As far as I am aware, the AMEK stuff bears no real relation to the Midas stuff. Generally, the Einsteins and Bigs have been considered the cheap bastard step children to the Amek line. However, the nicer AMEK stuff costs considerably more and is generally considerably larger as well. In the scheme of things recording though, all the AMEK stuff sounds pretty good. It still tears up your Allen Heath and Soundcraft stuff (with the exception of maybe a few specific models and taking into consideration that these are all just opinions, even if they are very widely shared opinions). Also, people tend to place a lot of weight on the fact that Rupert Neve was involved with AMEK and with TAC for a period of time. It is impoortant to remember that his designs for those companies is DRASTICALLY different than those Neve designs that have earned him such an incredible reputation. Also, his work was limited with those companies, so in no way shape or form are you getting a Neve console when you buy a TAC or an AMEK console. In fact, the differences are far greater than the similarities. basically, just don't think of them as a Neve, think of them as a TAC or AMEK. If you like that sound (plenty of people do) than you will like them.
Back to the Einstein in specific... If you compare the Super E sonically to an Angela, G2500, 9098, or even a Mozart or a Rembrandt, you will be unpleasently surprised. If you compare it to an Allen Heath GS, GL or even
a Sabre, or a Soundcraft Spirit or Ghost, than you will most likely be very pleasently suprised. On thing the Super E and Big does do well is pack a decent sound, fairly low maintenance console, with tons of features into a pretty small package with a reasonable price tag and good expansion options ( Amek Supertrue recall and dynamics packages).