Just when we think the world couldn’t possibly need another bit of Kanye “Overexposure” West, the fine folks at Column Five manage to prove us wrong with one of their signature infographic gems: A typographic phrenology of Kanye’s mind.
Though, not to be neuro-nitpickers, we have to point out that the little “Grow up, Kanye” voice is least likely to come from the cerebellum, the “little brain” responsible for our reptilian, primitive, most selfish impulses — the part that keeps us immature and self-centered. But then again, if phrenology itself is a pseudoscience, what do we expect of typo-phrenology?
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From Bieber to boredom, or what 30 years of compression have to do with auditory freedom.
Last month, we explored 3 fascinating, synesthetic ways of visualizing music. Today, we’re applying the same cross-sensory lens on a more basic component of sound: Loudness.
The rise of digital music over the past decade has sparked a phenomenon known as the loudness wars — a detrimental sonic arms race to digitally master recordings with higher real and perceived levels of loudness, resulting in sound quality inferior to that of analog recordings like vinyl and cassettes. (You can see and hear the difference in action here.) To better understand these issues of sound compression, perceived loudness and recording quality, we’re looking — literally — at three visual approaches to subject that illuminate it in a visceral, intuitive way.
Created for a 2009 NPR episode on the subject, this stunning infographic poster by designer Christopher Clark visualizes the history of loudness through the changes in frequency peaks, dynamic range and RMS levels — the actual auditory components of perceived loudness — in different music genres between 1979 and 2009.
Using data from the Unofficial Dynamic Range Database, Shepherd pits dynamic range — the distance between the highest, sharpest highs and lowest, softest lows, which gives sound richness — against loudness, alongside sales rankings where available.
The results are somewhat unexpected — Justin Bieber’s My World 2.0, for instance, is far louder with much less of a dynamic range than Michael Jackson’s Thriller, the #1 highest-selling record on the chart. Coldplay (#48), typically perceived as “mellow” band in terms of sonic style, is actually far louder than iconic hard rock band AC/DC (#2) in technical terms.
DYNAMIC RANGE METER
Also from Ian, TT Dynamic Range Meter by the Pleasurable Music Foundation is a wonderful free tool for Mac and PC rendering real-time dynamic range visualizations that help not only mixing engineers, but also casual music lovers make informed decisions about sound compression. You can try it out as a free plugin here.
For a deeper dive into the subject, this excellent talk by Earl Vickers from the 129th Audio Engineering Society Convention, framing the underlying problem of the loudness wars as a problem of game theory, is very much worth the watch. (Again, thanks Ian.)
If we look at some extreme examples, we see that hypercompression reduces contrast between verse and chorus, it takes the crescendo out of the bolero, removes the surprise from the ‘Surprise Symphony,’ and turns ‘Stairway to Heaven’ into a sidewalk.” ~ Earl Vickers
Even if people don’t consciously notice the problem, the music may become mentally or physically tiring. Listeners may lose interest without knowing why.” ~ Earl Vickers
If you’re like us and live most of your life with music, this should both worry and mobilize you. Thankfully, sound advisor and researcher Julian Treasure has your back with this great short TED talk on 8 steps to sound health.
What beauty pageants have to do with war tragedy and the power of rock.
Between 1992 and 1996, The Siege of Sarajevo claimed tens of thousands of lives and its place in textbooks as the longest siege of a world capital in the history of modern warfare, as the rest of the world stood idly by. In the summer of 1993, American aid worker Bill Carter smuggled himself out of Sarajevo and into U2′s backstage in Verona, telling the band about the situation there. Bono immediately sprang to action, wanting to play a concert in Sarajevo, but was told not to go because the situation had gotten too dangerous. So, instead, he decided to do something that had never been done before — send a satellite dish instead and play a satellite show, long before the age of telecommuting and digi-presence.
But the satellite show wasn’t enough for Bono and he resolved to eventually play a real concert. In 1997, he kept his promise, making U2 the first major artist to play a concert in post-war Bosnia and Herzegovina — an extraordinary event that brought together people of different ethnicities who had fiercely clashed during the war. Missing Sarajevo is the story of this epic concert’s making, a fascinating microdocumentary about the political power of rock.
From the formidable setlist, including the song “Miss Sarajevo,” which Bono and Brian Eno wrote about a beauty pageant held at the peak of the war, to this profound human moment on stage, the concert was a poetic exercise in human connectedness in the midst of social and political turmoil. The documentary is available on YouTube in two parts, gathered below for your edutainment:
In many ways, that U2 concert played the same role Twitter did in this month’s Egyptian revolution — giving a voice to the repressed and oppressed to break the silence of the world. And regardless of which way the debates on whether or not that constitutes “real” activism, one thing is clear: Voice is always better than voicelessness.
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