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SunkLo wrote:They're also recording with gorgeous mics into gorgeous pres into gorgeous convertors. A well-recorded track on high end gear pretty much mixes itself.

Werd. This goes just as much for sampling and sound design. If you make something sound sweet as fuck from the get-go or pick good sounding samples, the end-mixing stages will consist MOSTLY of getting your volume faders proper (the most important mixing tool, I think) and some mild EQ'ing. Compression, sidechaining, etc will probably be emergency tools you won't touch until you've exhausted everything else.

Really random, butI've been thinking about it a lot lately and your post reminded me

peaka wrote: Or better yet, please share your methods of how you eq during the mixing process to make all your tracks sound like 1 cohesive song.

aside from volume balancing and automation, which is honestly 60% of mixing:

--get the individual sounds as awesome as you can
-- get rid of the useless-- sub buildup in acoustic guitar/hihats/snare/pads/vocal etc
--get rid of, or attenuate, the ugly-- sibilance in vocal tracks, 3-4k ringing in guitars and synths, 2k in background vox and pads, etc
--use compression to create relationships between sounds, either serially or in parallel
--create missing ambiences with delays (more) and reverbs (less)-- note the plurals there
--highlight what's awesome in the track; bury or delete what isn't

Thanks all, some very helpful info here. I'll try some out and get back to ya