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The practice of focusing on loudness in audio mastering can be traced back to the introduction of the compact disc, [3] but also existed to some extent when the vinyl phonograph record was the primary released recording medium and when 7-inch singles were played on jukebox machines in clubs and bars.
Compact Cassettes may have a response extending up to 15 kHz at full (0 dB) recording level. [17] At lower levels (−10 dB), cassettes are typically limited to 20 kHz due to self-erasure of the tape media. The frequency response for a conventional LP player might be 20 Hz to 20 kHz, ±3 dB.
Vinyl records are easily scratched and vinyl readily acquires a static charge, attracting dust that is difficult to remove completely. Dust and scratches cause audio clicks and pops and, in extreme cases, they can cause the needle (stylus) to skip over a series of grooves, or worse yet, cause the needle to skip backwards, creating an unintentional locked groove that repeats the same 1.8 ...
Before loudness normalization, one song in a playlist might be quieter than the rest, so the listener would have to turn a volume knob up to adjust the playback volume. [4] Depending on the dynamic range of the content and the target level, loudness normalization can result in peaks that exceed the recording medium's limits, causing clipping.
Audacity is a free and open-source digital audio editor and recording application software, available for Windows, macOS, Linux, and other Unix-like operating systems. [ 4 ] [ 5 ] As of December 6, 2022, Audacity is the most popular download at FossHub, [ 8 ] with over 114.2 million downloads since March 2015.
Signal-to-noise ratio (SNR), however, is the ratio between the noise floor and an arbitrary reference level or alignment level. In "professional" recording equipment, this reference level is usually +4 dBu (IEC 60268-17), though sometimes 0 dBu (UK and Europe – EBU standard Alignment level).
24-bit and 32-bit audio does not require dithering, as the noise level of the digital converter is always louder than the required level of any dither that might be applied. 24-bit audio could theoretically encode 144 dB of dynamic range, and 32-bit audio can achieve 192 dB, but this is almost impossible to achieve in the real world, as even ...
ReplayGain-capable audio players use the replay gain metadata to automatically attenuate or amplify the signal on a per-track or per-album basis such that tracks or albums play at a similar loudness level. The peak level metadata can be used to prevent gain adjustments from inducing clipping in the playback device. [2]