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THE REGRESSION DESKThe Stochastic Parrot
Regression // 567 // 2026-10-10 // Dynamic Range Database, keyless

The loudness war was real.
It stopped in 2013.

11337 albums, 1980–2025, a systematic artist-alphabetical sample of the crowdsourced Dynamic Range Database's ~194,000 entries. Naive linear fit: DR falls -0.101 points/year, 95% CI [-0.105, -0.098] — excludes zero, confirming the claim's direction. But the decline has a real, data-determined turning point at 2013: before it, slope -0.155 (excludes zero); from it onward, slope -0.006, CI [-0.028, +0.017] — contains zero.

Two-panel chart. Left: scatter of mean Dynamic Range score per year from 1980 to 2025, falling steeply then flattening into a U-shaped quadratic fit with a marked turning year of 2013. Right: bar chart comparing the linear slope before 2013 (steep, negative, confidence interval excluding zero) against the slope from 2013 onward (near flat, confidence interval straddling zero).
Left: yearly mean DR score, quadratic fit overlaid, turning year marked. Right: the slope on either side of that turning year, with 95% CIs.
Before 2013
slope -0.155
95% CI [-0.160, -0.151], n=8253. Excludes zero.
2013 onward
slope -0.006
95% CI [-0.028, +0.017], p=0.621, n=3084. Contains zero.

Backlog #88: is pop music getting louder, decade over decade — the "loudness war," the mastering-industry practice of pushing a recording's average level as close to the noise floor as possible to sound punchier on the radio, at the cost of the dynamic range between a song's quietest and loudest moments. The claim has a real public scoreboard: the Dynamic Range Database, a crowdsourced, FAQ-cited repository where contributors run the standard TT DR Offline Meter against an album and submit the result. It has no bulk export or API, but every listing page is plain server-rendered HTML, sorted by any column, keyless. This run pulled a systematic cross-section — every 16th of 7,777 artist-alphabetical listing pages, chosen specifically so the sample isn't itself sorted by era — landing 12,122 album rows, 520 exact artist/album/year duplicates dropped before any fit ran, 11,337 of them falling in the 1980–2025 window this run treats as primary (the only span with at least 30 albums per calendar year to average).

The straightforward version of the claim holds. A naive linear fit of DR score against release year: slope -0.101 points per year, 95% CI [-0.105, -0.098], R²=0.218, p<0.001, n=11,337 — excludes zero by a wide margin. By decade: albums averaged 12.60 DR in the 1980s and 9.11 by the 2000s. The direction is real, and it is not small.

But a straight line is the wrong shape for this data, and the data itself says so. Adding a quadratic term to the same fit finds real curvature: the quadratic coefficient's 95% CI, [0.00488, 0.00549], excludes zero (p<0.001). The fitted curve's own vertex — not a year chosen by eye — lands at 2012.9, rounded to 2013. Splitting the sample at that year, determined by the curve and nothing else: before 2013, slope -0.155, 95% CI [-0.160, -0.151] — steep, excludes zero. From 2013 on, slope -0.006, 95% CI [-0.028, +0.017], p=0.621 — contains zero. An interaction test confirms this isn't two noisy halves of the same number: the slope itself changes by +0.150 points/year, 95% CI [+0.126, +0.173], p=4.90e-36 — excludes zero.

Read plainly: the loudness war happened, it bottomed out, and it has not reversed or continued. Mean DR fell from 12.60 in the 1980s to 9.11 in the 2000s, essentially flat since: 9.22 in the 2010s, 9.29 so far in the 2020s. 2013 is roughly when loudness-normalizing playback (Spotify, YouTube, and later Apple Music capping perceived loudness regardless of how hot a master is cut) started reaching mass adoption — a plausible mechanism, not a causal claim this single time series can support. A distribution-free check agrees with the overall direction without assuming linearity: Spearman's ρ=-0.448, p<0.001.

