Sometimes i post smartass comments in other forums here, like answering "mic recommendations under $1000." (literally, and ignoring that could be at least four different currencies.....) maybe that is mean, but sometimes you just have to do that....
But I actually tried inadvertantly to basically hijack the 100% analog thread and ask how people are doing an all analog recording, from tracking --- mixing --- and especially including DIY mastering. It is *easier* to dump the stereo mix to a computer and do a half assed normalization, song ordering, consistent EQ. I'd still like suggestions on how people are doing that exclusively on tape, and if there is anything easier then mixing to two track, getting the mix right and then splicing a master tape together.
No one picked up that and question was apparentlyh lost in the flames & rantathon.
I'm getting more and more toward doing all the editing, EQ, etc. ... I think the end medium should be considered as well. all of the CDs I've released have no digital EQ or processing at all. I've done this a couple different ways. One way is to simply get your EQ and compression right while you are mixing, another way is to do it while you are transferring the final mix to the CD burner (or computer, etc.).
The most recent song I finished was done 100% analog (ironically, it is slated for a digital-download compilation!). I spliced the tape (there are three sections) and did the EQ, compression and fades during the mix. Then I just transferred the mix to a CD burner. The only thing I did in the computer (Audacity) is cut the extra silence and tape clicks from the beginning and end of the track. If this were to be pressed to vinyl, I would splice in some leader tape at the beginning and end and send it off.
Back in my 4-track cassette days as a teenager in the late '90s (I had no computer), I would mix to cassette and level and EQ match as I went along. If a song was too loud or too soft, I would mix it over again until I got it right! I remember mixing an entire album in one evening too! And to this day, it still sounds pretty decent and consistent.
level-matching is less precise in the all-analog realm and should ideally probably be handled at the mix stage and by the mastering guy who's cutting the record.
all-analog is very expensive -- a big problem for the DIY-ers. At this point, If I were to release an all-analog vinyl LP, I would try to get as close as possible to the final sound while mixing, get the fades pretty close, splice the thing together. then send it off to the mastering engineer and have him fine-tune it with while he cut it. You'd want to listen carefully and send him fairly detailed notes. He would also need to listen through a bit and make his own notes prior to the cut.
Yeh, you could make another, mastered tape copy -- this is probably better if it's a really big release. But not really as practical for DIY.
Here's a video that provides some insight and shows some of the options available (most important part starts around 5:50):
Capitol Vaults TV - Tour of the Capitol Mastering vinyl mastering process - YouTube