dynamic range -the good and bad?

To my knowledge there isn't a single classical recording that has been compressed. That's why classical CDs or LPs usually require the volume knob to be turned up so you can hear the very soft parts, and then, the very loud parts really hit you, just like in a concert hall. Recording standards are much higher for classical—the music, musicians, and listeners demand it.

It does sound like many recordings of concerti have the soloist separately and more closely miked. This changes the perception of presence, not only making the soloist sound louder than would be in person, but also sound closer relative to the orchestra.

Of course, there are times when the dynamic range is greater than the recording medium's capabilities, think the canons on the 1812 Overture. Older analog recordings didn't have the dynamic range possible with digital (especially high resolution formats 24/96 or DSD) which required some gain riding to avoid clipping or to keep the quietest passages from being swamped by tape hiss. My previous post was overstated, I stand corrected. Fortunately, digital recording does allow for much less of this, if any, and good recording engineers take advantage of the extend dynamic range.

Shadorne: I have opened the Drum Improves from the Sheffield Lab CD to view the spectrograph. It's interesting to note they have allow an occasional transient to clip.