VTypeV4

Spoke to the good people at A&H to find out a little more.. The ML range were produced from 2000 - 2010 and my example was built in Oct 2005. My email was promptly replied to (less than 24 hr) in a friendly and concise way. Top marks to Allen & Heath for customer service.

Excellent news!

[quote name='althemusicwizard' timestamp='1488275382' post='3247386'] What am I like......couldn't resist the temptation of this that appeared on Ebay last night....just did a Buy It Now. http://www.ebay.co.u...=p2047675.l2557 Now I'm trying the Fostex G24S, I wanted an all analogue signal path to see if I could tell the difference. From a lot of the digital desks I've used, the O2R has an analogue quality to it, probably because of the bunch of analogue circuitry in it. I've also got it hooked up to the Fostex in such a way that SMPTE timecode on track 24 is played into the SMPTE input on the O2R and the automation is synced. I also laid an FSK (Midi Clock with song position) code on track 23 and can sync Propellerhead's Reason to it too. This will be the fall back position should thML3000 not work out. I really like the facilities on the ML5000, but it's just too damn big. This way, I get the VCAs of the big brother minus the sweet EQ, but with the 0-400Hz HP (which I really think cleans a mix up), and only 40Kg. If I really want the automation, I have a Mackie Ultramix system that I was going to stick back on Ebay but I might just hang onto.Now I just to have to find a courier to collect it and drop it off here....the south coast is a long way to drive...... Al [/quote] [quote name='Huge Hands' timestamp='1488277972' post='3247423'] Wow, starting to sound like my old live rig from 14+ years ago! Memorieeeess!!! The SPX90's actually bring back horrible memories of me getting hooked on putting tap delay on certain vocal lines for effect to the point that everyone got sick of me! Totally. The thing I always preferred was the greater headroom on the input gains - if you had a sudden surge of sound from something, you were a lot less likely to get a horrible "clack" when you tickled a red light than you were with the Yamahas. We had several 02Rs and a budget Yamaha analogue desk (presumably all with the same analogue pre-amps), and they were all the same. That was the main bit that put me off the 02R. Obviously in studio world, you have more time to go back and deal with something like that! Good luck with your studio! [/quote] Al, I've nothing to say but wow! That's awesome! You must post some pix when it arrives! I agree about the sweepable HPF it really does help over a fixed 100Hz example. I know the EQ isn't as comprehensive as my 5000 but it's the standard issue A&H setup and the same as I used for many years on the GL. Also, I wouldn't consider it to be that much of a limitation as the sweeps have a very broad frequency range with the upper and lower more than overlapping the shelving filters - I never felt I was running out of steam with it. VCAs are very cool and they just make life easier and simpler once assigned to how you want them. I still grouped the channels out so I could do buss compression using the inserts but never really touched the faders - I simply left them at '0' and controlled the assignments from the VCA faders. Mute groups are handy too although I haven't used these much other than an 'all off' as on the 5000, muting the VCA group respectively mutes any channels assigned to it. I hope the 3000 works out for you, Al, they look a cracking desk - kinda halfway between the straight features of the GL2200 / 3300 combined with the functionality of the bigger brother ML4K and 5K. And in a movable frame size unlike mine! Best of luck! Mr HH, The SPX90s are venerable at best but I intend to combne them with a couple of TC M1 and a couple of REV500 units in the future. I too love a bit of crazy delay on a vocal where I can get away with it both live and in the studo! I've got my eye on some Klark Teknik DN504 for use as buss compressors with the ML - they're one of the few 4 channel compressors with adjustable envelope rather than non-adjustable attack / release. It's been suggested they're a bit 1176 style although how much thats true remains to be seen.. I don't tend to find the pre-amps in the 02R lacking in headroom although I tend to run them reasonably cool around -18 / -15dBFS or thereabouts. It equates to 'two oranges' on the meterbrdge and just feels right. Yamaha claim the clip light appears a few dB before any clipping actually happens at the analog stage but I'm not so sure either. It also seems to equate to an acceptable reecording level on the direct outs too. The ML seems to have plenty although I run this reasonably cool too - about 0 maybe +3 seems to be about right - I'm not a red light merchant by any means.. Thanks for the words of encouragement.

