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* ''As The Veneer Of Democracy Starts To Fade'' by Mark Stewart & The Maffia. Prior to the recording, Stewart had been going to Dub Soundsystems (which deliberately play at ear splitting levels) and bootlegging them with a cheap cassette recorder so he could relive the memories at home. He liked the effect so much he had the engineer produce the whole album like that. It's hard to explain, but there's a discernible difference between turning everything up very loud in the studio and a live bootleg of an incredably loud performance done on cheap equipment, and the engineer managed to capture it perfectly. Even down to the particular quirks caused by Soundsystems often working with rudimentary mixing equipment and the amateur engineers/DJ's not ''quite'' understanding how everything works/being too messed up to care. The only part that gives it away is some of the panning, which would be impossible to capture in the way it's pretending, but it sounds cool so why not? They genuinely went to extraordinary levels to make the album sound as terrible as possible.

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* ''As The Veneer Of Democracy Starts To Fade'' by Mark Stewart & The Maffia. Prior to the recording, Stewart had been going to Dub Soundsystems (which deliberately play at ear splitting levels) and bootlegging them with a cheap cassette recorder so he could relive the memories at home. He liked the effect so much he had the engineer produce the whole album like that. (Minus the title track and "The Waiting Room", oddly, which are roughly on par with most Music/FatsComet ("The Maffia" at that time) productions.) It's hard to explain, but there's a discernible difference between turning everything up very loud in the studio and a live bootleg of an incredably loud performance done on cheap equipment, and the engineer managed to capture it perfectly. Even down to the particular quirks caused by Soundsystems often working with rudimentary mixing equipment and the amateur engineers/DJ's not ''quite'' understanding how everything works/being too messed up to care. The only part that gives it away is some of the panning, which would be impossible to capture in the way it's pretending, but it sounds cool so why not? They genuinely went to extraordinary levels to make the album sound as terrible as possible.



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* ''Radio/DimensionX'': Whenever the [[TitleDrop title is said]], like in the TitleSequence, it has a [[PowerEchoes reverb and echo]], despite not actually being any louder than the rest of the sequence. "Dimension X!... X!... X!..."


* The D-City Rock music video from episode 10 of Anime/PantyAndStockingWithGarterbelt.

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* The D-City Rock music video from episode 10 of Anime/PantyAndStockingWithGarterbelt.''Anime/PantyAndStockingWithGarterbelt''.


* The D-City Rock music video from episode 10 of Anime/PantyAndStockingWithGarterbelt. [[https://www.youtube.com/watch?v=NWa90VY5bPQ]]

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* The D-City Rock music video from episode 10 of Anime/PantyAndStockingWithGarterbelt. [[https://www.youtube.com/watch?v=NWa90VY5bPQ]]


When audio is intentionally distorted to sound as though it's extremely loud. Like, ''speaker-destroyingly'' loud. '''''Ear-damagingly loud'''''. And yet...not loud. Because, you see, the ''volume'' hasn't actually changed. It's FakeLoud. Basically, anytime you want to the listener to understand "this is loud" without actually, you know, ''deafening'' them.

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When audio is intentionally distorted to sound as though it's extremely loud. Like, ''speaker-destroyingly'' loud. '''''Ear-damagingly loud'''''. And yet...not loud. Because, you see, the ''volume'' hasn't actually changed. It's FakeLoud.[[TitleDrop Fake Loud]]. Basically, anytime you want to the listener to understand "this is loud" without actually, you know, ''deafening'' them.


StageWhisper is a voice-specific inversion, where characters are supposedly speaking quietly are but loud enough for the audience's benefit.

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StageWhisper is a voice-specific dialogue-specific inversion, where characters are supposedly speaking quietly but are but loud enough for the audience's benefit.

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StageWhisper is a voice-specific inversion, where characters are supposedly speaking quietly are but loud enough for the audience's benefit.


When it's portrayed, [[FakeLoud Fake Loudness]] might actually be mixed at the same volume as other elements in the music/audio. But since it's meant to ''convey'' extreme loudness, various distortions are used to emulate this. This can include: reverb effects (to simulate vast echoes), sudden tinniness to the sound (as if the speaker's been blown out), crackling, digital squelching, white noise, [[ShellShockSilence high-pitched ringing]], or a subtle/complete deafening of other sounds in the mix. Can also be acheived by severely clipping the audio levels for a rawer sound, or, when recording, muffling the sound.

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When it's portrayed, [[FakeLoud Fake Loudness]] fake loudness might actually be mixed at the same volume as other elements in the music/audio. But since it's meant to ''convey'' extreme loudness, various distortions are used to emulate this. This can include: reverb effects (to simulate vast echoes), sudden tinniness to the sound (as if the speaker's been blown out), crackling, digital squelching, white noise, [[ShellShockSilence high-pitched ringing]], or a subtle/complete deafening of other sounds in the mix. Can also be acheived achieved by severely clipping the audio levels for a rawer sound, or, when recording, muffling the sound.



