood, they seem to have a history of this. Darkestrah's "official bootleg" Everything Becomes Fire is really badly clipped at DR3 and audibly distorted throughout. Actually, since the peaks don't clip at a constant level and are somewhat diagonal, which tends to fool the dynamic range meter to some extent, the album may be even more distorted than that score indicates; it sounds like DR1, honestly.

The album is also pretty lo-fi, with its upper frequencies missing; it's entirely possible it was recorded by a fan and sent to them later. All of Ulcerate 's albums have been offenders with the arguable exception of the demo collection The Coming of Genocideat DR8but Shrines of Paralysis takes it to new levels, with an average of DR4 and several songs pegged at DR3. The majority of Deathspell Omega 's work, unfortunately, falls into this, but the worst has to be Manifestationsat DR2.

Their releases from before usually aren't as bad about this, though the Manifestations albums, while recorded inwere released in ; Infernal Battles is actually pretty dynamic by 's standards, let alone today's though the second side, consisting of their demo Disciples of the Ultimate Voidis also extremely lo-fi.

The Furnaces of Palingenesia is also less extreme on this count than most of their recent work, coming in at DR7 and being significantly less clipped.

Buried in Verona's album Vultures Above, Lions Below is heavily brickwalled, with noticeable clipping. The title tracks have gains of DB. Sacrament and Wrath especially have a lot of clipping in it thanks to the excessive loudness. The CD version is at DR6. See for yourself. Musicians in noise and affiliated genres noise rock, noise pop, et al. Intentionally invoked by a number of Noise and early Industrial artists, most notably by Whitehouse on Birthdeath Experience and Right To Killon which everything is "in the red".

Hell Is That Noiseindeed. Averted by legendary harsh-noise artist Merzbowwhose production tends to be frighteningly clear, with the exception of his mids works such as Pulse Demon and Venereologyboth of which have ReplayGain values in the negative twenties and a DR of 0. The latter also contains what might be the loudest track ever put to compact disc in "I Lead You Towards Glorious Times" Boris 's CDs are some of the all-time worst offenders, reaching DR ratings as low as 2.

Even a vinyl rip of the "noise" version of the limited edition Vein has a DR of 3! To put that in context, a vinyl record with a DR of 9 is considered loud by today's standards. Cold Steel World from Power Noise project Terrorfakt is an album that is already ridiculously loud, to begin with and of course, this trope is intentional in the Power Noise worldbut the song Ich is loud by Power Noise standards. It is highly not recommended to listen to this song with headphones on at full blast.

And the worst and strangest part of this song? It does not even peak. Ironically, the version of Type O Negative 's "Haunted" featured on this soundtrack is less compressed than the original see below.

This accusation has been leveled at Jeremy Soule quite a bunch from the non-audiophile crowds. He doesn't brickwall, but you can be forgiven for believing he does. The soundtrack for Total Annihilation was especially bombastic. Especially the famous title theme, which is reduced to a solid brick wall of clipping. Almost all of his soundtracks suffer from brickwalling to an extent. For an accomplished and talented composer and producer, Kaufman seems to have a poor understanding of dynamics.

That's how brickwalled the track is. The Sonic the Hedgehog franchise has been hit with this now and then. While a fair portion of Sonic Forces' soundtrack has clipping issues, Mortar Canyon in particular is appallingly mastered.

The Option screen for '' Sonic Spinball is often criticized for it's extreme loudness. Sonic Free Riders has its fair share of criticisms for its unresponsive controls using the X-Box Kinect, but as Angry Joe pointed out in his review, his ears were completely assaulted by the menu music being so obnoxiously loud.

The music and vocals are constantly clipping. The rest of the music in the game is decent enough, and played at a reasonable volume, but the menu screen is always cranked up to actually dangerous volume levels that cannot be changed in the options.

DOOM Eternal 's OST became a victim of the war on release: the composer Mick Gordon was able to mix several tracks, but as the Dawn - IV Noise - We Wait For The Sun (File release date approached, Bethesda decided to put Chad Mossholder on mastering duties and pump out the soundtrack on time. As a result, only 11 out of 59 tracks were properly mixed by Gordon, while the rest of them suffer from slap-dash mastering and clipping. This has resulted in Gordon doubting that he'll be returning for any future titles in the series after Eternal.

Especially egregious with the soundtrack being mainly atmospheric electro-synthwave. Unlike the Furi OST, it does not have a vinyl edition. Brandy's Full Moon has also been singled out. Venus Hum's Sonic Boom. Imagine hearing this with a severe ear infection and front row seats.

You may cringe now. The Veronicas are ridiculously loud for a girl band. For whatever reason, none of their albums not even their singles, either would see a vinyl issue for several years. Rihanna 's "Only Girl in the World " is quite obviously brickwalled, being actually distorted during parts of the chorus. Katy Perry 's Teenage Dream is louder than Megadeth.

Let that sink in for a moment. Especially "Peacock", and "California Gurls", where the drums constantly clip. Her first album, One of the Boyswas even worse. Worse yet, Avril Lavigne is louder than DragonForce. Pixie Lott. For example, listen to "Boys and Girls", which painfully blares in your ears from beginning to end. Many songs by Lights fall victim to this, such as "Second Go"and even worse "Saviour"where the chorus is completely brickwalled.

Her sophomore album Siberia has taken this trend further, being distorted to the point of being unlistenable — although this example is likely for stylistic reasons, and it's also released on the same label as Crystal Castles. Little Machines has noticeably better dynamics than her first two albums, but at least two of the tracks, namely "Up We Go" and "Same Sea", still have Album) clipping during their choruses, which appears to be intentional overcompression.

You didn't think Adele would be so loud, right? Several of the tracks on 21including the signature single "Rolling in the Deep", are brickwalled down to -5 dbfs. Luckily for audiophiles, this had a vinyl version. Extremely obvious clipping. Little Boots 's Hands is another tragic victim of brickwall mastering.

She seemed to be pulling out of the loudness war with her later singles and albums, and Hands also has a vinyl edition that has better dynamic range. Unfortunately, it once again reared its ugly head with her EP Afterhours. Robyn's Body Talk is heavily clipped on almost every peak. The Saturdaysas seen here. Not even Disney Channel music stars can escape the Loudness War.

All of David Guetta 's non-vinyl releases are guilty of loudness war crimes. Any song from Fifth Harmony. Sia 's Forms of Fear. The single Chandelier in particular is mastered at DR3 and has very audible clipping. It holds up better than rock music of similar loudness, but it still sounds bad.

The drums are so loud, they continually clip and drown out the vocals! Cher 's Believein addition to introducing the world to Auto-Tunewas compressed to DR7, which although much more dynamic than most of today's records, was damn loud by 90s standards. The remaster of Colour by Numbers by Culture Club is one of the most horrific examples, as the mastering is so artificially boosted in volume that some quieter instruments are nearly completely inaudible.

Needless to say, it's a disastrous butchering of a fantastic album, and should never be listened to by anyone. Her first fully pop album, was also often criticized for it's loudness, ranking up to a DR6.

With many of the songs originally being released in the '80s and having a DR ofthis remastering job is utterly criminal. Nearly all of Kim Wilde 's releases and remasters from the past couple decades have been subject to this to some degree, but 's Never Say Never is definitely her worst offender. To make matters worse, neither this nor the follow-up Come Out and Play are available on vinyl, though 's Here Come The Aliens is.

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