Compression

I've been wondering about the effect of compression -- the leveling-off of dynamic contrast required by recording and amplification -- on compositional practice. The maximum dynamic range of recordings is probably best illustrated by Nat King Cole's Orange Colored Sky, an amazing bit of sound design. Although the contrast between the small combo and the ecstatic brass section is at the limit, I think that there was some real sacrifice on the low end, with the whole thing being recorded hot, with needles in the red.

But I can well imagine composing for settings or environments with much greater dynamic contrast, pieces in which the audience is treated to both intimately close and quiet sounds and sounds of industrial-strength. We need more duets for bass trombone and lute, or for ch'in and sirens, or for chain saws and mandocellos.

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Footnote -- of course, there is a large range of strategies available for getting around compression limitations in recorded and/or amplified music environments. Using a number of amplication systems with different capacities simultaneously, for example, is a feature of David Tudor's Rainforest, and the small-scale electronics I mentioned a few days ago.