Getting a full multi from the board is going to net you the best, most flexible results. Period. If there's open inputs on the board, that gets even more flexible, because you can add in some of your room stuff. Even if you're not sure you want to use them I'd absolutely recommend grabbing multis every night and just putting them on a drive for the band. Bad recording juju to have that opportunity and pass it up IMO.
That said, if you really don't want to work with multis, there's obviously ton of options.
My first recommendation (which I honestly think is probably different from what most people here would recommend) would be to just use a standard matrix sorta config like most of the bands on nugs use. Build yourself a "recording mix" that suits your needs, and then find the best place to capture ambiance that leads to the best combined result (could try both omnis and cards at stage lip facing either direction.) To your question about panning, I'm assuming you've linked the busses you're using for your mix? Start with the accepted generalities of band mixing: vocals, kick, snare, bass should all center; if there's two guitars or opposing guitar/keys, pan them opposite each other; spread the drums out and make sure there's stereo overheads to create some ambience. One really nice thing about the Berhinger boards with usb cards is that you can use multis to work on a mix, so if you take a multitrack of one night, all you need to do is hook your comp back up to the board, change the input settings to be taking input from the usb card instead of local inputs, and then basically build your mix from there. Gives you tons of time/flexibility to build a "perfect" recording mix. Are you the only one with access to their mixer/are you mixing the show for them? If so, it gives you endless freedom to basically mix the show for your recording, which is kind of taper's dream, although gets a bit more complicated if you're also running IEMs for the band at the same time.
If you've got a lot of gear you can always do a bit of everything, and since you've got run of the house, you can patch everything wherever you need it (deck on stage, run mics from FOH backwards through the snake). Grab the stereo recording mix, stage lip, house, on stage overhead like you were talking about, etc... and just see what combos sound best.
I've been touring with a band running monitors and FOH for them off a Berhinger X32, and have an M32 at my house, so I'm pretty familiar with that line of boards if you have any questions about board config or anything like that. What band are you working with/what sort of rooms are you playing? I'm flying in for a gig at the Fox in Boulder on 7/23 if you happen to have a night off!