Jay Kadis wrote in
:

The flushing up of the low-amplitude sonic details by compression and
limiting and judicious spectral tweeking with EQ make the sound
realistic in the sense that you can hear the details of the sounds
even when they would have otherwise been masked in a complicated mix.
But it's not what you would hear in the tracking room.

The term hyper-realistic comes from Dan Levitin, a former editor for
RE/P and now a cognitive psychologist at McGill.

I understand and agree with compression and EQ when creating a mix. Do you
agree that, given an agreeable source, they aren't necessary in a solo
stereo setting?

I am sometimes asked for a "car" mix, meaning squashed to hell. I can do
that, too, and it even sounds OK when I use the limiter built into my
Spider (an underrated feature of that august machine). But my main focus
is full dynamic range. The sample I posted on my webpage approaches 70 dB
from quietest to peak.