The Game Composer’s Blog

Compression – beware the power.

Compression is a useful tool. It lowers the loudest parts of an audio waveform so you can then raise the volume level of the entire waveform. It basically reduces the dynamic range of a sound. It can be used on individual tracks (commonly vocal tracks) or used on an entire piece of music. That is where it can be quite dangerous. Over the past couple of decades, audio engineers have been squashing the soup out of their music. Things that should be quiet are just as loud as things that should be loud. A solo acoustic guitar will sound just as loud as a full metal rock group.

Why have engineers been doing this? Partly because people perceive louder things to sound better. Also, because a vicious cycle has been developing… one engineer pushes their group’s levels up, so another engineer goes one level up, then another engineer goes even higher and so on. The result is that every new CD that comes out has its dynamic range further squashed. It’s gotten ridiculous. Check out this example of The Beatles’ song Something over the last 25 years:

Thanks to Wikipedia for this image. It’s a great illustration of this trend toward higher volume levels and lower dynamic ranges. Check out the “Loudness war” Wikipedia entry to find out more about the history of this issue.

I hope this blog can serve as a warning to audio content providers for games. With games, volume is even more of an issue. With sound effects, voice, and music all needing the player’s attention it’s tempting to just squash the music’s dynamic range so it’s more easily controllable. But with proper planning and attention to context, that shouldn’t be necessary. Orchestrate the music correctly. For mellow scenes or levels, go quiet. For action-packed scenes and levels, write loud. This is common sense of course. And we’re talking about averages. It’s ok if the music isn’t always completely audible. The player can deal with that. If they miss a particular section of the music during a loud explosion or gunfire, they’ll hear it again next time the music loops. It’s ok. A large portion of today music engineers may think that is heresy, but they have forgotten one simple idea:

When everything is loud, nothing is loud.

I’m not sure who originally said this, but it’s absolutely true. What makes music interesting is, at a very basic level, contrast. Loud vs. soft, high vs. low, quick vs. slow, simple vs. complicated. Abusing compression effectively kills the possibility for contrast between loud and soft. And, frankly, it starts to tire the ears. And things end up sounding not quite right, especially in orchestral music. A solo bassoon should not sound as loud as an entire orchestra. The listener should have to listen a little more attentively. They’re not going necessarily to hear the bassoon’s keyclicks or the player’s breaths. Unfortunately, with compression they might hear that sort of thing.

So, let’s not fall into the trap that the recording industry has fallen into. With them, they want it all to be super loud on the radio and over the internet. They have succumbed to the “louder is better” philosophy of music, using loudness as the main criterion for goodness. Louder is, in reality, just… louder. And probably worse… unnatural and tiring. Don’t be afraid to let your music breathe and flow as you compose it. And then don’t squash all the life out of it when you mix and master it. Trust that, if you have done your job correctly as a composer and a sound designer, the music will work just fine in your game.

September 27, 2008 - Posted by thegamecomposer | Music Nitty Gritty, Sound Design Advice | balance, composition, compression, sound design