David Lennick wrote:

> Adding fuel to this..last night I was in Rochester NY and heard the most gawdawful sound coming from my radio for twenty minutes. It was a recording of Stravinsky's Firebird Suite, recorded in concert (in the 60s?) by the Leningrad Philharmonic Orchestra, it was very badly miked, and WXXI's compressors brought up every single noise from the audience, every cough (the entire first section of the suite was cough city) and shuffle and bang and footstep, and the whole thing sounded as if it was recorded in a high school cafeteria while they were clearing the dishes and stacking the trays. Somebody needs to notify that station that AAD recordings should be closely checked off an
> air monitor, and if engineering can't modify the problem, they need to prune their library. There's no excuse for this kind of sound.

I'm afraid I'm quite confused. What's the magic property of an AAD 
recording which makes it uniquely susceptible to poor broadcast engineering?

My experience with commercial recordings is limited, but I've seen 
compression of all sorts, clipping of several db and all the other ills 
of poor engineering on DDD ADD and AAD classical recordings. Why would 
the first two be safe from corruption in broadcast?

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