I didn't mean to imply any name calling - just giving a bit of my wife's perspective (having your paycheck dependent upon other musicians
)
I can see why this approach would be useful if you were tracking through a console in a more typical control room, but in my world, this would create extra steps and extra expense. Lets say I'm using 2 mics on the kick, and I'm tracking them through my GTP8. Now I simply get the sound and level and move on. If I wanted to have it track so I could keep the DAW faders even I would first have to own another Atty, then I would have to think about mixing - which is going to be heavily dependent on how I EQ. To do this with everything, I would need to spend $600 on atty's. Also, the Lynx interface is rather problematic, but that's another story.
If you are in a control room where you can really hear the whole rough mix as it's happening (and this is what you're really getting at, right?) then this is a fine technique, but, if I am tracking a band, I usually have at least one loud guitar in the control room, so getting a realistic picture of everything during tracking is impossible. Especially if I put on earplugs so I can tame the ambient guitar and protect my ears while still hearing everything through my headphones. However, if the sounds are good, and everyone can all hear what they want, it works out fine.
Jules, I don't doubt the efficacy of this technique in
your studio, but in mine, it would be unneccessarily unwieldy, expensive and not helpful.