About your compression question Ed

I think with dynamic control it is a good idea to engage the
correct attack and released times for both limiting and compression.
I find with limiting it should be transparent so the
mix still has dynamics with the dynamic articulation
in the attack of the signal. So getting in and out with
very fast attack and release times is needed.
This part of the signal is very short in duration and contains mostly
the noise element of the signal and not much of the resonance or pitch,
For example If you hit a piano key with 2 different intensities, the
front part of
the waveform will sound similar in frequency content. Research
shows that you have to get into the signal by approx 10-30ms in order
for the 2 different signals to sound different due to their overtone
series structure.
It is at this point that I would recommend compression with med attack
and release times. This will allow the dynamic attack part of the
signal
to pass through because the attack time is to slow to grab the peak.
It is here that the resonance and sustain part of the signal is
compressed
and controlled. I find with this method you can control how much
articulation
of the attack you want and how much of the resonance you desire. I will
usually
Eq after I compress so the compressor sees a signal that is manageable
in
its frequency response. With a Piano it is important, for if the right
hand is
holding a chord, and the left hand has low-end bass excursions, you
don't
want to distort the harmonic balance of the right hand especially if
the chord needs to be held over changing bass lines. Some say a stereo
link is good but I feel you need to manage the signal before the stereo
compressor engages the signal.
Bruce Hornsby illustrates this beautifully with his unique piano sound
kevin