So not software precisely

Mike Senior's Mixing Secrets for the Small Studio is a very popular book on the topic. Which reminds me that I should order a paper copy now.
 
I don't know whether they're still available, but I dug Charles Dye Mix It Like a Record DVDs.

I do have Mixing Secrets, got it a little bit ago. I haven't read much since the first bit on speakers kinda put me off the guy. He seems to be one of those people who puts a lot of faith in the "old knowledge" of studio monitors, particularly that crap sounding speakers like the NS10s are a good idea and porting is bad. Ok, well I dunno, I mean he's more experience than me. All I can say is that most of the stuff that I find to sound the best was mixed and mastered by guys who use big, quality, speakers, often "consumer" speakers like Dunlavy SC-Vs or B&W 800Ds. Could be coincidental, but I'm inclined to believe the people who like and listen on good system get good results.
 
I'll read more of it at some point, that just made me question his judgement in sound.

bapu
The idea of NS10's is, IMO, like ear buds and cheapo headphones.
 
If you can make it sound good there, it's likely to sound good anywhere.

OTOH, I've seen studios where they do have NS10's but they're not even hooked up and no one mixes through them. I guess the sight of them inspires confidence. :/
 
Out of nowhere, this leads me to ask myself - haven't speaker technology evolved along with the rest of recording technology in the last 30 years? The sonic standards certainly have changed (and degraded in many cases imho), and frequency-wise, music seems to take advantage of a marge larger spectrum. 
 
Would the NS10's still be an adequate tool to accomplish what they were known for or wouldn't there be a new equivalent to do the same thing, considering the nature of what we push through those monitors in terms of sonic content?
 
This may be totally irrelevant - not finished my morning coffee yet...
 
 

Sycraft
I do have Mixing Secrets, got it a little bit ago. I haven't read much since the first bit on speakers kinda put me off the guy. He seems to be one of those people who puts a lot of faith in the "old knowledge" of studio monitors, particularly that crap sounding speakers like the NS10s are a good idea and porting is bad. Ok, well I dunno, I mean he's more experience than me. All I can say is that most of the stuff that I find to sound the best was mixed and mastered by guys who use big, quality, speakers, often "consumer" speakers like Dunlavy SC-Vs or B&W 800Ds. Could be coincidental, but I'm inclined to believe the people who like and listen on good system get good results.
 
I'll read more of it at some point, that just made me question his judgement in sound.

Having read the book twice, I want to defend Mike.  He very much acknowledges that the reader is a small studio producer with limited resources (and budget).  He's trying to accommodate that audience.  Get past the section on speakers and anyone who's learning the craft will find a wealth of practical advice on improving their mixing skills. 
 
I met Mike briefly once at an AES show in San Francisco and can report that he's an extremely friendly fellow who readily shares his knowledge with anyone wishing to learn more.  That attitude comes across in his writing IMO.