Nice. That AKG SE300 body and CK91-98 series of caps are little gems that don't often get the respect they deserve.

Thanks.
Listening today, this mix sounds bright/harsh - which is not the mics I used. These tracks are eq'd heavily to take care of some of the color in the hall - so that needs a little more work.

I really like both the AKGs and the Rodes. The AKGs are very even-tempered mics, and I love the flexibility of the modular design.

I'm VERY interested in the PreSonus 16/4/2 console. Are you enjoying it? I've heard lots of good things about it, and the features for the $ seem outstanding.

For me, it's time to move on from the Mackie Onyx series for large input counts. (When I use the Onyx 16/4/2, I use the FW card for tracking, and the analog side for mixing CD/SD backups. I've just replaced the FW card - which failed again - and this is the LAST time I will do so).

I see you're using Samplitude with the PreSonus, so it would seem even wiser for me to move to this for one of my larger live rigs.

16.4.2

I am very happy with the Presonus board. For the money, the feature set can't be beat. I'd give it a 8.5/10, as there are a few little glitches and some features I would have like to see different, but overall it is an outstanding bargain. I track directly into Samp with it, no issues there. I run pretty big buffers to ensure reliable recording. When tracking in the studio, monitoring through the mixer prevents any latency issues, and is far easier to setup than dealing with it on the DAW. I use a wireless network and an iPad when doing live gigs, so I can stand up with the talent and get monitor mixes dialed in, or walk around the venue and tweak the EQ or the mix. Love that!

The solo function requires a couple of button pushes that I would like to avoid, and the release on the compressor is short relative the the indicated scale. Presonus says it's because of the RMS detection - the scale reads 40-1000 - in reality the actual release is about 10% of that figure - so I generally operate with it maxxed. 16 channels, 6 aux outs, two effects loops, dynamics & 4 band sweepable EQ on EVERYTHING including effects, stereo ins, auxes and submix buses, speaker delay, (8) 31 band GEQs, full multitrack recording via firewire, and remote control from an iPad - this in a board for under $2000 that I can drop in a padded gatorbag and carry out over my shoulder.

I don't know if I'd even need all that compression, etc; mostly I'm looking for 16 good clean pre's, firewire/USB connectivity, and of course compatibility with Samp/Sequoia. Sounds like either the Presonus 16/4/2 or the Onyx i would do the trick, but the PreSonus seems to have more going for it....

The Presonus is a higher quality piece of kit than the Mackie Onyx board. I say this having used many Mackie boards without issues to make quality recordings so it isn't a Mackie bias.

Joe - I think Zemlins (generally positive) review of the Presonus board is the worst review that I've ever read by someone I was familiar with.

Sorry to bud in, but its relevant - Joe, StudioLives are awesome. I have a brand new 24.4.2 for sale for a steal if you are serious. Only parting with it to fund mastering gear.