Why orchestral dynamics are different
Compression choices that work in pop music cannot simply be copied onto orchestral material. Classical arrangements depend on natural movement and contrast, so dynamics processing must support the performance rather than flatten it.
Increasing the sense of space is almost unnecessary in this type of material, as the mixing engineer should perform this process. Minimal EQ application is allowed if necessary.
When orchestral and electronic elements meet
The situation changes, for example, if we are talking about a film score where electronic sounds are mixed with the sound of classical instruments. Here, greater compression is allowed. The most contrary to traditional thinking is over-compression of orchestral works. Many would object if I said that you can do it without hesitation! They would consider my statement unprofessional because it goes against the generally accepted workflow. However, if the sound engineer really knows what they are doing, this concept should not cause any problems. Beginners and intermediates cannot accept this concept because they do not yet perceive the proper limit, but professionals can apply it. Who usually works at such a limit? Let's see:
Reading the waveform
What you see here is a classic orchestral composition by Hans Zimmer, which was mixed in his own studio called Remote Control. The lower blue bar represents the final mastered material, while the bars above it represent some of the stem tracks. On the left side of the image, the RMS value is clearly visible, which remains around -4 during the loud parts. Hans Zimmer is the most sought-after and Oscar-winning composer of our time, and while people may love or hate him for his success, it cannot be denied that he knows what he's doing. He is surrounded by skilled professionals, so it is unlikely that the high level of compression is due to a lack of expertise. However, this phenomenon is common in his music, and over the last 10 years, he or his collaborators have regularly used significant maximization in his music.
Of course, applying this level of compression to most classical music is unnecessary, but it may be worth considering in a film score where electronic instruments mix with traditional ones. By the way, I recommend importing the 5.1 audio tracks of Blade Runner II into an audio editor if you have access to them. You'll be surprised at how much louder it is compared to any other film mix. Therefore, even film mixing has begun to move towards greater amplitude. The loudness war is dying down in the electronic music industry, but it is by no means disappearing everywhere and under all circumstances. Based on the development of software and hardware over the past decade, it is likely that the effects of increasing volume can be more easily controlled with today's tools, so not everyone will give up on it. Unfortunately, movie theaters often have excessively loud sound, and viewers may even suffer hearing damage. So if you're working on a film, it's better to convince the director not to ruin people's hearing.