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In my never ever so humble opinion, nothing has changed the art of multitrack mixing as much as console automation. I think that it's improved the *average* mix by quite a bit, although it could be argued that the best mixes are spontaneous and should be left undiddled-with. The downside of automation is that others, notably a&r at record companies, can now interfere unfettered in the process.
I start the 'automation', if you will, at the first tracking, saving a snapshot of the static mix, and continue to do so as we do overdubs. This really helps get a mix up fast, when going from tune to tune. Also, (if you see this as an advantage...I do) it keeps the approach to a given tune consistent. If you're unsure about elements along the way (and you don't want to erase them yet) you might start doing dynamic mutes.
When I get to the actual mixing, there shouldn't be much left to do. Lead vocal rides, maybe. Unless you want to completely re-do the tune, which does (and should) happen alot. I mean, you should have the option of 'hearing' the tune from a couple of different perspectives, and choosing which is best.
The best advice is: automate reluctantly; make arrangement choices by mutes rather than faders. If you have 'shared' instruments on a single track, break them out to two or more faders, don't try to automate them to their respective mix perspectives early on (it will REALLY encumber you, and keep you from making fine tweaks). In general, be patient...don't dial in alot of fader moves early on. Put sections of instruments, drums, guitars, BG vocals, on separate groups (not linked!), so that you can easily mix them to what feels right overall. Don't do incredibly complex automation (such as lead vocal rides) until you're sure everything else is in the ballpark; changing the basics, like guitar/drum balances, seem to cast a long shadow over what supports a lead vocal.
Finally, don't be reluctant to back up, sometimes throwing it all away and starting fresh, if it isn't working.
George
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