Your usual method(s) of creating a good headphone mix?

I use cheap behringer mixers for the headphone mixers and I send 4 stereo tracks out to them (guitars, bass, drums, vocals/effects). Each artist can tailor their own headphone mix as they desire because every band member wants something drastically different.

Oops I misunderstood your question so deleted my response: movin on !

I was told never to listen to music on headphones,
when you're emailing anyone.

Otherwise you can end up,
stereo typing!

Thanks guys, for all the helpful responses.
Chris
P.S. How about compression and reverb?

Maybe I'm a tyrant but I always wanted my own bands to have pretty much the same headphone mix with the drummer being the merciful exception. I've never been a massive jerk about it, but I always felt like we would play off of each other better if we were working with the same canvas.

If you stand in front of your rig (as most do) at practice and at gigs, you’ll probably play your best in the studio if you can hear more of yourself in the cans.

I think some of the needs are more about blasting past latency rather than real monitoring needs.

Aviom system here, 16 channels. I send out a stereo mix and a mono track for each individual's instrument/vocal along with kick and snare. Sometimes I'll put in a click (I don't like having to use them if I can help it). On rare occasion I'll put in the overheads---especially if the drummer is heavy-handed cymbal basher (to remind him to back it up a bit). I have seen musicians mess up their own mix, and I have to help sort them out. Not too often, though, thankfully.

I worked for years with a just a good stereo mix as the main cue, (sometimes) supplemented by an aux tailored to the player when necessary.

We've been using a Furman HD6 with 8 or so mixers for years. The mixers have one stereo channel and 4 mono channels. It's a little old and limited in features, but still going strong.  The Furman mixers use a mount that goes onto a mic stand, and we have a SM58 on each stand for a talkback mic.

I'll track with some outboard compression and EQ if needed, committing along the way.  Also while tracking I'll use AAX DSP plugins if needed to get closer to the finished sound or to make the headphone mix sound as good as it can.

When tracking full bands, I'll do a stereo drum mix, and mono instruments and vocals.  During level check when tracking the band, I'll copy my control room mix of the drums to the stereo aux sending to the Furman (minus room tracks usually-add click) - bring kick and snare up a little, cymbals down a little, and that's a good starting point for the stereo drum mix. Then individual instruments like bass, gtr 1, gtr 2, keys, piano, etc.. (with their associated talkback mic) and vocals I'll split out to the other 4 mono faders.

During vocal tracking, I'll give a stereo full band mix and also individual vocal tracks on each mono fader. I'll start by copying my control room mix to the stereo aux feeding the Furman stereo fader, and each vocal track get assigned to it's own mono fader (or just one fader if needed). If requested, vocal reverb gets added and sent to the associated vocal track aux.

I mixed FOH and monitors including IEM's for years.  I'm used to each person needing individual attention.

People will probably perform way better with a very different headphone mix than what’s recorded. Something we forget is when you are wearing cans, it’s like wearing earplugs, your ears pickup a massive amount of low-passed live sound. And the headphone feed is really a parallel feed to this low-passed live thing. So if you are next to a live dynamic guitar amp, a compressed bright feed maybe would help balance it and feel great. But for the recording that may not be the right direction. Voice it’s good to sing into the mic yourself when setting cans for others so you learn what that balance is