I’ve read in your book that you said ”It seems weird to be moving faders and looking to the side, but not in the name of getting a great mix”. I would like to know which angle you were aiming for getting a great mix. Much appreciated!
In most cases I recommend the approach which gives a reflection-free zone, by putting the video monitors flat or slightly angled ON THE desk, rather than up in the air. Or sometimes way forward, that is, video monitors placed farther away, facing the back side of the loudspeakers.
In the case mentioned in my book, I was in a large control room with a large mixing desk. I brought my monitors which needed to be on stands and I felt that putting them on the back side of the console was an acoustic compromise. So, I mixed with the monitors to my right side, 90 degrees to the normal position of facing the console. With automation, it was workable. It’s definitely an ergonomic compromise but it was a sonic masterpiece because the monitors were in the open, with no obstructions anywhere, so they sounded open and with uncolored frequency response.
I wouldn’t want to work that way as a habit, but it worked for this remote recording.
Hope this clarifies,