I'd like to chime in too. My work has taken me to recording sessions and feature film mixes for the past twenty-plus years. I don't generally prefer my film music listening experiences outside studio environments to be noticeably compressed, in no small part because the whole reason I listen to film music outside the film is to recreate a dramatic/emotional experience. You simply can't do that successfully without making the music as capable of impact and surprise in that environment as it was in the film itself. To that end I'll often catch myself riding the levels of my CDs on transitional cues where it feels just a bit too flat on the album to deliver the fullness of impact. (Remembering Childhood from HOOK, at that moment where Charlie connects with the ball, is an excellent example of this.)
Compression may be great for subway travel, but unless it's applied very, very judiciously – I mean VERY minimal compression, as would be applied in necessary situations only – it ruins the intent of the music, even subliminally. I want the score to soar. For years I'd sometimes avoided listening to the Horner-produced ROCKETEER album for exactly this reason.
Dynamics are everything – in music as in life.