[URL=http://s778.photobucket.com/user/VTypeV4/media/DSC_0298_zpsq0ifaemn.jpg.html][IMG]http://i778.photobucket.com/albums/yy70/VTypeV4/DSC_0298_zpsq0ifaemn.jpg[/IMG][/URL]N No better training than actually doing it! I sold the second 328XD to our keyboard player rather than having the fuss of eBay which was both convenient and will also help him with his other band. He has an interest in both recording and live sound so I figured the best way for him to learn to how to use his new purchase is to actually jump in at the deep end and use it. The photo was taken on Wednesday evening during our open mic evening which is often busy but doesn't have a mad channel count so is perfect to break him in.. He did very well and needed only a little guidance to navigate the console, keep level settings appropriate and maintain a decent mix. I know I moved on and upgraded my setup to 02Rs but the Soundcraft console mentioned here is very much an under-dog in my opinion. Their reputation was marred by the original 328 with it's troublesome PSU that wrecked itself and corrupted part of the boot process / operating system. The XD was a different beast having different main boards, different supply and a whole host of other changes as they look nothing like inside. They're a lovely console and so easy to use too.

Hey Al, thanks for taking the time to have a listen, It's appreciated. Broken gun is indeed me on the bass, glad that shone through! There were some compromises in recording the track plus the lack of outboard had me compromised a little at the mix stage too. With it being a 'group' effort rather than just me mixing, a couple of the things you've touched on might be changed on a do over - particularly the guitar bits. Overall I'm happy with it and it was also part of the 'lets see what the ML does' experiment. I do wonder how it might have come out differently if I'd have done the mix on an 02R at work where I've got the internal FX, dual M2000 Unity, a TC M1 and Yam REV500 plus all the dynamics I can shake a stick at.. I'm glad yoou liked the mix on Deep City - a few people have said exactly the same thing as you where they're not overly struck on the song but thougt it sounded lovely. They were a great band though, a really nice bunch of lads. The other tracks are older ones I've recorded at home over the last 15 years or so. They're all pretty much of the 'chillout' sort of vibe written, played and recorded by me. I don't sing or write lyrics as I just don't seem to have that particular ability. If you want to have a pop at something with 'Coastal' be my guest as it'd be very interestng to see someone elses take on it. It's something we've considered doing in the band but haven't gotten round to it yet.. Industry POD concept came from having a mess around with a DX-7 VST instrument (FM-7) and throwing a few industrial type sounds about. The glitch loops, the 303 loops and MS-20 (The MS-20 is a real '70s / '80s one - had it for years) just seem to naturally fit..

[quote name='althemusicwizard' timestamp='1487801209' post='3243139'] 250Kg!!!!!! Yikes. My back feels sore just thinking about that. [/quote] The next time it gets moved will be it's permanent living place!

This is the first full mix I used the ML for - Deluge - the only group I'm currently playing bass in.. https://soundcloud.com/vtypev4/broken-gun-master01 And one of the more recent live recordings on the 02Rs - this group were awesome, I really enjoyed mixing them live at the gig and a week or so later for this recording. https://soundcloud.com/vtypev4/deepcity-lr-02r

Sounds like you found a winner here, fella, nice one.

It's a bit more than three but not quite four 02Rs - it's a monster! It took four of us to get it up the stairs as it weighs ~250Kg in it's box! You can just about make out the outboard if you really squint - two Yamaha SPX90 and 3x Behringer MDX2200 plus a pair of ADA8000 connected to the MOTU 828x so I've got up to 26 channels out not including FX returns. It's funny how it's a different mind set than using the Yamahas..

So I did a bit more wiith the ML tonight.. [URL=http://s778.photobucket.com/user/VTypeV4/media/DSC_0290_zpspfejuxxw.jpg.html][IMG]http://i778.photobucket.com/albums/yy70/VTypeV4/DSC_0290_zpspfejuxxw.jpg[/IMG][/URL] Not a great pic but you get the idea. I've really enjoyed working with the ML tonight, it's been a real pleasure working on one of our groups own tracks in a low pressure situation. The quality of the A&H is very impressive although I've never used anything bad by the boys in Cornwall. My outboard is a little on the budget side but it all works just fine and the results we have so far are very promising..

I've had a few 'better than they ought to be' purchases.. Firstly is my Squier VM Jazz - also mentioned above I see - it's absolute corker! Far better than any number of 'real' ones I've played and even a couple I owned. Secondly is probably the old Ashton rig I owned. Heavy, yes but it was a solid performer and had my old Trace not re-surfaced, I'd still have it. The valve head and 410 have long gone but I kept the 15 and housed a JBL K140 in it.

