Weezer - (Girl We Got A) Good Thing (Dynamic Edit)

This is what I like to call a ‘dynamic edit’ of “(Girl We Got A) Good Thing” by Weezer! The band’s White album faced a decent amount of dynamic range compression (not to confused with data compression, which concerns MP3s and such) in its final release. My edits here are meant to try and present the album as it sounded before such compression!

For 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. 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 the same loudness) and sometimes even clipping (attempting to make a signal louder than maximum loudness) were used to make music as loud as possible.

The issue with this is that overuse of dynamic range compression and clipping can make music fatiguing to listen to, and sometimes even audibly distorted. Clipping or poor compressors specifically can introduce audible artifacts such hiss or crackle into the mix. *Weezer (The White Album)* is actually mastered pretty dynamically compared to much of the rest band’s output, as far as I can tell. Regardless, I attempted to make the album even more dynamic with a program I have called “Perfect Declipper” (creating something I dub a “dynamic edit”). This editing process makes the album more dynamic and can also eliminate artifacts of crackle and hiss. In this case, I was able to turn the dynamic range of the album from 7 into 10!

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. While one may not be able to “declip” an album as one would be unable to “unbake a cake”, I find the results here to be a convincible attempt at doing so. Only in the most extreme examples have I heard the program produce odd artifacts that would appear unintended in the album’s mix. I think it’s also important to note that dynamic range compression is not an inherently bad thing. It can tighten up performances, add grit, and help remove dynamic outliers that would take you out of the mix.