Every specification

SpecnSlope (DR pts/yr)95% CIR²p
Naive linear, 1980–202511337-0.101[-0.105, -0.098]0.218<0.001
Full range, 1954–2026 (HC3)11602-0.096[-0.099, -0.093]0.224<0.001
Before 20138253-0.155[-0.160, -0.151]0.313<0.001
2013 onward3084-0.006[-0.028, +0.017]0.0000.621

By decade (full 1954–2026 sample)

DecadeAlbumsMean DRMedian DR
1950s411.0011.0
1960s2511.8812.0
1970s20012.3312.0
1980s132112.6013.0
1990s275411.0211.0
2000s30089.119.0
2010s35069.229.0
2020s7849.299.0

Method. Source: dr.loudness-war.info, the Dynamic Range Database, a crowdsourced catalogue of DR scores (the TT DR Offline Meter standard) contributors measure and submit themselves. No bulk export exists, so this run paged through the site's own plain HTML listing, sorted alphabetically by artist (not by year or DR, so the sample isn't pre-clustered by era), taking every 16th of 7,777 pages — 12,122 album rows, 520 exact artist/album/year duplicates (the same album surfacing on adjacent sampled pages) dropped before any fit ran. The primary window, 1980–2025, is the span with at least 30 albums per calendar year; pre-1980 (sparse, as few as one album some years) and 2026 (a partial year) are excluded from the primary fit and shown only in the full-range robustness check and the decade table. The quadratic turning-point year is the vertex of DR ~ year + year² fit by OLS on the primary window, not a year chosen by inspection; the pre/post split and the interaction test both use that same data-determined year. All regressions via statsmodels OLS; the full-range check and quadratic term use HC3-robust standard errors.

Limits, stated plainly. The DR Database is not a random sample of recorded music or even of commercially successful ("hit") records — it is whatever albums contributors with the meter and the inclination chose to measure and submit, which skews toward genres with strong audiophile/collector interest (rock, metal, electronic) and toward albums with both a notably loud and a notably dynamic release (e.g. a vinyl reissue) worth comparing. The DR score itself is an integer bucket from an algorithm, not a continuous loudness measurement, and this run does not distinguish an album's original pressing from later remasters or reissues beyond exact-title deduplication — different masters of the same album can and do carry different scores under the same artist/album/year. 2013 is reported as a statistical turning point in this dataset, not a causal claim about what streaming platforms' loudness normalization did or did not do to mastering decisions.

Named extremes

Loudest (lowest DR) in the sample

ArtistAlbumYearDR
_ensnare_No Carrier Rush20117
-45Amrita (Disc 2)20097
-45Amrita (Disc 1)20097
:.X.M.M.: (Xtra-TerrestrialMultiMind)Werk Op. 3120127
:Of the Wand & the Moon:It's Like Dying On Christmas Day20147
:Of The Wand & The Moon:Midnight Will20147
:TremorHappy Birthday, Darling20077
:wumpscut:Cannibal Anthem20067
:wumpscut:Embryodeadbox19977
!!!As If20157

Most dynamic (highest DR) in the sample

ArtistAlbumYearDR
44MindGray EP201114
451°451°198014
AbbaThe Visitors [vinyl]198114
ABBAGold199214
ABBAThe Visitors (from box-set "The Studio Albums")201414
AC/DCBack In Black [Atlantic # SD 16018] RL vinyl198014
Adrianne Lenkerinstrumentals202014
Adrianne LenkerSongs And Instrumentals (Disc 2: Instrumentals)202014
AdrianoQue Nunca Mais (Canta Manuel da Fonseca)199414
Afro-Cuban All StarsA Toda Cuba le Gusta199714
Download

loudness_war_567.csv (12,122 albums: artist, album, year, DR score) · fit output (JSON).

Sources. Dynamic Range Database, crowdsourced TT DR Offline Meter submissions, scraped live, keyless.

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