You can have a track consisting entirely of -6dBFS white noise except for one second of silence somewhere in the middle, and you'd have a track with ~90dB dynamic range. The TT-meter wouldn't track that, and I consider that a good thing. I'm sure dynamic range has a valid place in the...

That demonstrates pretty well that the TT-meter's DR metric has little to do with dynamic range, but does a pretty good job at quantifying the dynamism of a piece of music, which in my mind is far more useful. Actually, the more I think about it, using dynamic range as a metric to describe...

No, the window length ranges from 0.01 to 1 second, analysis is done on the whole file (minus the 10 seconds at either end).

No Skrillex at hand, so it's Kiasmos vs. some classy Ludvig van. I'd say Ludvig sounds more dynamic, but at the same time you could argue Kiasmos has more actual dynamic range.   The tracks were 65 by Kiasmos and 9th Symphony, 4th movt. by LvB/Fricsay/Berliner Phil. The tracks were summed...

What do you mean with "time weighting"? Do you know of anywhere I can read about the algorithm in detail?   I've also used Audition a lot. Their 'Dynamic Range' is the difference between the maximum and minimum RMS values, which introduces another complication: what window length should you...

  Yes, Pinnahertz' definition sounds reasonable when applied to something like the transmission of signals over radio, or recording of light intensities on a CCD, but how does it relate to recorded music?  To define a range you'd need to define the extremes, so how do you determine what's the...

When you guys talk about music being more or less 'dynamic', what are you really talking about? Is there a clear definition? Can it be quantified?

  I think it is as simple as people tending to turn things up a notch or two when they plug their headphones into a new amplifier. Especially if it has a big, shiny, heavy volume knob. And everything, including details, improves when you turn it up a bit.

Is this what you are talking about, essentially the difference between sample peak and true peak?   sox -n -c 1 -r 48k -b 16 noise16.wav synth 60 whitenoise gain -1 sox noise16.wav -b 8 noise8.wav -D sox noise8.wav -b 16 noise16pad.wav sox -m noise16.wav -v -1 noise16pad.wav diff.wav...

  That's exactly what castle says, except he puts the burden of proof on the one set to make a financial gain. You know, the way it is done in markets based on tangible value.

  Broker/Dealer – Sun Struck

NHK – Mogra

  If you by Deep House mean house music made in the late 80's Chicago, or of that ilk, a kind of funky, jazzy, soulful house music, then sure. At lest in small doses. After a few minutes I usually start longing for something with a bit more bite.   Kenny Dixon Jr. (aka. Moodyman) – Emotional...

Shock Headed Peters is probably the most immediate connection, as Karl Blake was a founding member of both, placing them more in the punk scene by that measure. But sound wise I guess they do have some of that industrial/experimental flavour.

Danielle Dax is something special alright. Her association with Lemon Kittens is what first made me aware of her.  

Yeah, the scope has definitely widened. We'll just have to refer newcomers in doubt to that first and the few most recent posts to get a feeling of what this thread is about. Now if you'll excuse me, I've got an itch to scratch.   Tricky Disco (Ah, the innocent and joyous early 90's)  ...

  I don't think we're too sure on that either, it pops up as a discussion from time to time. On the whole we're trying to be the left field to that other behemoths main stream. In general that tends to mean more rhythm and dissonance and less melody and consonance, but there are no strict...

  One of those pieces of junk, eh? I'll be kind and pay for shipping if you want to get rid of it 

  dropbassnotbomb seemed to imply that the tracks posted weren't entirely within the remits of this thread, I disagreed. I might have misunderstood, as I often do, but in either case there's no real issue.

The first one, When you are not at home by Stanislav Tolkachev, was pretty nice though.

Excellent. And inbetween Tappi and Sugarcubes there was KUKL. Signed to Crass Records no less.   Not Björk, but very much of the same movement: þeyr.  

  The developers seem aware of this. Taken from the convention PDF:

  You state that like it's a fact.

  FIFY

New EP from Not Waving. Very acid.