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I want to make an observation here. There is an obsessive myth that has been in the Jazz circuit for years. It has something to do with the false understanding of the dynamic range you can achieve with digital recordings, and how jazz players mistakenly believe they should take advantage of that 'wide' dynamic range. This obsessive myth prevents a qualified engineer from putting compression on certain instruments. This is what you end up with when you continue that obsessive myth into the studio. Just for fun, have the jazz player put on a set of headphones, and turn this song up to a comfortable volume at the intro., and when he gets to the part where the trumpet spikes out at a +10Db,... watch him cringe (ouch) and pull the headphones away.
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