Generally: In classical music, the New York compression is often used, because it does not touch (compresses) the loud dynamic peaks in order to keep the sound as natural as possible - specially with the
fff parts.
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I think, it is less related to the music style than to the way the music is played.
If you
produce music with samples you have rather the problem that enough dynamics (difference between loud and quiet) arises. The video examples above show a second case that classically oriented music can also be "puffed up" as one would never hear it in the concert hall. Any form of compression is welcome, the main thing is, it gets loud, louder, loudest - without any dynamic range of coarse.
When you
record classical music, you often have too much of these differences between loud and quiet (dynamics).
For my recordings I usually use both types of compression: I amplify the quiet parts a bit (NY) and compress the loud parts a bit as well (normal compression).
Depending on the situation, I even do that twice (or more). However, I always do this very gently so that the listener will not notice anything >>
example...
The fact is, nobody (and no PC-Speaker) wants the true dynamics of (for example) a symphonic wind orchestra in the living room.
Beat