I honestly didn't know that was a matter of contention at this point...it's very common for pro (or smart amateur) audio engineers to actually listen to the effect of different digital compression algorithms and adapt accordingly. Things like Sonnox Fraunhofer plugin let you do this. https://sonnox.com/products/oxford-fraunhofer-pro-codec

- In this month's TapeOp magazine, Jeff Jones mentions he always monitors through such a codec so he can adjust accordingly for the best sound regardless of final format https://tapeop.com/interviews/163/jeff-jones/

- IMO Rush's Moving Pictures is one of the best (and best-sounding) albums from the '80s despite the fact that it was mastered to a Sony digital device that's renowned as terrible sounding, with only 14 bits of usable resolution. How/Why? The production team monitored through the Sony system while mastering and made tweaks as they went to account for its limitations.

- I've had my own music professionally mastered at high resolution, and discovered that converting hi-res to MP3 (even at highest bitrate) caused digital peaks over 0.0 dB, I fixed by normalizing to -0.3 dB.

TBH if the resulting file is going to be transmitted over BlueTooth it's going to be further degraded. And yet people can still make a strong emotional connection to the underlying music and artist...