A point to emphasize for students considering how to play in auditions for schools — and everywhere else! — is that dynamics come in categories. You want to demonstrate an awareness that, depending on the ensemble you are playing in, you will play printed dynamics differently. It is essential to develop the control needed to achieve the right dynamics in the right locations. Forte in a woodwind quintet is for example much softer than Forte in a large orchestral or band work.
Besides that, in every performing ensemble you must differentiate between dynamics that are soloistic and dynamics that are accompanimental. You have to develop your ear and sense of what fits with any given situation–printed dynamics will almost always have to be shaded in one direction or another depending on the context.
The era of the work and composer also impact dynamics. 20th century works require dynamics that are often much more black and white compared to say Mozart. In particular in the Mozart horn concertos the solo horn dynamics are all editorial additions, you have to alter them to fit the music and play in a soloistic manner.
Finally, in the context of many etudes you need to play the dynamics in a rather literal, black and white manner, especially technical etudes such as Kopprasch. In a sense they are not music, they are exercises to develop control of dynamics and articulations, things that any good horn teacher will work with their students to develop well.
As implied in the rather long title to this post, what I found this product useful for was for finding custom stopped horn fingerings for some students. Specifically for students with small hands. I personally can use standard stopped horn fingerings pretty well, but for students with small hands they will tend to be sharp to very sharp. The notes can be blown down to a point but it causes real production issues for those players and is overall a frustration.