My preferred method of recording is to put the band together in a large room so they can make eye contact, then baffle off the amps just enough to isolate them from the drums. No one wears headphones except the drummer, scratch vocals get monitored through a small stage wedge and the rest of the band hears each other's amps. My philosophy is that technical considerations should always come second to musical ones, and making the band feel comfortable and allowing them to play in a familiar situation (i.e., not wearing cans) is critical to getting good performances. Engineers that came up in the digital age panic when they see my setup. "But, but, you'll get LEAKAGE!!!!!" they wail. "And?" I ask. "But then you won't have total control over everything in the mix!!!!!" "So? 'leakage' is just another word for 'ambiance'. The Stones had a crap ton of leakage on Exile and Sticky Fingers, but I think those came out OK. You can hear leakage all over Zeppelin records, and if we're really, really lucky today the stuff we're about to record might sound half as cool as that." Most times we go back and re-record vocals, but sometimes the scratch vocal is the keeper- cymbal wash, guitar bleed and all. When I re-record, I generally put the singer in the middle of the big live room, because I hate the early reflections you get even in well-treated booths. Plenty of billion-selling vocals have been cut in vocal booths though, so what do I know? As for complimentary production styles, there are NO rules. Some artists want to have a consistent sound over the whole recording, others are all over the map. You can segue a fast song out of a slow one, and vice versa. I was wrong, though- there is ONE rule- it's all gotta be good. How you define that though is up to you.