In my edits, it’s important to note that the dynamics are not being restored with the "Perfect Declipper" program that I use, but rather, they are being approximated. You can see a few examples of my edits here: In this case, I was able to turn the dynamic range of the album from 5 into 11! I attempted to fix up the compression on this release with a program called “Perfect Declipper”, can not only help alleviate clipping, but also much of the dynamic range compression that occurs during mastering! The result is much more dynamic. ![]() Music that has faced a high degree of dynamic range compression in general can also be fatiguing to the ear. In regards to this album, there doesn’t appear to be any clipping, but everything is undeniably loud, brickwall-compressed to extremes in its mastering. As with any medium, however, there is a peak loudness a signal can reach, so dynamic range compression (which makes the louder parts of the signal quieter while keeping the quiet parts quiet) and sometimes even clipping (attempting to push a signal beyond its peak) were used to make music as loud as possible. As an outro to this song when played live, Muse often used the breakdown riff from “Maggies Farm” by Bob Dylan (Seen below).This is what I like to call a “dynamic edit” of Black Holes and Revelations by Muse! This album is one of the most dynamically-compressed (not to be confused with data compression, which concerns MP3s and such) in Muse’s catalog, and these are my attempts to fix up that heavy compression!įor those not in the know, the Loudness War is a phenomenon beginning in the mid-90s onward, in which music was mastered louder and louder, with the underlying reasoning being that louder music sells better. Map of the Problematique bears similarities to that of Enjoy the Silence by Depeche Mode, again utilising electronic elements and fusing it with rock music. It was apparently influenced by bands such as “Millionaire, dEUS, Evil Superstars and Soulwax” because these bands were the first to mix R&B rhythms with alternative guitar. (A Willsher NME 2006).Īnother song from the album that was offered much commercial success (aka featuring in Twilight), was Supermassive Black Hole. Starlight was shone in the spotlight by reaching high rankings on many charts around the world, as well as being portrayed in the media often (e.g. Starlight underwent many changes until the final product was created, and Wolstenholme stated that the song itself sounded like something from the band The Strokes. The chord structure and rhythm matches as such and the song itself has a trumpet solo, surely displaying the Latin influences.Ī trivial aspect from the song Take a Bow, a very dark heavy song, with constant synth arpeggios, changes key 13 times, using a ‘circle of fifths’. The piece, City of Delusion, seemed to have been again influenced by eastern/Latin styles. In an interview, David Bowie had actually appeared keen to make a collaboration in the studio, however the band wasn’t quite ready, so Invincible was performed for him, and Bowie allegedly enjoyed it. Invincible is a slow slide guitar based song, reaching the rapid guitar tapping solo with heavy uses of guitar effect, such as a koass pad and whammy pedal. The late David Bowie’s Heroes was an influence for the song Invincible. ( Muse featured in NME and Kerrang! Retrieved from .) The extended version of this song actually includes a heavy rock rendition of Prelude in G minor, once again by Rachmaninoff. The use of barber shop quartet vocals are heard excessively through this song, which is an interesting choice as it is one of the heaviest songs in the discography of Muse. ![]() ![]() System of a Down was again referenced as an influence, again, with the use of quick tremolo picking on 3 or 4 notes. Through the creation of this album, Chris Wolstenholme stated that the band had been listening to Islamic radio stations while recording Assassin.
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