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Shared Interests Group

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Kasim Doronin
Kasim Doronin

The Cure - Disintegration [Remastered Deluxe Edition] (2010) FLAC

these two waveforms are not perfect, but i think they are even more instructive than the previous examples. what is the reason for these phenomena? i don't think it is a recording issue: indeed, we see similar behaviour if we look at signal to noise ratio recordings in comparison to the original reference audio. it appears that the problem is rather a problem of methodology. lets take one of my favourite songs, the 1968 track burnt by the sun by jimi hendrix. if we compare the waveforms corresponding to the original and the remastered editions, we can clearly see that the band-break is no longer emphasized, as stated by publicists at the time.

The Cure - Disintegration [Remastered Deluxe Edition] (2010) FLAC

usually if i collect an artist, i go with releases on the original label in their home the cure's case, i would go with the fiction/polydor/universal versions, but with new & used versions in record stores and online, it doesn't really matter to me anymore if i have a uk version or us one on fiction-elektra/rhino.i do have the uk join the dots & 3cd mixed up.i used to have all the us expanded remasters up through disintegration but sold them as i needed the the process of getting em all back, used or new, which explains why it's likely a mix of uk & us deluxe.will get this new wish 30th.

in order to confirm these findings, iasked dr damien tardieu, signal processing specialist at ircam in paris, to perform similar analyses on atotally different music corpus: 20,000 songs randomly selected from the emi catalogue. admittedly, the albums in this catalogue are referenced via copyright dates, so the analyses will be made abit less reliable by compilations gathering older tracks under amore recent copyright, or by remastered editions. however, what we need here is ageneral estimation of aglobal phenomenon, so we can afford aslight margin of error. the fourth and fifth illustrations on the previous page show the evolution of loudness range measured according to ebu 3342, as well as the density of very loud samples corresponding to this corpus. they show that loudness range doesn't decrease after 1990, even though limiting gets much more drastic. there is no doubt about it: contrary to general belief, there has been noobviousdecrease in loudness range due to the loudness war, and brickwall limiters have not reduced the loudness range in music production.


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