I prefer not to, but if I didn't do a good job tracking (real or virtual) then I cheat. I will apply limiting, or maybe compression at extreme ratios, to help fit percussion into the mix. I can't remember the last time I applied a time based effect in a conventional setting, although I am certain I have. This is one of those tasks where I treat the section as a stem even if I am mixing from tracks. I will apply filters, probably more than I ought too, mostly to fit things together. I almost never apply dynamics processing, never in fact if it is live players, and can't remember needing it recently with current libraries. Strings, winds, or brass in a conventional setting I have not had to deliver stems in quite a while, but when I have I did a two step mix, first to stems, then to stereo, just to make sure that the stems worked. Tracks vs Stems - I tend to mix from tracks these days, mostly because I can combine them logically to accomplish the same result for which I used to pre-mix to stems.

My very general, and oft disregarded rules of thumb for mixing the conventional orchestral sections: Are you trying to capture a performance or create one? Is the setting conventional or contemporary, the latter suggesting the presence of guitars or synths or modern sound design. It depends (man we see that a lot around here) on what you are trying to accomplish. Usually all you need to blend with non-orchestral elements is a little EQ and parallel processing.

They've already been recorded and processed to a certain extent to sound as sonically pleasing as possible out of the box. I'd advise being careful with processing of orchestral samples. In combination with good reverbs, I find I need nothing else to blend all my elements. On the master bus, in terms of UAD I usually have the SSL G-bus compressor and sometimes Studer A800. I'll also sometimes blend in a little saturation with the Studer A800. I virtually never compress my strings directly with an insert but sometimes if I want a bigger, more aggressive sound I'll mix in some parallel compression with the UAD LA2A and sometimes the 1176. Then if I want to add a little sparkle and sheen I'll throw on the UAD 1081 or Pultec EQ and add a subtle high shelf. I don't use any UAD for this as I want something transparent, so I usually go for Fabfilter Pro-Q2. I also do some LIGHT surgical EQ if I have any masking issues. To that end, I usually roll off the low end to clean up and get out of the way of bass synths/drums etc. The most important thing, as in other situations, is whether or not your can hear everything in a balanced, musical way. I don't do a ton of processing to strings even when mixing with electronics and drums.

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