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The compensation for the loss of big-chorus grandeur is clarity of texture and line, always essential and illuminating in Bach.
The reason we introduce these penalties is that the motion compensation error grows with the temporal distance and the amount of texture in the sequence.
Good variety of texture.
Layer upon layer of texture and flavor.
It's energetic but devoid of texture.
This was partly a matter of texture.
The idea of texture even extends—"Zzzzt!
Yet its apogee of texture is fleeting.
A certain sameness of texture, perhaps.
I think in terms of texture".
It's a question of texture.
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Since I tried Ludwig back in 2017, I have been constantly using it in both editing and translation. Ever since, I suggest it to my translators at ProSciEditing.

Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com