I bounce mixes to individual tracks all the time. A typical project of mine will have seven or eight mix files. There are several advantages...
 

• You can use exclusive solo to compare and contrast.
• Sometimes dropping part of one mix into another yields great results.
• I can do my "varispeed" trick on the mixed file
• It's easy to "virtual razor blade splice" the mix to remove something like 4 measures of an overindulgent guitar solo. Not, of course, that I would ever do that...
• You can squash the living crap out of one of the mixes, and mix it in like -20 dB below the real mix.

 
Of course normally this requires bouncing. I don't have a problem with that, but I am finding that the bus-to-track recording thing gives the benefit of real-time bouncing BUT with the additional benefit of being able to tweak what you hear, so you can stop after you make some adjustment and start over quickly instead of having to abort the bounce, tweak, re-bounce, etc.

Am I ever gonna catch up? You guys are coming at me WAY TOO FAST.
I feel like the old woman and the bus...
H/T  Billy Connolly "Old woman and the bus"

Anderton
I bounce mixes to individual tracks all the time. A typical project of mine will have seven or eight mix files. There are several advantages...
 

• You can use exclusive solo to compare and contrast.
• Sometimes dropping part of one mix into another yields great results.
• I can do my "varispeed" trick on the mixed file
• It's easy to "virtual razor blade splice" the mix to remove something like 4 measures of an overindulgent guitar solo. Not, of course, that I would ever do that...
• You can squash the living crap out of one of the mixes, and mix it in like -20 dB below the real mix.

 
Of course normally this requires bouncing. I don't have a problem with that, but I am finding that the bus-to-track recording thing gives the benefit of real-time bouncing BUT with the additional benefit of being able to tweak what you hear, so you can stop after you make some adjustment and start over quickly instead of having to abort the bounce, tweak, re-bounce, etc.

You've of course been bouncing and exporting a lot longer than I have so it's likely second nature. To me it's still an ordeal (to an extent) so just arming and recording without all the futzery will be nice.
 
Also, and I'm sure you've thought of this but I'll say it anyway, by using the Solo buttons in the Aux track's (or export track's) take lanes with the track solo'd there is no need for Excl. Solo. The Lane solo mutes every other lane automatically unlike with tracks (which require Exclusive Solo to do the same thing).
 
The one downside is when recording a mix to an Aux track you gotta wait for the whole track to playback (no fast bounce) but to me it's just one more chance to listen back to what's going on.
 

charlyg
Am I ever gonna catch up? You guys are coming at me WAY TOO FAST.
I feel like the old woman and the bus...
H/T  Billy Connolly "Old woman and the bus"

You're doing fine. All this fancy arsed crap starts making more sense naturally the more you work with the program. I would never have been able to conjure up/understand the relatively simple premise of this thread even a year ago. Now I come up with all sorts of nefarious scheme and dreams.
 
Cheers.

Wow,.....you can record an Aux track from the Master out? I never thought about or considered that...way too cool! Huge help! Thanks Guys!!