Ariana Grande's 'Thank U, Next' Breaks Apple Music Record for Most-Streamed Pop Album in First 24 Hours

Discussion in 'iOS Blog Discussion' started by MacRumors, Feb 11, 2019 at 6:31 AM.

  1. jgdeschamps, Feb 12, 2019 at 9:02 AM
    Last edited: Feb 12, 2019 at 9:08 AM

    jgdeschamps macrumors regular

    Dec 18, 2012
    No offense, but you are using the right words for wrong concepts.
    The room where you record has no "noise floor". That concept relates to the signal chain (equipment connected in series or parallel fashion) of microphones, preamps, processors and AD converters. Is the small hiss you get when silence is picked up by the mics and is the result of the voltage of the mentioned signal chain. Generally you can get away with noise floor hiss that lies below -42dB, which means no one will hear it unless you turn the volume way up and have a really good amplifier/speakers combo.
    The shape of a room is not an obstacle, is what you actually want to capture along with the character of the instrument or a singers voice. If your room has bad acoustics, have a crappy instrument or the singer has no talent, you'll get bad recordings, thus, not worth deploying to any media. You can compensate those factors with hardware processors or SW plugins to a certain extent, though.
    Playback data rate relates to the AD/DC converter sampling rates. Most of the times for recording music, a sampling rate of 48KHz@24bit will suffice. That means you'll capture frequencies of up to 24KHz (above your listening threshold) with a dynamic range of 144dB.
    You then bounce your audio to CD quality of 44.1KHz@16bit. You lose frequencies you are not able to hear, and lose some volume, and that's with no compression applied to the file and it's all because of a process called dithering to proportionally lower the dynamic range of 144dB to a range of 96dB without getting sound artifacts.
    Why am I mumbling all of this: basically, frequencies above 7 or 8 KHz are where the brightness or sheen of instruments like cymbals, voice, some percussions and strings reside. Also, a room's "acoustic air" lies above those frequencies. When you compress to any format, regularly you lose a lot of the frequencies above 12 KHz (and you already lost some volume!,) so you actually are missing the acoustic environment and sheen a little when you compress to mp4 or AAC. It's basically some sort of 3D characteristic to the stereo sound, the actual breath of a singers voice... small details that give more life to a recording. And it happens to the lower end of frequencies too, regularly below 70Hz. If you take a raw 44.1KHz@16bit WAV file and compare it to any Apple Music file listening to them using AirPods, you'll hear the difference. Not huge, but you'll definitely pick something up and it will be in favor of the WAV file.
    As for those 256kbps you are referring to mean how much data you stream per second, and is not directly related to which frequencies you are including or excluding. That depends on the compression parameters you use with your compression software.
    In the end is how much frequency and dynamic range -and their balance to one another- you preserve from the original performance. That's a subject for mixing and mastering.
    Sorry for the long post, but it's actually my hobby (and I love it! :))
  2. CarlJ, Feb 12, 2019 at 11:43 AM
    Last edited: Feb 12, 2019 at 12:25 PM

    CarlJ macrumors 68030


    Feb 23, 2004
    San Diego, CA, USA
    In the realm of mixing/mastering, one longstanding problem (I don't know offhand how much of a problem it is with the most recent recordings), is misguided execs (oversimplifying, but it's a typical case) pushing the sound engineers to "make it louder", heavily compressing the dynamic range of the music, making the differences between the loudest and quietest bits almost nil, horribly over-saturating the recording medium... yes, it makes the music "louder", but it throws dynamic range out the window, squishing every bit of the music up to the very top of the range. There have been some particularly egregious examples of successive reissues of the same original album getting the dynamic compression cranked up more and more.

    Wikipedia has an article on it: Loudness War, and TVTropes gives it surprisingly good coverage: Loudness War. There's more out there via Google.
  3. Zenithal macrumors 604

    Sep 10, 2009
    Even the oldest millenials are 36-38. Perhaps some of you, well, specifically one person is confusing them with Generation Z. You're stuck with the generation you're born in; you don't graduate to the next as you get older.

    Don't know who this is, but good for her.

    The loudness war is nothing new, and it certainly didn't begin in the 2000s or 1990s.
  4. Shanghaichica macrumors G3


    Apr 8, 2013
    I guess she had to capitalise on the end of her fake engagement and make sure she used up her sympathy vote. Anyhow good luck to her, she’s been around for a while now so maybe the success has been earned.
    --- Post Merged, Feb 15, 2019 at 4:56 AM ---
    How is she a fake Latina. She’s Italian American.
    --- Post Merged, Feb 15, 2019 at 5:00 AM ---
    I do think Mariah did it better in her day but my real issue with her is how childlike her voice sounds. I think it’s telling that most of her fans are teenage girls because she still sounds like one when she sings. I am not a teenage girl so apart from the odd song here and there I won’t be listening to her music.

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