** Rock groups such as Music/SonicYouth, Music/VelvetUnderground and guitarist [[Music/KingCrimson Robert Fripp]], as well as countless industrial acts from TheEighties onwards, have used plenty of FakeLoud noises and textures.
* As The Veneer Of Democracy Starts To Fade by Mark Stewart & The Maffia. Prior to the recording Stewart had been going to Dub Soundsystems (which deliberately play at ear splitting levels) and bootlegging them with a cheap cassette recorder so he could relive the memories at home. He liked the effect so much he had the engineer produce the whole album like that. It's hard to explain, but there's a discernible difference between turning everything up very loud in the studio and a live bootleg of an incredably loud performance done on cheap equipment, and the engineer managed to capture it perfectly. Even down to the particular quirks caused by Soundsystems often working with rudimentary mixing equipment and the amateur engineers/DJ's not ''quite'' understanding how everything works/being too messed up to care. The only part that gives it away is some of the panning, which would be impossible to capture in the way it's pretending, but it sounds cool so why not? They genuinely went to extraordinary levels to make the album sound as terrible as possible.

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** Rock groups such as Music/SonicYouth, Music/VelvetUnderground and guitarist [[Music/KingCrimson Robert Fripp]], as well as countless industrial acts from TheEighties onwards, have used plenty of FakeLoud noises and textures.
textures. For example, Music/PrimalScream's "Accelerator" off the album ''XTRMNTR'', while generally mixed at the same volume as the rest of the album, is intentionally extremely distorted to the point where the listener can't even hear the drums.
* As ''As The Veneer Of Democracy Starts To Fade Fade'' by Mark Stewart & The Maffia. Prior to the recording recording, Stewart had been going to Dub Soundsystems (which deliberately play at ear splitting levels) and bootlegging them with a cheap cassette recorder so he could relive the memories at home. He liked the effect so much he had the engineer produce the whole album like that. It's hard to explain, but there's a discernible difference between turning everything up very loud in the studio and a live bootleg of an incredably loud performance done on cheap equipment, and the engineer managed to capture it perfectly. Even down to the particular quirks caused by Soundsystems often working with rudimentary mixing equipment and the amateur engineers/DJ's not ''quite'' understanding how everything works/being too messed up to care. The only part that gives it away is some of the panning, which would be impossible to capture in the way it's pretending, but it sounds cool so why not? They genuinely went to extraordinary levels to make the album sound as terrible as possible.


!Examples:

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!Examples:!!Examples:


* In ''Theatre/TheConsul'', Magda Sorel's DyingDream ends with the music and voices slowly fading out almost entirely, leaving her heavy breathing as the only distinct sound in the room. Suddenly the telephone starts to ring, jolting her back to reality just before she dies. The ScareChord that follows each ring is notated louder in the vocal score than it actually sounds.


An auditory trope. In music, used purely for [[RuleOfCool cool]]. Related the LoudnessWar, which contributes to this as its heavy compression of the dynamic range can make this the ''only'' way to represent a sound as louder than its surroundings, since the entire soundtrack is already as loud as the signal can support. Compare SteelEardrums. Compare UpToEleven.

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An auditory trope. In music, used purely for [[RuleOfCool cool]].

Related the LoudnessWar, which contributes to this as its heavy compression of the dynamic range can make this the ''only'' way to represent a sound as louder than its surroundings, since the entire soundtrack is already as loud as the signal can support. Compare SteelEardrums. Compare UpToEleven.
support.

Also related to SteelEardrums, as it's more believable for the characters not to be deafened by having unprotected ears exposed to gunfire when the viewers themselves are not subjected to an actual volume spike.


An auditory trope. In music, used purely for [[RuleOfCool cool]]. See also the LoudnessWar. Compare SteelEardrums. Compare UpToEleven.

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An auditory trope. In music, used purely for [[RuleOfCool cool]]. See also Related the LoudnessWar. LoudnessWar, which contributes to this as its heavy compression of the dynamic range can make this the ''only'' way to represent a sound as louder than its surroundings, since the entire soundtrack is already as loud as the signal can support. Compare SteelEardrums. Compare UpToEleven.


* "Take You Out At The Ballgame" by El-P has what sounds like actual explosions going off in time with a drum hit. Crackling and audio distortions abound, but what is really convincing is a subtle ''decrease'' in the volume of the other sounds, as if the explosions are actually deafening.
* At the end of "Incredibad" by Music/TheLonelyIsland is a loud explosion followed immediately by muffled ambient background noise and a car-alarm, giving the effect that the listener has hearing damage.



* Music/MikeOldfield made the titular ''Music/TubularBells'' sound louder by holding down the peak volume until the moment they appear.
* In ''Series/BandOfBrothers'' and ''Series/ThePacific'' (at least on the DVD, rather than on broadcast where the audio may be compressed) all of the weaponry is deliberately mixed at a much higher peak level than the speech or music. This is particularly noticeable in scenes where battle erupts without warning - if you have the TV adjusted for normal speech you'll be deafened.


* Occurs in the last part of mpn1990's review of ''VideoGame/{{Action 52}}'', when he has a fit of screaming {{angrish}}.

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* Occurs in the last part of mpn1990's review of ''VideoGame/{{Action 52}}'', when he has a fit of screaming {{angrish}}.{{angrish}}.
* In ''Theatre/TheConsul'', Magda Sorel's DyingDream ends with the music and voices slowly fading out almost entirely, leaving her heavy breathing as the only distinct sound in the room. Suddenly the telephone starts to ring, jolting her back to reality just before she dies. The ScareChord that follows each ring is notated louder in the vocal score than it actually sounds.
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