The big thing happening in recording is audio-over-IP preamps. Rupert Neve has Dante pre's. So does Grace Designs, Pyramix, Sonosax, DAD (Avid OEMs it), etc. This means that the audio goes directly onto the network from world-class preamps. From there it can go anywhere, even multiple destinations at once. This is essentially how live sound is done now... stage box with pre's goes digital to mix engine. Whether the recorder is a "computer", or something like RADAR, or dedicated hardware like a Sonosax seems to be less interesting. The big change is direct digitization and transport. Classical is switching to digital microphones that digitize right at the capsule. The dynamic range and resolution are outstanding.

I have a Sonosax SX-R4+. It has over 130db of dynamic range, and the best preamps I've heard. The recordings are superlative. Better than Rupert Neve 5024's into Focusrite Rednet converters. Run off its batteries, the Sonosax unit has only the noise floor of the microphones themselves. There's no overdub. But for pure audio recording - it isn't a computer, and the files are world-class.

Dream Theatre recorded their last album with a rack of Rupert Neve Dante Pre's. Once it is digital and easy to transport, almost anything will do - the delicate parts are the short analog stages.

The audio production workflow? That is something different than the recording. That still seems best handled by large screen workflows unless one is fortunate enough to afford expensive digital or analog mix surfaces.