TragikRemix said:
while we are on the topic, im semi looking for a console, like 16 or 24 tracks, depending on price.
what are some good options? i know of the soundcraft ghost and the soundtracs topaz, and they seem pretty popular.
Well, we are getting off topic here a little. I hope the original poster doesn't get angry. (Oh well, he's a jerk anyway.)
The Mackie 24/8 and
the Soundtracs Topaz Project 8 are fairly similar. (Though, the way they sound seems to differ.) The first difference I've noticed is in the B-mix (monitor) channel options. On my Mackie, (in each channel,) if you want to use EQ on your B-mix, it steals it from the regular channel EQ section. Part of that channel EQ then becomes disabled. (I think the theory here is that you don't need to use the channel EQ while you're tracking.) Over on the Soundtracs, I can mute and Solo any B-mix channel but not so on the Mackie.
The Soundtracs comes from the factory with the tape inputs and two track outputs set to -10dBu operating level. You can change this to +4dBu but you must open up the mixer case and perform a (soldering) modification on the circuit board at each channel. I have made the mod to mine and it does work perfectly. (Though, if you are not handy with soldering I would not recommend trying this.)
The AUX Returns on the Mackie are a lot more assignable to groups and such. The Soundtracs seems more limited in this department.
The Master sections on both mixers are pretty similar except for minor details.
So, one seems to have a few things the other does not and visa-versa.
For those of you who may not be that familiar with studio mixers, they are very different from live mixers.
They are designed to be better suited for what you need to accomplish in a studio. It's essentially like a giant hub that directs all signal traffic coming in and going out. Not only can you mix, but you can also largely decide from where signal comes and where it goes by pushing buttons, (which changes in different phases of the project.)
Each channel has a variety of inputs. During tracking, you can use the XLR mic or line (instrument) inputs. You can create a mix for the control room and a separate monitor mix for the musicians through the B-mix part of each channel. It also simultaneously loops the signal from each channel back out to your multichannel recorder or multichannel DAW computer.
During playback, each channel can receive input from the recorder or DAW via the tape inputs. All you do is flip a switch on the channel and now your channel is listening to the track playback instead of the microphone. (Live mixers cannot do this stuff.)
Output choices are where it really gets nice. You can send any channel, group, B-mix, or main, out to almost anywhere in the building. Control room monitors, studio room speakers, headphones, back to tape, patch bays, and probably a few other odds and ends too.
There are several smaller studio mixers out there that are priced within reach of the home recording hobbyist. (Like mine!

)
Hope this helps.
RawDepth