Dynamic compression has been in use from the early days to get music to fit onto the limited space of those rotating grooved discs - first shellac. later vinyl.
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There’s a whole bunch of people over at Steve Hoffman music corner forum dedicated to finding the best masterings of favourite albums.
If there was one thing I could change about the audio industry then it would be to insist upon the labels maximising dynamic range instead of seemingly trying to minimise it.
I bet very few of us have actually heard just what kind of range digital is capable of delivering.
I know I certainly haven’t.
One of these days I’m going to try to get hold of one of those +20DR albums mentioned on the Dynamic Range Database just to find out what digital can sound like.
How about John Cage - The Orchestra Of The S.E.M. Ensemble - Concert For Piano And Orchestra / Atlas Eclipticalis, anyone?
Not sure if anything can be done about Oasis though.
Further listening reveals that DM and WTSMG aren’t so bad. BHN is definitely the worst offender. I shouldn’t complain, though. This is music meant to be played in a club or on the car stereo while you’re driving fast and singing loud, not through some fancy, schmancy speakers.
But oh! My new (used) KEFs! I do love them my so!
The Oasis CDs, particularly Definitely Maybe & WTSMG, with their ultra-high compression are said to have started The Loudness Wars. Brickwalling became all the rage after these releases. I’ll have to disagree with you, this engineer knew exactly what he was doing. The use of heavy compression was intentional to create a loud wall of sound.
My digital setup is revealing enough to easily hear the compressed dynamics of CD’s. Until the late 90’s there were many releases with good SQ and low compression.
With your LS50’s you’ll be able to hear the decline of rock ’n roll.