Sound Quality of red book CDs vs.streaming

I’ve just started taking digital seriously as a playback medium (as opposed to using it for background music or work related stuff) and have been pleasantly surprised by how good it can be, even with a relatively modest set up, compared to my vinyl front end, which is far more ambitious.
One thing I’ve found is that there is a dramatic difference in presentation based on the sources and mastering. (Something I’ve been acutely attuned to in vinyl and and am now chasing down in CDs). The sonic differences are often quite dramatic.
I have not yet gotten into a streaming service though I understand the value of having access to a vast catalog of music. I suppose the point of my comment also leads to a question: apart from formats, gear, and approach, isn’t a huge sonic differentiator the source and mastering? In using a streaming service (and this is a question, not intended to be loaded), what choices do you have among different sources/masterings for a given recording? (I know that from my days of listening to classical music, which I do far less of today, the particular performance, by conductor and orchestra, as well as label, were factors so if streaming services offer a number of different recorded performances of a piece, perhaps you have alternatives). What about different masterings of rock and jazz?

Hi, George. I am familiar with DR measurements and the effects of dynamic compression. I guess my question should have been more pointed: how do you know what mastering you are getting on a streaming service? Are mastering credits provided by the streaming service or are there other indications that match up with hard media versions of a given recording?

The topic of dynamic compression grew out of my broader question whether streaming services gave access to, and information about, various masterings, I acknowledge the affects of the loudness wars,* but the issue is broader than that and affects more than just pop confections. I come from vinyl land, but in exploring CDs, the issues include what source the particular master was taken from as well as the mastering choices, EQ (in vinyl that also extends to what pressing plant made the record and the quality of the vinyl compound used, factors that aren’t relevant to digital files and may be of only limited relevance in digital hard media).
The mastering issues are not limited to compression, though. I’ve been buying multiple CDs of old, and sometimes obscure, records and you can hear demonstrable differences in sound quality.
Thus, my question about what masterings were used by streaming services and whether they were identified in the meta data. Apparently Aurender does make the information available.
I didn’t mean to sidetrack the discussion about comparing Redbook to streaming services, but it struck me that the differences in source and mastering could be a big part of the sonic outcomes, especially if you are not comparing identical recordings.
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*I’ve certainly heard its effect when it is heavy handed. Judicious use of compression in the final mixdown (and sometimes in the mastering) doesn’t bother me, and can make for a punchier, more dramatic sound.

@rvpiano-re the question of master tapes as a source, my impression is that most of the majors will not let the master tape out of the door, and usually supply a flat transfer on hi-rez. There are of course exceptions- the "audiophile labels" like Acoustic Sounds and a few others (Classic, ORG, MoFi in some cases) do get access to the tapes, probably because of long working relationships with the labels. For digital streaming, I suspect that if the end product is a digital file, there is even less likelihood that a master tape was used as a source, and which master? A safety? A copy made for a particular market may sound different than another. It’s the stuff that keeps record hounds searching, comparing notes and pressings. I don’t know the answer as it applies to streaming, which was one of my questions earlier in this thread- whether the streaming platforms identify the source and mastering.
What I wrote above really applies to older recordings where tape was the medium. If you are a Steve Wilson fan, you’ll know that he remixes a lot of this stuff (mainly prog rock) in the digital domain using the multitracks and eschews ’mastering’ as such, believing that his mixes are the final product without more EQ (apart from what may be necessary to meet an RIAA curve for the LP releases). Some of that stuff is pretty good if you are a fan of this type of music.