Originally Posted by Slate Press
Do you have an example? Can you post a song that i can listen to in full res 16bit 44.1khz wav that i can change into an mp3 and hear crackles?
No time today - got to get through mastering a jazz fusion album first - and then want to work on a few things on the Fairchild lathe I'm restoring after.
I'll see whether there is any of my own material I can find that I can clip for you that would fit the bill sometime later in the week - I make it a strict policy not to upload clients files or tracks where I don't hold the copyright ever.
I'm not saying you are wrong.. but given that for so many years, most top mastering engineers would clip the input of their A/D's to get loudness, and that AAC and MP3 have been the dominant music format for years now, I would have thought we'd hear more of this.
Really??? Not to be mean about this - but it almost sounds like you've been hiding under a rock regarding this. Honestly you can easily hear this on tons of clipped pop and rock tracks when played via a lossy data compressed format on a great deal of "consumer" systems - and yes - tons of folks have made a big deal about it in the past 10 years or so.
Frank Foti & Roger Orban's article on the downsides of clipped audio when reprocessed via typical broadcast processing chains first came out almost exactly 10 years ago in fact - http://omniaaudio.com/downloads/whit...-june-2001.pdf
When someone can actually post a mix that has transients and dynamics that is around -20 to -16RMS, and can then show me how a brickwall peak limiter can bring it to -9RMS better than some sort of saturation or clipping, then i'll jump on your bandwagon. Until then, I'm sleeping under my blanket statement.
Well - I definitely agree with you that some amount of clipping can often preserve the perception of punch and snap relative to using digital brickwall limiters - and admittedly I almost never crush anything to the level you are proposing ever just using a single digital brickwall limiter (usually I use a variety of tools, including: eq, analog broadband compression, transformer based saturation, a variety of clipping methods - including at the input of the ADC and at a number of digital gain stages, and a variety of digital brickwall peak limiters).
What I strongly object to is the idea that clipping is some kind of "free lunch" - and the idea that there is no role for brickwall limiters when doing extreme loudness maximization (especially in terms of attempting to minimize distortion you would otherwise get from pure clipping). Again - there is no absolute in this as to what methods or combination of methods is "best" - and no need to make this either/or.