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Kapiert jemand den letzten Absatz? Ist damit gemeint, dass der Einschlag der Kick nach einem Break brachialer als jetzt ist? Weil selbst die Bridge schon konstant laut ist?
Back in the early nineties, a well mastered album set at a good level could be averaging -12 to -14 db rms, and still peaking at zero db. What this effectively meant was the main body of the music (the rms level, and our perceived loudness of the track ) would be sitting at -12db, with 12db of headroom available for kicks and snares, drops and builds to provide the dynamic impact, colour and interest.
Limiters would be used only to catch the occasional peaks in the music, not acting constantly across the mixes.
Stuff sounded great.
When a kick used to drop in a club 'back in the day', it really DROPPED, you couldn't help but dance and smile at the sheer physical weight impacting on your body when a good mix was reproduced over a great sounding system.