I am just setting up my new rig with is based around an , a [URL=http://www.dangerousmusic.com/stsr.html]Dangerous Monitor ST and [="http://www.dangerousmusic.com/master.html"]Dangerous Master[/]="http://www.dangerou…"]Dangerous Master[/] plus an external tube comp, eq, and some processors.
Here are some articles of interest:

http://recording.org/content/460-producer-anthony-j-resta-gets-dangerous.html
http://recording.org/content/456-mastering-mixing-dangerous-system.html

[[url=http://="http://recording.or…"] [/]="http://recording.or…"] [/]

We are giving away an [[url=http://[/URL]="http://recording.or…"]SPL M/S Master[/]="http://recording.or…"]SPL M/S Master[/] in a few days, do some research and join in, you could win it. There are only a few people that have entered. Its shocking. I don't think many understand what is does.

And the [="http://www.rollmusic.com/folcrom.php"]Roll Music Systems[/]="http://www.rollmusi…"]Roll Music Systems[/] with a few of these: JCF LEVR 500 [url=(dead link removed) LEVR Active Summing Module, pair could be a less expensive option. Some say this is the ticket. The Folcrom and a nice preamp can do wonders I've read. I'm hoping I will get one of these this year to add to my arsenal.

GregLarson, post: 351319 wrote: Im a communications student studying audio at this time, all I've ever done for recording is mic the instrument...run those to a mackie 1604-vlz which runs into our 002 factory board then into pro tools. We'd track everything and then i'd use a few basic PT plug-ins to mix afterwards. with otb mixing, is it the same concept and then once your tracked you send the signals out to hardware units that process it and send it back? What pieces of gear do you prefer for mixing this way? is there anything you like to run the signal through before it hits your daw? Lets say you were recording guitar.

Cant wait to see some replies or links to threads that might enlighten me
thanks everyone

Yea Bro - that is the whole idea - make it sound like a record before you hit record! But I'd bet just running the signals out to the faders are going make this process more enjoyable. I believe that spreading the tracks over stems, lets the DA converters [analog outputs] used - output less dense loads of information and thus there is better headroom from HAL 2000. Try it! No Matter what your using; balancing the audio with a simple analog mixer always makes things come together very easily for me anyway.

I would try that first and then experiment with what works best for your music and mix environment. Processors are easily inserted in between the outputs of your I/O box - and inserted into the a channels of the mixer, and its really the only way to use your analog equipment in my experience - even though there are some interesting ways to use them with your I/O box. Anyway - We're all different and we all like different things, textures, tones, characters, etc.... So its hard to mention any blind processor selections for your electrics, without knowing a lot more about the sound your going for and the instruments/microphones and the set up your using to record the actual track. And then of course there is the context of the music.

FWIW - I rarely use compression on electric GTR's - though there are some cool boxes for making them "tougher" and envelope in a really excellent way. But - mostly - I let the microphones sit where they should on GTR. I definitely find myself dabbling with equalizers on GTRS way more than I should be.

The JCF/Roll RMS216 is an Excellent summing system that is hard to beat on my watch! I like the 755 very much but I'd also recommend checking out the FOOTE P3S bus compressor!! Holy smokes!