The term specifically used by the poster was "micro dynamic nuance". That is a made up term. Micro and macro dynamics within the recording process are not a made up terms and even though "micro" is the nomenclature used, the processes are fairly "macro" at least in terms of what I would consider layman thinking.
Someone who "claims" to know the recording process intimately would know that this property is pretty much exclusively a factor of performance and mixing and mastering, from the time the note is played, to the final master, vinyl, analog tape, or digital is made. i.e. it is almost all a factor of the specific recording you are playing, and has little to do with the medium. However, like always, there is the potential for digital to have more dynamic range, so technically there is more latitude to play with dynamics.
No point me retyping all of this, but i copied a critical section below so people can understand that this is not about the playback or recording medium, but is pretty much all the recording itself.
https://miloburke.com/blogs/personal-blog/posts/micro-dynamics-and-macro-dynamics
Someone who "claims" to know the recording process intimately would know that this property is pretty much exclusively a factor of performance and mixing and mastering, from the time the note is played, to the final master, vinyl, analog tape, or digital is made. i.e. it is almost all a factor of the specific recording you are playing, and has little to do with the medium. However, like always, there is the potential for digital to have more dynamic range, so technically there is more latitude to play with dynamics.
No point me retyping all of this, but i copied a critical section below so people can understand that this is not about the playback or recording medium, but is pretty much all the recording itself.
https://miloburke.com/blogs/personal-blog/posts/micro-dynamics-and-macro-dynamics
How can a mastering engineer improve the micro-dynamics of a song?
- If the micro-dynamics are out of control, the mastering engineer can use compression to get the instruments to gel together more smoothly, and to avoid excessive volume variation.
- If the micro-dynamics of the song are too squashed from the mix, the mastering engineer can use expansion to bring out volume variation within a measure.
- If the transients of the drums aren't getting enough attention, the mastering engineer can compress with a slower attack.
- If the transients of the drums are too excessive, the mastering engineer can tame them by using a compressor with very fast attack and release times.
- A mastering engineer can bring out the groove and shape of each measure by balancing a compressor just right, to have the level of the mix subtly bounce and sway around the rhythm of the drums.