I wrote this a wile back and is on the forum in the review section but figured it might of more use here.. [url="http://s778.photobucket.com/user/VTypeV4/media/DSC_0290_zpsa9umhggs_edit_1487119427954_zpsw1dt469l.jpg.html"][/url] Overview: One of Yamaha's old range digital mixers offering 16 / 24 analogue inputs as well as an additional 16 channels via digital / analogue inputs using the card slots on the rear. I have three examples - two have all four card slots filled with dual ADAT cards, a TC Unity and one has a TDIF, the other an AES card. My third has a pair of the double height analogue 8 in / out cards. The console as 8 assignable audio buss / sub-groups and 8 Auxes although two are assigned to the dual SPX style internal FX units. The Unity card effects (M2000 / Finalizer based) are also driven from any aux or as an insert. Everything you'd expect from a much larger framed console as well as a rack full of outboard gear. Features: Every input channel has the following: Digital gain attenuation - after the analogue stage Phase invert Odd numbered channels assignable as pairs / Mid-Side processing Panoramic control 4 band fully parametric EQ with top and bottom bands offering band-pass / shelving and LPF / HPF options. All bands + / - 18dB Assignable mute groups Assignable fader groups Assignable sub-groups Dynamics offering gate / compressor / limiter / expander with side chain inputs All auxes swichable pre / post Output delay time in samples / MS Inputs 1-8 are jack / XLR balanced ins with switchable 48v pantom power and a switchabe 20dB pad. Inputs 9-16 are jack only balanced ins not offering phantom but still have the pad LEDs show signal present (green) and overload / clipping (red) next to the gain pots Each group output plus L/R has full Dynamics and full EQ also. The analogue outputs (studio out, control room out, two track out, auxes 1-6 out) are all balanced jacks with the exception of the L/R master which is a balanced XLR pair. In addition to the analogue outs, a number of digital outs are provided in the shape of a phono connector for S/Pdif connection and an XLR for AES/EBU. As a default, these mirror L/R which is handy for connection to my soundcard. On the control surface, each channel (1-16 and 17-32 plus stereo / group and L/R) has an on / off and select button both with a backlit LED so show the status of each. Above the current mix faders are a row of rotary encoders to manipulate whichever fader / channel layer isn't in use. A dedicated pair at the right hand end deal with the FX returns. A channel routing section is provided with backlit LED buttons for groups 1-8, L/R and direct out although it's easier to set routing on the 'routing' page in the menu system if you're not in a rush. There's also a dedicated aux send section too with all the aux select on buttons, and a send knob plus an on / off. To be honest, the send on faders is quicker unless you have the channel you want to send already selected. It's particularly quick for setting up individual monitor mixes in a live environment. On the opposite side of the console are the navigation buttons which are split into three sections of 8 and are colour coded. The first set (grey) control scene memory and desk setup / confiiguration and all the niitty gritty. The orange group control all the mixing facilities such as EQ, dynamics, pan and routing controls. Usefully, there's a view button to show the status of all parts of the selected channel. I usually stay on this page as it's handy to keep an eye on everythiing thats happening at a glance. Lastly, are a set of aux buttons that give access to the send on faders facility including the FX. As mentioned above, my main two consoles have dual ADAT cards allowing 16 direct outs as well as 16 ins on dual light-pipe connectors - so potential for 32ch. I use the inputs as audio channels 1-16 from my soundcard for mixing. I also use the card (MOTU 828 Mk3) as the wordclock master to sync the consoles. Sound Quality: Having read contradictory reports about the 02R from 'sonic perfection' to 'un-useable' I thought I'd take all with a pinch of salt. There's absolutely nothing wrong with the quality of the Yamahas sonics, they sound at least as good as my old GL3000 which still sounded fine to these ears - last time I used it at least. Having previously owned a Spirit 328 and a Soundcraft 328XD, the Yamaha is directly comparable and even with newer models like the LS-9, it stands up - I bet I couldn't tell the difference. A limitation of the Yamaha is the digital 20 bit / 48Khz (on ADAT) resolution but I can't hear the difference between this and 24 bit converted audio if I'm honest. The console runs at 32 bit internally. It has the option to run 24 bit in/out but you have to halve the channel count which I'm not willing to compromise. The dynamics work pretty much without imposing their own characteristic on the signal ie, you hear the signal and not the compressor so to speak. The compressor is happy to work with just a bit of gentle squeeze or if you really need to slam something to get it under control, it's more than happy to oblige. If I need a 'character' compressor, I'll use an 1176 or such similar in Pro-Tools. I haven't mentioned the gate as the gate / expander simply works as such although the 'range' facility is great for making things sound a bit more natural. It also has a 'ducker' although I've never used it. I'm sure it works like the rest of dynamic facilities without fuss, incident or crippling limitation. SPX / REV style FX units are always welcome as I used to use a pair of SPX90 as well as an SPX1000 and a REV500 with great