Unlike other functions and holding ctl....this function doesn't seem to turn ALL on/off.  Unless there is a better way, I like mixing with all channels in "W" mode and make passes, each time adjusting what I can.  Then I might go back with the pencil tool and hand draw sections of the automated envelopes.  Rather than do one channel at a time, this seems to pretty much work.  But turning on/off all the channels seems to have to be done one channel at a time.  (so...it takes another minute to do 35 tracks!!) lol.
Thanks...
I'm definitely open to other ways to mix as well.... maybe a method I'm missing.  So....basically my "final" mix is just a "playback" of the session, as it is all automated for each adjustment.
 

CTL-Click works for me.

Well....oddly I rebooted and it NOW works on that function where it didnt before. I just decided to ctl click the "W" recently...and also previously it didnt work. Who know??... Maybe beat my keyboard harder!

To maybe salvage the thread...what are the views mixing in this fashion?..or I'll ask down in "techniques"

I hate doing it that way. It reminds me of every mixing session from the 80's. 8 hands and 16 strips of masking tape on the console, playing it back over and over until everyone's got their cues down, and when we'd finally get it right the fadeout at the end would be too quick. Or not quick enough. Po' folk couldn't afford automation in those days.
 
I've been a draw-it-in guy ever since I started using computers for recording. Find exactly where you want the fader to start moving and click in a node, find where you want it to stop and click in a node, then decide if you want it fast or slow. I never record automation.

Maybe that's the way I do it because that's is the way I did it even back in the 70's!  I liked it for the reason, that as you progress along...one of those sets of hands either gets too high or drunk...and you don't need them anymore (or want!).   I also like it this way mainly, because my moves are while listening to the context of a mix as well.  Plus it creates the "rubber band" lines as well and I don't have to create them for smaller items...especially on the individual FX controls.  It's seems easier for me to create the automation line this way first...then adjust with the pencil.  As an example, adjusting the time of a reverb decay TO ME is much easier on the fly...so I can hear what's actually happening.
Potentially we have semi-similar methods, as on playback, I am creating those start and stop nodes.  I almost 100% will go back and tidy up and draw in as well...and be more precise.

And yes... basically most consoles didn't have automation in the earlier years...it wasn't about being poor.  It just didn't exist as you know.  I grew up on a black faced MCI and then spent many hours on a newer beige one.  The automation were those other guys!
(and sharing that one Eventide 910 Harmonizer on EVERY track that was recorded individually!)
 
As an aside...and down a rabbit trail, I ended owning one of those monster consoles, but it was a custom build.  It had some history...but I won't name drop.  Even had the original studio lighting switches on it.  Probably weighed 500 lbs or more and was only 20 channels.  The patch bay was totally separate in three rack stands about 5 ft high each.  It also housed 4 Fairchild compressors and some other stuff...that I thought was getting "ancient" back then.  What it would sell for now...    Oh.. McIntosh mono amps too... for the UREI monster speakers.   I did get some money for those when I sold them back in the early 80's.  I just got a couple hundred bucks for the compressors.  Oh well...we all have stories like that, I'm sure.  I still have some 1" reels laying around too!.... Ebay every now and then.  The 2" are all gone  ;-(

Mix Recall is your friend.

Why...that just lets me A/B mixes...right?

mixmkr
Why...that just lets me A/B mixes...right?

Well, you said "I liked it for the reason, that as you progress along...one of those sets of hands either gets too high or drunk...and you don't need them anymore (or want!)." You can save each one of these passes as a separate mix, and either keep a particular mix, or mix and match automation for different tracks (e.g., you liked the drums in one mix, and everything else in a different mix, so  you change out the drum automation).

Oh....I was implying that once something was correctly automated ...those "two hands" can now go in the other room and abuse themselves...because they're not needed. Not actually what is was really like with 4 people in days of yore.