Found his article on Digtial sound pro. Here is part of the article which I found pretty interesting. You can go to digitalprosound.com to read the whole thing.

Integrating the High and Low
Andrew Sherman, co-owner and lead composer at New York music house Fluid, adds another layer of irony to this year’s irony-rich pro AES Show landscape. "The pro side keeps moving further into high-res and 96/24, while consumers are going for low-res and MP3," he observes. "Speed has become almost as important as quality in audio post and production as audio has entered this volume paradigm. There’s another irony: there’s more work than ever before, with all of these new applications for audio in media, but the projects have much smaller individual budgets. It’s all about volume — if I were doing needle drops for a living, I’d be in heaven

Sherman’s approach to recording and mixing reflects the new technical paradigm: instead of a battleship console with 72 channels of EQ and dynamics, he uses about a dozen channels made up of combinations of high-end microphones and processing, a mostly analog signal chain that ends up being mixed in Pro Tools. "So I’m interested in specific pieces of high-end gear now, but not the high-end and expensive platform that a top-end console is," he explains. "And that’s the route a lot of the recording and mixing process has gone."

Neve’s absence from the AES show floor will no doubt be the subject of much speculation on the future of large-format consoles in general, especially since more mixing is migrating to computerized environments. But coexistence appears to be the name of the game in post, at least for the foreseeable future. Gil Gagnon, vice president of post production services, at Disney’s Buena Vista Sound, notes that even as the entire sound campus there is now networked with Pro Tools, it also has a massive AMS Neve DFC (digital film console) in each of its three feature film dubbing stages. The decision to go with the same piece of equipment in each key area — consoles, recording media, monitoring, etc. — is a function of interoperability and of ergonomics. "The mixing and the editorial staffs only have to know one system, which speeds the entire process and makes the place much more efficient at several levels," he explains. On the other hand, Gagnon wonders if the digital imperative will apply to such large-ticket items. "We were used to getting fifteen years out of a large-format analog console." he says. "You have to wonder how long you can get out of a digital console, the way the technology changes so much more often in digital. One way to look at a console now is as large, expensive mouse."