results. Whats even better is the internal processors in the 02R are quieter, seem to have more options as well as a more transparent execution when applied to mix channels. They are pretty much on par with the dual Lexicon units that were in the Soundcraft console although the Yamaha interface is easier to use as it's more visual. The TC Unity M2000 effects are amongst the best I've used - the reverbs are truly stunning plus the rest of them are a cut above the Yamaha offering - they even supercede my TC M1 unit. Their parameter adjustment is also very comprehensive using the faders as well as the jog wheel and arrow keys. The Finalizer program works the same way although this isn't something I use daily so usually use the console in 'dual M2000' configuration. Build quality and reliability: The build is excellent: Thick metal panles, decent and hard paint, sharp and bright LCD screen, solid fader movement and feel, encoder and gain pots are well damped and smooth. They have never crashed or siezed up in operation. Superb. It's clear this was a premium product in it's day and virtually no corners have been cut regarding it's build. The only issues I've had was with the power supply in one console which had a (very uncommon apparently) bad failure and not only wrecked itself but took out a number of the A/D chips on the input side. This manifested itself as the desk blowing it's main fuse when trying to fire it up one day. Thankfully the repair man managed to rectify the supply issue and it's connector and also replace the fried chips to bring the desk back to full working order. I also had a Unity card fail in a console so had to replace it as TC do not repair them anymore. Bad bits: The biggest criticism I can level at the 02R is it's operating system and navigation around it's features. Some parts and options you would expect to be together aren't and are infact at opposing ends of the menu system. This is a pain when learning the console and makes it just that little bit more difficult to get things like templates and setups together when initially configuring the desk. Becuase everything is entirely menu driven and run by the jog wheel and curser buttons, you can only ever go so fast even when you know where the control you need to manipulate is placed. Having said that, I can still get round this faster than I can a Mackie DL1608 or an LS-9. Having used them most nights for the last 2 years, I can get round them in my sleep now altough the learning curve is something I remember well! The only other slight snags are you can't AFL the aux masters to listen to each mix and the fact there's only 8 XLR inputs but these aren't the end of the world considering everything else they do so well. Oh and it's unreasonably heavy too, there's a giant heatsink in the middle to keep it cool. It does it's job nicely as the console runs pretty cool even in a hot venue. On my old Soundcraft, you could fry an egg on the rear panel near the PSU. Final thoughts and observations: Buy the meter bridge if you're planning to use multiple inputs on the console as navigating back and forth to 'meter' page is just too much hassle whilst trying to mix a group. This option was the door opener to using the Yamaha live for me as I'd considered selling it before getting it. The facilities of the meter bridge are quite comprehensive allowing two banks of 16 meters to be used as inputs / inputs, inputs / outputs or alternative inputs / outputs plus a big L/R as well as a peak hold. Metering can also be done pre / post EQ or post fader for comparison. Secondly, get the TC Unity card as the extra options it offers are well worth the cost. I was very impressed with their offerings. Visually, the console is well laid out with the selected channel settings spread out accross the operating surface so at a glance, most of the information you may query is usually right there in front of you. Most buttons are back lit with red LEDs so you can see their status even in low light situations. As much as I've criticised the operating system, the main controls (like the EQ) have their own dedicated controls and operate which ever channel you have currently selected so some things are quite quick to get at. Another really good feature is the Aux sends on faders which is just superb as it's accurate and you can see each mix as the faders jump to attention. The flying faders and flip button allow page changes between analogue 1-16 then digital 17-32 as well as auxes so 99.9% of all mixing including FX (just not returns) and monitors can be done entirely on faders. I use the stereo input faders as stereo group control faders rather than the analogue inputs as these stay as group faders which ever main mix page I'm on. The fact I can pair them up and run 8 groups on four faders is convenient also. Being able to save patches is very handy but what's equally handy is being able to save user configs also. Indivdual channels, individual EQs, different dynamics patches and FX patches can all be pulled up within main save patches. A little convoluted but very handy on occasion especially when you're in a rush. Building a few templates is very much a must before using the console for anything as it'll take more time to put things where and how you like them than it will to mix a show or recording! [URL=http://s778.photobucket.com/user/VTypeV4/media/IMG-20170113-WA0002_zpsqqdc3in4.jpg.html][IMG]http://i778.photobucket.com/albums/yy70/VTypeV4/IMG-20170113-WA0002_zpsqqdc3in4.jpg[/IMG][/URL] I've run at least one 02R for three years now and I continue to be impressed with the capabilities of these old consoles. Love 'em!

