I think it was both. The measuring was flawed, and "the commercial folks" wanted to get as much out of it as they could, so everyone tried to max to the max of the max. The same is true for the LeqA spec that Dolby put in place for cinema trailers and commercials. The best mixers still know the ways to get the most bang for your dB within the spec. And with theaters turning the volume knob even more down, it becomes a challenge to mix louder and louder. What is lost is actual dynamic range, and what is left is a TV mix played at a low level in a large room – without the right impact.
For broadcast, it it was very much based on finding the limits of what could be reached within the Max-PPM specification. Thew new loudness specs do not allow for that anymore, so it is very much an improvement.
Also note that it wasn't just commercials, as most stations added Orban Optimod type processors to give their channel a 'sound', using all kinds of additional compression/limiting, beyond the point where things started to sound ridiculous. Still the case for some Nickelodeon channels here in Europe. When my daughter watches Dora cartoons and the voice over pauses, an insane amount of noise is faded up, until Dora speaks again and the volume goes down 12dB's again.
Insane. Really.
On 6 jun. 2014, at 18:40, bigfish@pacbell.net [Avid-L2] <Avid-L2@yahoogroups.com> wrote:
"We as an industry have produced the most shitty, ugly sounding mixes in an ongoing loudness war that was based on nothing but an inapt measuring method (PPM), l..."
I think much of the loudness war was by design and not the measuring method. The commercial folks wanted, and probably still do, their spots to appear louder than the neighboring programming to get attention. Right or wrong that was a creative/marketing decision and not a result of using PPMs.
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Posted by: "Job ter Burg (L2B)" <Job_L2@terburg.com>
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