Thanks to all of you for this thread. I have more than once been lambasted for asking Q's about adding compression to classical. The purists' mentality which seems to (rightfully?) prevail here always shuns my tendancy to master things. As I don't really release or seed any of my stuff (classical) I tinker with it, because, frankly, it is more the mastering that draws my attention rather than the taping. I like taping fine, but it's the simple manipulation of the source that interests me, thus I can spend hours working w/ my recordings of live opera. My tapes are really done to give to my fellow singers with whom I am performing, and hell, they'll like anything I give them, so I don't need to worry about the purists mentality.
I DO use Wavelab 5 montages more and more, as all mastering in them is non-destructive. I usually will keep the source untouched, but seriously, you guys that do rock and louder shows w/ less dynamic range would be very hard pressed to tape some classical and be happy with your tapes, ESPECIALLY give the less than ideal circumstances I have to tape in (stealthed and balance problems between orch and singers). HELL YES, I use eq'ing, punchers, and L2!!! In doing so, I can (shudder) IMPROVE the live sound. There IS a reason why the majority of the POP artists are lipsynching so much of their shows....cuz it sounds BETTER on tape when they're not jiggling their tushes off in some shitty dance move. The same reasoning applies here too. WE have to stop being afraid to 'improve' our tapes.
Does anyone really bemoan the fact that the EXACT duplicate of Caruso's recordings might not be in circulation, or are they happy that they simply GOT him on 'tape?'