Good point. Although I thought in general you couldn't get as loud when mastering to vinyl? Or was that not as much low end because it would make the needle jump? Or is that just an urban legend?
Well, l if you are preparing for vinyl distribution you would usually (esp. for 4 on the floor type music) create a separate vinyl master and roll of some stuff lower than 35hz..But then, I've seen mastering engineers roll off some hi's for vinyl as well..Point being the analog wave and digital wave are different aural experiences, and they "sound" different in theory. So if the DJ is using vinyl (and almost none do in the club circuit anymore *see my name*) , your master should technically be as loud as the other vinyl he plays because they were essentially prepared with the same loose unwritten guideline for analog.
Whether both a CD and vinyl appear as loud (and I think that is what ppl forget in this loudness war, compression is just giving the impression that it is louder) depends on the system its being played on and the mastering job. Technically a good analog master will take up more "room" in the wave, so even with that bass cut, should appear at least as loud, if not louder, as the well done digital mastering or mixing job, that doesn't take up the same amount of "space" in the wave, but can be pushed to a theoretically higher decibel level too try to take up some of the space that analog recording and mixing does...
Either way, loudness is not just about compressing or limiting the shit out of a mix..It's about the mix itself, the complexity of the arrangement, and how it was recorded in the first place. If you take a bad mix and try to limit it to 0db, and take an excellent mix and limit it to 0db, the excellent mix will appear louder, because there is a better separation of frequencies, better instrumentation and placement and a slew of other things..So I usually take it when ppl bring up the loudness war as "ruining" music, they probably didn't have that great of a mix anyway...radio is usually a shining example of this..(even though I think there are tons of EXCELLENT mixes on the radio)...and now by trying to bring a sub par mix up to an acceptable level to match today's commercial recordings, u get a dirty distorted mess, that has stolen the little dynamic range that they were able to achieve in the bad mix.
I know that probably is a hard read, but its really the best wording that I can assign to it without going into a full 10 page thesis about that theory..Either way, just my opinion..and you know what they say about opinions