[quote name='althemusicwizard' timestamp='1487114758' post='3237313'] The amount of control room options was one of the first things I noticed with the first O2R when I got it....and how many desks have 3 sets of digital 2-track returns and 2 sets of analogue 2-track returns....all with separate switches to solo them? Not many, that's for sure. [i][b]I do love the AUX on Faders too...it makes setting EFX sends or AUX feeds so easy..[/b][/i] Al [/quote] This ^ Definitely plus it gives a very visual representation of that particular mix which can be handy.

I haven't used one since 2004 so my memory is a bit distant but I remember being very impressed with the way the whole thing worked - it was my first time running with fully parametric sections on a desk and VCA groups too. The gig was through a big rig in a small room so it was awesome! I'm not worried about having dedicated returns, I'm happy to 'borrow' some channels from the tracking side if needs be. I'll probably be running a different interface with greater I/O by the time I implement the ML on a permenant basis anyways. I may even use the GL for some extra tracking channels. I'm pleased the ML has a 'control room' out of sorts although it's not called that - it's monitor out or such similar and tracks L/R and then overides for P/AFL and has an independent level control. One thing that has made me think whilst using the ML is how much the facilities on the 02Rs could be taken for granted. I'm very used to gates and compressors being available everywhere as well as EQ on every I/O too. In a live environment, I wouldn't be overly fussed to never use an analogue / outboard setup again as digital is so much more convenient but as suggested elsewhere - there's something quite organic about putting a mix together in the studio with a big console and outboard. I'm not about to give my 02Rs for studio or live - some of the best work I've done has been done on them. I wonder if I can better it with the ML.. I still can't believe some of the gear I own and how little some of it has cost.

Its worth noting that I haven't done enough work with the ML yet to make any direct comparisons with other consoles - including the 02R although early impressions are very promising. I'm also lacking a degree of the peripheries I want to go with the console such as compressors, gates, EQ and FX units - I have some but not as many as I'd like. I made use of our old Behringer MDX 2200 compressors (4 so eight channels of comp), the Auto Quad gate and the pair of old SPX90s which were somehow much better than I remember. Interesting you mention the 44.1 / 48 sample rate there, Al and very interesting that there's still new products for sale with this apparent 'limitation'.. I can just about hear the difference between 44.1 / 16 bit and 48 / 24 bit but certainly can't hear any improvemet of 192 / 32 bit. Maybe it's just me?

The ML is lovely - once the flagship of the A&H fleet is still a very solid performer today with some very thoughtful design touches. I did look at a couple of MH4 consoles as well as a Series 5 from Soundcraft (and even a Yam PM3500 and M3000A!) as I've had many a good experience with the smaller models including Series 2 and GB ranges. A GB8 is one of the sweetest sounding boards I've used - a real nice bit of kit but opted for the A&H because I've used an ML5000 previously and never had any hands on wiith the MH / S5 or Yamaha models. I felt the EQ was amongst the best I've used on any analog mixer, the VCA and mute-group operation was simple yet comprehensive, lots of auxes, 8 audio groups so I can still apply comps and EQ on the bus inserts - it just seemed right and ticked all the boxes. I never thought I'd own one, not a mortal like myself - I thought they'd be forever the hideously expensive and out of reach. I have a soft spot for A&H as I've used lots of them over the years - one of the places I used to work at years ago ran a GL2200 which was a lovely desk back then. It was later replaced with a Mix Wizard WZ3 with built in FX which was a good little desk (although the PA was a bit toss) but I did miss the sub-groups a little. I've mentioned before, we used to run a GL3000 at The Rigger for many years but that's now retired and it's PSU's seem to have gone AWOL. Also worthy of a mention is the GL4000 - I always seemed to come accross these on the smaller festival scenea few years back - it's nearly always an LS-9 these days. I think they were a cracking desk with lovely EQ. I had a look at my ML earlier Al, and the fader banks do appear to be in banks of 8 - have a look at the pic.. [URL=http://s778.photobucket.com/user/VTypeV4/media/ML5000_zps12cmzqca.jpg.html][IMG]http://i778.photobucket.com/albums/yy70/VTypeV4/ML5000_zps12cmzqca.jpg[/IMG][/URL] And I am indeed the in-house engineer - been there too long really but it's mostly cool..

