I feel the whole Pro Tools vs Tape arguement is so much bullshit. There is more than one way to skin a cat.
 
Good technique is good technique regardless of what tools are used to implement the finished product. I have heard disasters on tape and I have heard disasters on digital. The engineers skills are what's paramount when it comes to the recording process. If they can't get the sound nailed down during the sessions, then there isn't much that can be done to make it sound as awesome as it could have been. Post has tons of tricks but nothing is as great as getting nailed down in the sessions.
 
The last modern album I heard that had amazing technique was "Music Is Better Than Words" by Seth MacFarlane. When I heard it...I just had to look into it. No surprise...it was recorded in the "old school" way using tape and the famous Capitol studio rooms.
 
My best example of "getting it right from the start" is Californication. If you have a good set of ears, you spot of glaring differences between the mic set-ups in a single song. I won't mention what/when they happen or why because I like to see if people can spot them.    I think this is the REAL reason why it sounds so monophonic as it's the only way to mask such bad errors.
 
 
Only person who has been spot on while listening to Californication is CEETEE. Admittedly, Purrin has never really sat down and listened critically as he doesn't feel it's a reference album.
 
Anyway, before I continue ranting...there are great example of digital recordings and there are great examples of tradional recordings and it all comes down to knowing how to properly use the tools you are given and not letting the suits go overboard with compression/limiting.

Modern, dynamic metal. It can be done, you just have to have the guts to do it. The excuse we hear from bands is usually "everybody is doing it" or "the guys wanted it to be loud" or some such nonsense. A lot of musicians honestly don't know the amount of damage they are doing with hyper compression. We've had some success lately convincing bands to take dynamics more seriously. I can't name any names, but we're going to be working with some bands during their production process to ensure that the DR stays in double digits.

Save Sound City (the soundtrack)

http://www.computeraudiophile.com/f13-audiophile-downloads/bowie-new-album-hd-tracks-15381/

Quote (selected)

Chris, I'll save you the trouble. It will have lousy DR values, it has compression, that is how Bowie wants it, it is loud, it's rock, it ain't the opera. Stay away if that troubles you. The music is great, it sounds loud and great - better the louder it gets.

 

(average DR6)

ffffffffffffffuuuuuck. That is really depressing.

The argument that rock or metal "has to be loud" is and has always been complete and utter bullshit.



Howie Weinberg's master for Reign In Blood was DR14. Somebody decided around 1992-3 to make rock and pop albums loud.

----------------------------------------------------------------------------------------------
DR Peak RMS Filename
----------------------------------------------------------------------------------------------

DR14 -1.14 dB -16.70 dB 01 Angel Of Death.wav
DR15 -0.77 dB -16.53 dB 02 Piece By Piece.wav
DR13 -2.53 dB -16.96 dB 03 Necrophobic.wav
DR13 -0.35 dB -15.84 dB 04 Altar Of Sacrifice.wav
DR14 -0.63 dB -16.50 dB 05 Jesus Saves.wav
DR14 -0.92 dB -17.31 dB 06 Criminally Insane.wav
DR13 -1.81 dB -16.20 dB 07 Reborn.wav
DR13 -2.26 dB -16.94 dB 08 Epidemic.wav
DR14 -1.85 dB -17.40 dB 09 Postmortem.wav
DR14 -2.04 dB -17.90 dB 10 Raining Blood.wav
----------------------------------------------------------------------------------------------

SERIOUSLY!!! I practically beg bands to have their music mixed with plenty of range, and recently I got (maybe) a positive reaction from Ian Arkley on the next My Silent Wake album. Fingers and toes bloody crossed