Pre Mastering Format

Hi All!
 
I was wondering how different folks go about the approach of "pre mastering" (if that's the right terminology) there projects.
 
I have a project of 8 tunes that I'm trying to get the same balance, and basic general "mix" on all 8 songs.
I was thinking of copying all the songs onto one cwp track (or maybe even separate tracks of the same cwp) so that I can compare as quickly as possible the tonal differences, balance and volumes of each song before I bring them into my "T-Racks" mastering program.
 
I know there are as many different routes I could take as there are home studios out there, but I just wanted to maybe hear from some folks who might have an approach that could be helpful that I haven't thought of yet.
 
Any comments welcomed!
 
Harpo

Harpo, I'me doing exactly what you're suggesting - bring all of mixed down projects into an album project, each on their own track, spaced out along the timeline exactly where I want them and using a T-Racks3 chain on the master bus.
 
This mastering chain is also present on the individual projects for comparison purposes, but is bypassed whenever i export an updated mix to be imported into the album project. Exports are at 32 bit with no dithering
 
Then I export from here, down to 16bit, 44.1KHz wav for importing into CD Architect for cd burning.
 
This system works great for me and I'm not deviating from it.

For comparing levels, put each mix in its own track starting at the beginning of the project, and use the "exclusive solo" option to hop quickly among tracks. This makes it easy to compare their overall levels.

Interesting - 2 ways to skin a cat.
 
I use CD Architect for final levels.  It really only does a dB or so gain or reduction, which should be enough for final tweaks.  But sometimes songs that seem loud need to come down a notch (even if the meter reads -.2 dB like others), while "softer" songs need a bit of a boost so they feel the same volume.  It is pretty easy to skip on the timeline.
 
I use Sound Forge for "mastering," tho before it gets there it has been through analog compression/EQ.  I used to use Voxengo in Sound Forge, and can still send it through elephant if needed there.  Otherwise, it is just top n tail and that stuff to get it ready.  And then I do all my rate/bit changes in SF, using the final "master" for CDs and mp3s.
 
That is how I learned to do the job, although Bristol's method looks good, esp. if you don't have SF/CDA or similar programs.  I wouldn't use Pyro - I use that for home comps, etc.  But either method works - pick the one that suits you best. 
 
@

If you're bouncing everything down to audio, or exporting, or freezing your soft synths, tempo becomes irrelevant.
 
You'll be importing a wav into your album project so don't worry about it!