I wonder how long Yamaha intended the 02R to last - a design life of ten years maybe? Almost certainly not 20 years! Ha!

Alot of it does indeed come down to 'bang for buck' and slightly older (and much older, i guess!) digital gear offers tremendous value these days.. I looked at the list prices of the 02R and it's accessories from '99 - 2000 and to spec one to the current state of my pair at work would be in the region of £11K - each! Just the meter-bridge was over a grand.. So, if we scale it out £22K then is about 28K today (according to the internet) so we could purchase a fully kitted A&H dLive system, two and a half DM2000, nearly a VI3000 or any number of vintage analogue 'boutique' consoles.. Madness! Same with the older style analogue VCA consoles - my ML5000 was stupidly cheap considering it too was £25K+ 15 years ago.. I'm glad you commented on the sonic integrity of the Yamaha as there's a few threads (mainly gearslutz) slamming the 02R. Personally, I'd take an 02R or two to mix anything on as I think they're rock solid. Maybe I'm cloth eared or I don't have 'golden ears' or whatever but I've only ever used a couple of consoles that I thought weren't up to it. One was an ancient Peavey and two were early Behringer Eurolive consoles although they both had faults which may have been a factor in their less than stellar performance. I'm not a 'Behringer basher' - I've used a number of their mixers that worked fine - even the dinky ones are ok plus there's nothing wrong with the outboard either - some of it is truly excellent. I'll be very interested to see the price of current digital mixers in another ten years especially as some are very reasonably priced even new. Examples being A&H Qu, Behringer X32, Yamaha TF - all are around the £1500 mark (give or take).. I think the 02Rs may be retired by then!

Lots of stuff happening there, Al - looking good!

^ Nice! ^ Never played a kemper live but have recorded with one (no, I don't own it) - I shouuld get the chap who owns it to profile the V4..

I looked these too -I thought they seeemed excellent value for money if they do what they say on the tin.. As suggested above, please let us know how you get on and post some pix..

[quote name='radiophonic' timestamp='1485769267' post='3226443'] Bit of a long shot, but I know there's a few Midlanders on this site. My band is looking to record 'properly' for the first time and I'm trying to locate a suitable studio - one that knows how to record bands (rather than voiceovers). We're not a straightforward guitar / bass / drums setup either. I'm not a local and this is the first band in the area I've played in, so I'm totally flying blind. Anyone got any experiences? I guess it wouldn't [i]have [/i]to be in Nottingham, but it would need to be an easy drive. The nearest I've recorded to here is [i][b]Abbey Sound Services in Rugeley[/b][/i], but that was a long while ago and from the look of the site, bands aren't a strong focus any more (although I know[i][b] the engineer is excellent[/b][/i]). Any recommendations? Any warnings?! [/quote] Is that Lee? If so, he's a top chap although I've not seen him for a while.. Shoot me PM with a bit info about your setup and I may be able to help.. Cheers, Matt

I wouldn't worry - as long as you don't put everything on 11, I'm sure you'll be fine after all, there's only 2dB difference between 250 and 400w. Don't get hung up on the numbers plus if you change the drivers then you'll change the character of the cab which may no longer be to your taste. The Celestions may not be compatible with the design of your cab too but thats a whole other kettle of fish!

I was happy with the 300 SMX I owned many years ago - coupled to the 2103H and 1153 it was a decent sounding and pokey rig that was manageable size-wise.. I very much doubt many of us could tell the difference between your 250 and the later 300 models in terms of the alleged ~50w although the extra bells and whistles of the post SMX 12 band model will throw some more sonic possibilities into your sound..? Personally, I'd take the older model..

Personally I'd take an AH500-12 the same generation as the 300-12 (not the first Peavey one) you mention although out of all of them, 400SMX takes the top spot.. I quite liked the 500/600 and 1000/1200 Peavey owned Trace models but doon't think you can much beat an SMX. For the record, I've never owned a Peavey era Trace but have had lots of the older models.. Just throwing a cat amongst the pigeons..