I know this video very well, it is very interesting because it highlights the properties of vinyl. However, I do not agree with the conclusion that for me does not take into consideration all the parameters.
The measurement of the DR is the difference between the average RMS level and the Peak.
We can apply the DR measurement for audio signals, but we must be careful to have clean signals to not disturb this measurement. In the case of vinyl, we must make sure that there are no clicks that would change the value of the peak and therefore the DR. With this precaution, we can measure the DR of vinyl.
The video shows that burning a compressed track (for example with a DR6) will give a vinyl with less compression (with a DR10 for example), if we take other examples like Duo Cirla Trolonge – Piuma, we get the same DR between the vinyl and the digital master.
So we can't generalize.
For me, we can measure the DR of a vinyl, and the conclusion should be that the DR of a vinyl does not allow to deduce the DR of the master used, unlike the digital which reproduces the master (in lossless).
But, this does not show the real problem.
Indeed, we are talking about analog media with physical characteristics.
The brickwall type compression which gives a DR6 or less (DR3), is a purely computer processing, which works only in digital. It introduces constraints on the audio signal which do not pass on the analog supports.
Analog media, vinyl or magnetic tape, have mechanical or magnetic constraints that do not allow this compression to be reproduced.
So if I engrave a song with a DR6, it will come out with a DR10, the vinyl will "compensate" the compression because it can't reproduce it. There is a distortion which will be introduced compared to the initial file (master)
On the other hand, if I record a song with a DR14, it will come out with a DR14.
The role of the mastering is to adapt a mix to a support, in the case of a support like the vinyl, it is necessary to respect its physical constraint and to provide it a signal which will have a dynamics compatible with the support.
The objective is that the support gives the result as close as possible to the Master to have the best possible quality.
So sending a highly compressed master for burning is a mastering mistake. Indeed, it is a double punishment for the music.
Compression to a DR6 will degrade the signal by compressing the dynamics and burning will remodel the signal by recreating the dynamics. So we have two times the distortion.
In the days of full analog work, we didn't have this problem, because analog tapes react in the same way as vinyl for dynamics.
So for me, the real problem highlighted in this video is that you need a master adapted for vinyl to get the best quality of the engraved vinyl.
I am preparing an article detailing what I wrote with measurements on vinyl and tape to illustrate this information and the behavior of the dynamics on these supports.