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This is going to depend greatly on each individual person's creative sensibilities. For myself, I'm always doing rough mixing during the creative process, because I want to see how a new sound "sits in the mix." So the mix is an integral part of my song-making. But this works better on "old-school" equipment (outboard synthesizers, effects and mixers), ...

Honestly, my answer to this question, in which you infer that you plan to rely primarily on audio, is "do it any other way than you are planning". Here's why; I work for an alarm monitoring company. In our line of work, where every signal from an alarm panel could be snot-nosed employees playing around or a matter of life and death, it's video, not audio, ...

Look for tutorials for your tools of choice (MPC, Ableton, whatever). Once you understand how to use those, it should be clear how to program to the style of your choosing. There are a number of books on drum machine programming with examples for particular styles, which is also a good starting point. If you have access to some genre-specific loop ...

KeithS is correct on most likely going with a "condenser" microphone.. As he mentioned it may pick up additional "noise" and such as this type microphone is designed to basically pickup any sounds with-in a pretty wide field... But, they have gotten pretty good and "setup correctly" (for your situation) can be perfect for discerning "noise" from the audio ...

From a Home Security/Automation point of view the ELK M1 (or NESS M1) allows you to place their microphones throughout your home and connect them back to the M1 Alarm Panel in which you can listen into via the internet or by dialing over the phone. Not only can you listen in you can also enable two-way communication in which you can listen in but also ...

You can do this either with two sound cards and software to use each one (per imsky's answer) or with one sound card that has multiple stereo outputs. If you take the one sound card route, you'll need software that can send your music (presumably MP3s or something like that) out to the disparate outputs. It sounds kind of like you're looking to DJ a party, ...

I negotiate this by only working with pans during the initial 'ideas/basic tracks' phase. If something does not sound exciting right off the bat, it's probably never going to (unless you mangle hard with it, which is more work); by the same token, if the basic tracks are good, with only basic panning and minimal fussing the mix tends to sound good, too. ...

I think the short answer would be, never mix-down, yet constantly mix. The longer answer would be that you should try to evolve the mix of the track/song as you go without mixing down. Use sends to aux channels if necessary. I personally prefer in-line mastering and I tend to mix and master as I develop the track. The one exception to the 'mix down' -- ...