hˈæɹi ˈoʊlsən, ˌɑːɹsˌiːˈeɪz tʃˈiːf ˌɛndʒɪnˈɪɹ, ˈædvəkˌeɪɾᵻd ðə jˈuːs ʌv daɪnˈæmɪk ˌiːkwəlᵻzˈeɪʃən fɔːɹ tˈuː ɹˈiːzənz: ðə pɹˈɑːsɛs wʊd hˈɛlp kˈiːp sˈɔftɚ mjˈuːzɪkəl pˈæsɪdʒᵻz əbˌʌv ðə nˈɔɪz flˈoːɹ ʌvðɪ ˌɛlpˈiː dˈɪsk; ænd mjˈuːzɪk pɹˈɑːsɛst θɹuː ðə daɪnˈæmɪk ˈiːkwəlˌaɪzɚ wˈʊd, ɪn θˈiəɹi, tˈɛnd tə hæv ɐ tˈoʊnəl bˈæləns klˈoʊsɚ tə wʌt ðə lˈɪsənɚ wʊd hˈɪɹ ɪn ɐ lˈaɪv pɚfˈoːɹməns.
Harry Olson, RCA's chief engineer, advocated the use of dynamic equalization for two reasons: the process would help keep softer musical passages above the noise floor of the LP disc; and music processed through the dynamic equalizer would, in theory, tend to have a tonal balance closer to what the listener would hear in a live performance.