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I.T.

That and lots of shitty wedding gigs.

I sent you redesigns, hope you like

I think there should be a different thread for chip "mixing" techniques as opposed to "production," but I will throw this here (and assuming you aren't just leaving it raw and are mixing on a DAW):

* I find that mixing at (annoyingly) low volumes helps (if it sounds good low, you'll grin when you crank it up and it becomes "big" and warm, and hearing the high-mids of a blazing chip arpeggio come alive will make you appreciate how flaky your ears are and how little control you ultimately have on what your shit will sound like to the end user).
* I record, mix, and master at the same time
* Usually cut highs of track around 7-10K for a warmer sound that is less painful at higher volumes.
* the track usually sounds better to me if I compress channels and then very lightly compress the master
* mix the bass and drums lower than I think they should be (and hand the baton to car stereo/iPod/headphones loudness / compression)
* make about 5-10 trips to my car (and the cars of others) to check the low end
* headphones don't translate, as a rule
* Use near fields instead of sats and a sub unless you're prepared to spend 6 months getting used to them.
* Sit some cheap-ass computer speakers next to your monitors (I have some little Bose speakers from Target) and use them for reference too. Don't pat yourself on the back until your shit sounds good without two 8.5" drivers 2 feet away from you.

Edited for updated info

This requirement seems superfluous

::bows:: if you can mix on headphones and come up with a mix that translates well.... I have some Grado's but mixes are unpredictable...

I am about to try this thing: http://refinedaudiometrics.com/products-hdphx.shtml