Is dynamic range compression used in classical music?
In the era of "loudness war", a modern popular music song with no quiet passages generally has a flat dynamic range:
Clipping is also common - albums can be practically 100% distorted when record producers strive for maximal volume.
As acoustic music relies on shifts in dynamics, is dynamic range compression used by recording engineers in classical music recordings?
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As acoustic music relies on shifts in dynamics, is dynamic range compression used by recording engineers in classical music recordings?
Yes, although there is a school of using only two microphones and no processing. Generally, for records and TV music the dynamic range is reduced. It is of course dependant on the material, but if you look at symphonic works they often have a dynamic range much larger that a typical listener, equipment and surroundings can accommodate.
It is done, at least in the recordings I have done and the ones I have been involved in, more by "riding the faders" than by using a compressor. It might be that there are better compressors available, but the ones I have tested tend to give an unwanted signature modification of the sound. A limiter might be useful to contain some of the very strong accents, say that extra strong bass drum beat at the end of a symphony. In a DAW I instead use volume automation. The low pitched lyrical section will get a bit of volume boost, the fortissimo section will get a bit of volume decrease. How much to boost or decrease is all about taste. If using several microphones, a recording session today may use 50 or more microphones, you will probably raise an instrument mic slightly when playing a solo and turn it lower otherwise. This as well tends to reduce dynamic range.
Yes, compression is used in classical recording, but not as heavily as in rock, and not as a weapon in 'loudness wars'. Not everyone listens in a perfectly quiet environment, on high quality equipment. A little compression, to bring the softest content up a bit, can be the lesser of two evils.
There was controversy recently when BBC Radio 3 took to compressing their output a little more during the 'drivetime' slots. Purists listening on their home audiophile systems lost a bit of quality. The notable audience sector listing in their cars on the way to/from work could at least HEAR the soft flute solos!
It depends on how classical music is recorded. If it is recorded mainly with two aerial microphones, it does not need much compression, but if it is recorded with many microphones very close to the instruments, it is necessary to compress each microphone, each channel, separately. Failure to do so would be like listening by placing the ear 1 or 1 1/2 meters away from each instrument. Nobody could stand it. There are even musicians who get angry when you put a compressor on a channel, but they do not realize that one listens to the instruments, the orchestra, 20, 30,.. or 60 meters far away. And air is a natural compressor.
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