Not quite. I'm at the point of no eq during tracking, if you don't count the occasional high pass filter as eq. The choice of mic, mic position and mic pre becomes my EQ substitute. Compression during tracking is only on the vocals (pretty hefty 18-20 dB on the Distressor) and on room mics, unless I can't avoid it for level reasons.
During the mix I use mostly the eqs in the Sony DMX to just touch up little things here and there and to get rid of anything that is not in the signal (high pass on hat track etc.). It's mostly down to a couple of dB to fit tracks into the mix a little better. The Massive Passive is on the stereo bus and I normally boost the high end 4-5 dB shelved up from about 4K. When you don't use eq during tracking it tends to end up slightly dull, but I think it's better to use only one eq on the whole mix, compared to eq'ing every track
I don't like to use compression much, so I try to keep it to a minimum, one can't get around it completely in the digital world. During the mix I use a CraneSong STC-8 on the stereo bus, which gets switched in as soon as the rough mix (without automation) is up, so I can make up for the compressor by riding faders. Then, of course there is the creative compression for drum sub-mixes, extra snare attack etc.
