Better to do nothing then yes
Its not that simple Haraldo.
To do what you want literally means turning your back on the current pop culture. Within the frame work of the current pop culture and music production, what you want is impossible!
Let me explain. I will start from what we know.
Loudness is directly related to the RMS factor of the program. So to make it louder, you have to increase the average RMS factor.
Now, music can actually have a wide dynamic range and appear to have none.
Take a kick drum, especially a sampled one. There is huge dynamic range but they are all spikes, so average RMS is high and it seems loud all the time.
So how do you vary loudness.
The two traditional ways.
1). You blow, bow, or strike louder. As you do this with natural instruments the timbre changes, which also makes the music more interesting.
2). You add voices.
Those are the only traditional ways of doing it.
I have been thinking about this issue a lot of late. A lot of our AES meetings are held at colleges and schools offering training in the musical pop culture. I have had a chance to examine it up close. Also my rig is now used to evaluate a good deal of their work for their grades. I have been asking a lot of awkward questions at the meetings, and more often than not there are a lot of students present. For some strange reason at the end of the meetings the students seem attracted to a curmudgeonly old bloke at the end of the meetings like a magnet.
So where is the problem.
Well there is another way of increasing the RMS value. If you have a sound at 0db, you can't increase it. It will distort. So you add a limiter, shave the peak, lower the threshold. This will increase the RMS value as the crest is lowered, and the sound is louder, as the RMS value has increased.
So how does this happen and why?
Well the first reason is that there are few voices, and a lot, may be the majority, from sampled sounds. A lot of this is money driven. You only pay for sampled sounds once. Musicians are paid by the session.
Now understand this, you can not change the dynamic of sampled sounds, except by the limit and threshold method, and it does not change timbre. This makes the music dull also.
So that means you only have the addition of voices, to really change the dynamic.
Now in Abelton Live, which seems to be almost universally used for pop productions these days, it is very awkward to add and subtract voices on the fly. At least compared to the stop action of a pipe organ. I have repeatedly offered to take Abelton to staff to a pipe organ to really understand a method that has been honed and perfected over centuries. But with modern hubris they want to reinvent the wheel.
I think there is a psycho acoustic factors at work also. Music sparsely scored for few voices is best delivered as intimate music. I think to turn it into a full bore loud production does violence to the human psyche.
Take Richard Wagner. He uses a huge orchestra, huge choruses and soloists. The forces are vast. However the greater part of his long music dramas are lightly scored and intimate. Essentially it is chamber music. However he has a huge pallet and can add a huge number of voices at will. Since he had no sampled sound to work with, he could only add voices and use the dynamic possibilities of all the instruments and singers.
The bottom line of all this is that if you don't like this dynamic/loudness problem, then you absolutely have to turn your back on the pop culture, and embrace another genre of music. There is no other solution for you.
Your petition is useless, as there is no remedy for you the way the industry is geared now and I suspect for some time to come.
