On Sat, Dec 23, 2000 at 03:25:06PM -0200, Christoph Simon wrote:
> Well, I can generally speak with a low voice, forcing others to pay
> more attention to what I say. If you raise the volume, the words are
> still the same, but you broke one of the intentions I had to say
> things the way I did.

True, but I still wouldn't call that "destroying" the value of your speech.

It also raises the question of your intent vs. my enjoyment.  If it's not
normalized, nothing stops me from turning the volume up so I can hear your
words better, then turning it back down afterwards when the next file starts
playing.  Normalizing my mp3 collection would essentially just automate this
process, providing the same result, but at less annoyance to me, the
listener, since I don't have to be fiddling with the volume constantly.

> It's the musicians choice not to use all the
> dynamic range with which might technically be possible.

In my experience, the things I've wanted to normalize have been cases where
an entire CD is unusually quiet.  Particularly considering the nature of the
content on many of these CDs, I'm more inclined to suspect that it's due to
paranoid audio engineers than the musicians' intent.  (Do you really think
that NiN wanted Pretty Hate Machine to be substantially quieter than most
other CDs?  Or that the orchestra performing 1812 Overture for the Classical
Thunder series (sold on the pretense of being big, loud classical music)
wanted their cannons to be barely audible?  I don't.  NiN is the sort of
music that's mostly intended to be uniformly loud, while 1812 calls for using
all available dynamic range.  But the CDs were mixed poorly.)

> Also, if you
> have an oeuvre in several files, you certainly will break the whole
> thing.

Yes, in that case, it would be a problem.  Personally, though, I prefer to
listen to extended pieces such as that directly from the CD.  When I listen
to mp3s, I grab a couple hundred of them, throw them into a big pile, and
play them in a random order, which would do far more harm to the oeuvre's
integrity than normalization could ever hope to.

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