Are you sick of the death of dynamic range? Are you mad as hell at squashed audio that means to be “loud” and only wind up with the actual sounds smooshed out? Alternatively, are you guilty of some detail-squishing dynamic abuse yourself?

A campaign is on to get the dynamic war out of comment threads and forums and onto the streets. Taking a positive tack, the Pleasurize Music Foundation isn’t simply attacking overcompression and dynamic distortion: they’re suggesting an alternative path, in which restored dynamic ranges bring back joy to your life. There are opportunities to sign up as listeners, labels, producers, mixing and mastering engineers, even the consumer electronics and music tech industries.

There’s also a free (Windows-only) plug-in for checking the dynamic range of your mix. There are plenty of other tools that do the same thing, but the idea is nice.

pleasurize music!

Thanks to Mormo at Basement Hum for the additional heads-up.

Now, the idea of crushed dynamic range is nothing new. But via comments, mastering engineer Tobias Anderson points out that it’s not always the mastering that’s to blame — some people are actually distorting at the digital conversion stage. (That’s, incidentally, not the fault of digital recording, either – to screw that up, you have to be really careless, which evidently people are.)

Tobias’ comments below. Now, obviously, this is an issue that can generate some controversy. But start talking about simply preserving dynamic range? I think just about everyone can get behind that. The idea of “quality” can often be loaded, but talking about dynamics as pleasure is as universal as hearing.

As the rest of us lament brick-wall limiting and other techniques for flattening dynamic range and making music louder (see Music Thing’s recent discussion), WWAYM is sponsoring a no-holds-barred, Monster Truck Ralley of audio engineering. The contest: make it as loud as you possibly can.

The competition, sent to us by reader Adrian Anders, “must be as loud as possible but with taste.” (Does ‘taste’ disqualify redoing all the vocals with Hatebeak the death metal parrot?) The award is a license to WWAYM’s own mastering tool, which they’ll use to recreate thing winning entries more easily. I say do it for the bragging rights instead.

Unfortunately, the stipulation that “only legal tools” may be used probably means “no pirated software.” Damn. I was hoping for some sort of street-illegal maximizer/limiter.