Hi Larry,
I certainly agree with your point with respect to the majority of classical recordings. However, as you no doubt realize there are nevertheless many classical recordings, especially on smaller labels that prioritize sonic quality and know how to achieve it, which are produced with minimal or even no dynamic compression. Despite the fact that, as you indicated, such recordings will be unlistenable in a car or other noisy environment.
For example, the following statement appears on many of the Telarc LPs of the 1980's:
To put that 55 db figure in perspective, btw, I'll add that it means that about 316,000 times as much power is required to reproduce the loudest notes on that recording than is required to reproduce the softest notes. And I have many other recordings in my collection which I feel certain approach that figure. The Telarc recording of Stravinsky's "Firebird Suite," conducted by Robert Shaw, being one of many examples I could cite.
One of the priorities I've had as my system has evolved is to be able to play such recordings (I have many of them) with no sense of strain. As you indicated, though, priorities will differ among different individuals, as will the kinds of recordings they listen to.
Best regards,
-- Al
I certainly agree with your point with respect to the majority of classical recordings. However, as you no doubt realize there are nevertheless many classical recordings, especially on smaller labels that prioritize sonic quality and know how to achieve it, which are produced with minimal or even no dynamic compression. Despite the fact that, as you indicated, such recordings will be unlistenable in a car or other noisy environment.
For example, the following statement appears on many of the Telarc LPs of the 1980's:
As with all Telarc recordings, once an appropriate microphone placement and recording level have been established, no further adjustments are made during the course of the session. This leaves the responsibility for dynamics and balance in the hands of the conductor and the musicians. During the recording of the digital masters and subsequent transfer to disc, the audio chain was entirely transformerless. Nor was the signal passed through any processing devices (i.e., compressors, limiters, equalizers, etc.) at any step during production.Also, out of curiosity I once looked at the waveforms of the CD version of the Sheffield Lab recording of Prokofiev's "Romeo and Juliet," conducted by Erich Leinsdorf, using an audio editing program I have on my computer. I found that the difference in volume between the loudest and the softest notes was an amazing 55 db. And sure enough, when I play that CD, or its original direct-to-disc LP release which I also have (which has considerably better sonics, btw, as might be expected), peaks reach about 105 db at my listening position, while soft notes reach down into the 50's.
To put that 55 db figure in perspective, btw, I'll add that it means that about 316,000 times as much power is required to reproduce the loudest notes on that recording than is required to reproduce the softest notes. And I have many other recordings in my collection which I feel certain approach that figure. The Telarc recording of Stravinsky's "Firebird Suite," conducted by Robert Shaw, being one of many examples I could cite.
One of the priorities I've had as my system has evolved is to be able to play such recordings (I have many of them) with no sense of strain. As you indicated, though, priorities will differ among different individuals, as will the kinds of recordings they listen to.
Best regards,
-- Al