Some thoughts from the owner of an R16 and the earlier Zoom MRS 1608.
First thing - you will be wise if you go for a 16-track rather than an 8-track. It's amazing how quickly 8 tracks fill up and then you wish you had more and, yes, you could start bouncing mixes on to a single track but if you do you cut down on your options for the final mix and . . . . .
So 16 tracks is good, but the R16 only has 8 faders so there are buttons to select the faders to be either tracks 1 - 8 or 9 - 16.
The good things about the R16 include 8 track simultanious recording with all inputs XLR/jack capable, hi-z input for guitar, phantom power for mics on i/ps 5 &6, a metronome and a tuner. All the usual EQ, pan and other effects are there. You can connect two R16s together by USB to create a 16-track record, 32 track playback machine. Recording quality is very good. The R16 can control DAW software on a computer. It is small and lightweight for what it does.
So, why do I only use the R16 as a location recorder for plays and concerts and not in the studio? Because my 1608 has a number of features which were discarded in the R16 design. Things like:
In the 1608 each track has 10 'virtual tracks' which allows alternate takes to be recorded. So if a sax solo is recorded on Tr7 V1, an alternate solo can be recorded on Tr7 V2 and the best chosen later. In the 1608 I can set up a monitor headphone mix for a performer which is separate for the main mix. On the 1608 I can control punch in/out on a footswitch. The 1608 has bargraph meters with more increments than the R16's five, giving better accuracy of level setting. The 1608 has many, many more individual buttons for features so selection is quicker - no working one's way through multiple menus. The 1608 has individual faders for all 16 tracks. And so on.
If you are starting out with an R16 then you probably won't miss what you've never had and if you are starting out then the straightforward recording features of the R16 should appeal.
Ray


