Re: Too many mics, not enough preamps
Your question makes no sense to me. You are frustrated that you don't have enough mic preamps and then finish by saying you want to invest in Apogee Symphony system which has no mic preamps. What will that give you other than a large bill for a slightly better sounding converter. The 003 does the exact same thing on the line inputs as the Apogee Symphony would do. So what are you gaining? You say you get to plug all your preamps into one system. That's exactly what you have to do with the OO3 that you are complaining about. If you want to do it for sound quality.... don't. Unless you have a lot of money, your money is far better spent on good quality mic preamps as this is where most of the sound comes from. If you can afford to buy 16 good quality mic preamps plus the Symphony, good for you, but if not, invest in the proper thing: mic preamps. An instrument will sound better any day running through an Avalon mic pre into your line input on the 003 than it will running through some crappy M-Audio preamp or Mackie Mixer into an Apogee Symphony. Just one professionals opinion! 
Re: Too many mics, not enough preamps
Am I counting 11 mics for the drums? Wow. I'm guessing there's some "top & bottom drum head" miking going on here, among other things...
I have a 003 Rack here at home, and I was thinking you could possibly run another dual-channel mic pre with a S/PDIF out into the S/PDIF input of the 003, giving you the remaining 2 inputs you need. I don't know if PT will allow you to use the Octane connected via ADAT and the S/PDIF simultaneously, but maybe that's worth looking into. Good luck...
I'm guessing there's some "top & bottom drum head" miking going on here, among other things...I have a 003 Rack here at home, and I was thinking you could possibly run another dual-channel mic pre with a S/PDIF out into the S/PDIF input of the 003, giving you the remaining 2 inputs you need. I don't know if PT will allow you to use the Octane connected via ADAT and the S/PDIF simultaneously, but maybe that's worth looking into. Good luck...
Re: Too many mics, not enough preamps
Hi
I too used to be frustrated by the limitations of PT le. I made the move and never looked back. Well, except for the Pultec EQs...
If I understand correctly, you´re willing to make another investment to get it right. So, all I can say is that I´m absolutely thrilled with the Mackie Onyx Series and the Firewire Option.
1. No Driver installation - standard Core Audio
2. Really good sounding Mic Preamps - a bit of warmth but without coloration of the sound. Very crisp highs without sounding thin, very dynamic and you get your 96/24 on 8-16 Mic Channels depending on which console you buy.
3. Not a single lost track, not a single lost take as of yet
4. Real mixing console with all the monitoring options (EQ is always post A/D conversion, so you can mix your headphone signal without compromising your tracks...)
5. No knitting a quilt out of all your patches
6. unlike with your patchworking, every Mic runs through the same Preamp and converter, which can not be a bad thing...
There is one con for me, as it can not produce the low latency a RME can, but I don´t play Softsynths so that doesn´t really bother me. A stable 128 - 256 Samples depending on the project can be achieved on your average iMac, I don´t know about the Mac Pro.
As far as giving the tracks to your mixing guy: just do a multibounce to export all the tracks (or the edited takes) as complete audio files of the same length and your Pro Tools-Wizard should be able to import it within seconds (if not, change da man). So it won´t really be much time loss compared to just opening the Pro Tools le session.
I too used to be frustrated by the limitations of PT le. I made the move and never looked back. Well, except for the Pultec EQs...
If I understand correctly, you´re willing to make another investment to get it right. So, all I can say is that I´m absolutely thrilled with the Mackie Onyx Series and the Firewire Option.
1. No Driver installation - standard Core Audio
2. Really good sounding Mic Preamps - a bit of warmth but without coloration of the sound. Very crisp highs without sounding thin, very dynamic and you get your 96/24 on 8-16 Mic Channels depending on which console you buy.
3. Not a single lost track, not a single lost take as of yet
4. Real mixing console with all the monitoring options (EQ is always post A/D conversion, so you can mix your headphone signal without compromising your tracks...)
5. No knitting a quilt out of all your patches
6. unlike with your patchworking, every Mic runs through the same Preamp and converter, which can not be a bad thing...
There is one con for me, as it can not produce the low latency a RME can, but I don´t play Softsynths so that doesn´t really bother me. A stable 128 - 256 Samples depending on the project can be achieved on your average iMac, I don´t know about the Mac Pro.
As far as giving the tracks to your mixing guy: just do a multibounce to export all the tracks (or the edited takes) as complete audio files of the same length and your Pro Tools-Wizard should be able to import it within seconds (if not, change da man). So it won´t really be much time loss compared to just opening the Pro Tools le session.
