Same equipment I used in the thread on Slayer. That Muse record was unusual and had a lot of mixes because Rich Costey would do some retweaking after I mastered some tracks. That's a really good example of a mixer and a mastering guy working together during the mixing process to get some really amazing results. It also helps that the band is amazing.
For volume, I liked the sound of pushing into the DCS converters which clip really well. BTW, the record was also mixed to 1/2" tape which already gave it some loudness due to the tape saturation. I didn't have to clip it much. Now I use the Antelope Eclipse converters because they sound great, have a great clock, has a neutral sound, and clip really well.
It's important to know that I monitor through the converter so I can eq into the clipping so I can compensate for what the clipping does.
could you tell a bit more about clipping into a convertor? can I do that with an apogee symphony too or do I need a special high end mastering convertor for that? ...and do you really clip it which means without any soft limit on or do you drive it into the soft limit of your convertors? just wondering how that works..
First rule, know your converters and how much they can take. Some clip well, some crap out and distort. If you have good mix, clipping could be ok. If your mix needs a lot of tweaking it might sound really bad clipped. Try it out and see what you think. If it distorts, don't use it. Slate's FGX plugin is a plugin clipper that does some cool things and you could try that as well.