Agree 100%, especially when attempting to create artificial stereo from mono recordings.
IMHO, the Brahms first example above, like most of Paul Howard's (RA's) work, is more an example of removing patina than artificial enhancement.
Along those lines, I also personally favor the Pristine Mark Obert Thorne restorations, because similar to the RA restorations, they attempt to preserve the unique sonic characteristics of the original recording venues.
Just my two cents! :)
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