That might be true. And I think the pareto principle (80/20) is interesting too. Once you’ve improved something up to a certain level, it’s better to move on to improving the weakest link etc.
Well…I think it would be pretty EASY not to think too much about the signal chain when you are already used to recording on your own NEVE console with your own full time engineer. Haha.
But point taken.
So you rate the Six?
Ive looked at various 500 options and it just seems like another money pit - the DIYRE colour series - especially if the MKII, if they where any of the NEVE/SSL/API ?insert whatever brand they be 10x the price and be filled with pages bout “their” special, unique, totally their own years of RnD, ect ect.
Anyways back omg track The usefulness of the Six for mixing is very cool and the price is excellent for what you get
So are you happy with it?
SSL Six has been a total game changer for me. My goal was to have a dawless workflow while writing and the six has been perfect. The best feature of it is the routing options, it’s just beautifully designed and so smart on that front.
Recently I bought a stereo pair of Royer r10 ribbon mics and compared the Six pre’s with the DIYRE CP5 with the new mkii CTX color. I preferred the Six. It had more clean gain and just had more clarity to the sound.
Finally the GBus compressor alone makes the price of the Six worth it. It’s so clean and transparent, perfect for mastering applications. I actually love that there is no attack and release, less things for me to overthink.
500 series stuff is a bit of a strange place with lots of places to go wrong IMO. I got into it because of DIYRE and CAPI diy stuff. Also the single power supply was desirable for limiting my ground loop surface area. The color modules are worth it IMO, I use them a ton on stereo inserts and they work as described, they add color
What is your experience with 500 series, good and bad? I too am very interested in eventually expanding with DIYRE and CAPI - especially the CAPI stuff. I’m using a Chroma with the FET Saturating Filter at the moment. Looking at other options including Royal Blue, Mass Drvr, and CTX.
My 500 series experience has been great so far! I have a couple friends who bought a bunch of different and cheaper pre amps and had a bad time with it.
I’m skeptical of some of the tube stuff in the format. My feeling is the voltage for the standard is too low to not have to do circuit design gymnastics to work around. If I’m wrong about this someone please educate me!
A minor nitpick is the size of the format means he footprints of components must be smaller, so there will always be things rack units can do that 500 series cant or shouldn’t do. That opinion is a bit of a reach though.
I haven’t built a CAPI yet but the color modules have been a fantastic way to get an “analog sound” on the cheap and tickles ones DIY fancies. It’s also a good try before buying the real thing.
I’m looking for some kind of end of chain master effect for glueing the mix and add some warmth.
I’d like to know your point of view and your picks.
I use mostly A4+Digitakt and/or simple 2x84hp eurorack system.
It’s hard to specify my genre (techno/el-music/ambient/drones/etc) so let’s say that I need something universal.
Here is the list of things that I’ve found (and my pros and cons - but I don’t know these devices so I can be wrong)
- Analog Heat
- +Its elektron
- +It has audio interface
- -doesn’t have compressor
- -not a budget machine
- WMD MSCL
- +a lot of good opinions
- -it’s only compressor
- -will it work for a master sum?
- -hard to find used
- EHX Platform
- +budget machine
- +small pedal form
- +simple interface
- -digital ---- Im not a analog purist but I feel like I don’t want to limit myself at the sample rate or bid depth at the output. I couldn’t find any signal path of this.
- -will it work for master sum?
- Oto Boum
- +sounds nice
- +simple interface
- -expensive (compared to AH)
- -hard to find used
- FMR RNC
- -+some of my friends say that its too clean (and some loves it)
Sorry for chaotic list and thank you in advance for help
edit: thank you for moving this thread here lol
I have the Analog Heat between my mixer’s main bus and my interface, glueing everything together. It adds a very nice warmth and I usually slightly EQ the signal and play with the filter (env follower or LFO). Works very nicely with my workflow. I just recently added the RNC before the AH and so far I’m really liking the combo, such nice subtle or aggressive compression combined with the grit of the Heat.
Not really helping here but I can vouch for the RNC & Analog Heat combo
A nice vintage style compressor would work great here and give you exactly what you want with lots of ability to dial in different amounts of compression, glue, vibe and saturation etc. I use a pair of Chandler Germanium Compressors, but there are many options out there. I’ve had them over a decade, but if I was buying now I’d also be eyeballing the stuff from Louder Than Liftoff, particularly their Silver Bullet. Not a comp but should also do what you need, and I see @bradfromraleigh agrees!
The trouble with pedals etc. is the fidelity might not be there for the mix bus, as they are often not designed to be as subtle as you might need in that situation.
Yes, got rid of most outboard when I bought the chandler TG micro cassette. Have that and the anamod ATS-1. All the extra compressors, EQ’s were sold. Would be nice to have a 2nd one for stereo.
This thread is really making me consider my guitar recording chain, which is currently a UA OX cab sim into my interface (ultralite mk4).
Thoughts on hitting a pair of discrete mic pres (or some other color box) between a cab sim and the interface?
EDIT: Or how about BOUM for this task?
Hmm. That’s an interesting idea. I’ve not heard of anyone doing that. I’d be curious to hear it.
I had the Ox for about a month and ended up returning it. At first I was sure that it was going to be a game changer. But at the end of the day I just had to admit to myself, my amps miced with a Royer 121 into a good pre sounded/felt better to me than the “Royer 121” simulator.
Also the Ox still just didn’t truly behave like a real amp. No feedback, sustains different. You can get some great sounds, but still not quite the same. Also, the attenuator is cool, but for recording, my best sounds are nearly always recorded at bedroom levels or below gigging at least, with great care to mic placement and…getting a good/unique sound. It’s about ten times harder to do with an amp that’s dimed. But if someone isn’t able to record at home, then yes, obviously worth it.
I bought the Ox mainly because I thought I would use it live more. But then I realized that it was only truly easier if I brought my own monitors to use with it night after night for consistency. And again, I’d still need the amp signal mixed in just so it would behave like my actual amp was. At the end of the day, it didn’t really speed anything up (it slowed things down if anything) and just ended up making me more paranoid I wasn’t hearing my actual very nice amp, muchless what the audience would be. So it’d be schlepping a bunch more gear and bugging the sound guy even more than usual.
That being said, I wish I had one at my disposal at certain times for recording. It does a pretty uncanny job of morphing your sound. But the classic rocker in me just couldn’t make peace with that. Right or wrong. I want my Deluxe to sound like a Deluxe, not a Marshall stack. And vice versa. Curious more people these days aren’t working more towards getting more interesting ampless sounds via going direct a la Thom Yorkesque tones. That sound has grown on me more and more and strikes me as more interesting than direct guitar trying to fool someone that it’s actually a wall of amps.
I just couldn’t justify keeping it at that point when I could get an M160 and a really nice pre for the same cost. Sure, you get a lot more options from the Ox, but it still bugged me to hear that it’s only ever really 90% there. When it comes to guitar tones I guess I’m still completely biased. Plugins for EQs, comps, less so. But not guitars/amps.
Summing boxes as far as “improving” the mix, magically with nearly all summing mixers bar the ones where you might as well get a nice little console, Its a mixer of the different distortion between the multiple gain stages that gave it THAT sound.
DIYRE are producing a very cool 19" rack mount where you can slide the main board out and swap the “colours” snap off/snap in http://www.youtube.com/watch?v=GoqArOq4EhI&feature=emb_title
If that was a Neve/API/BLAH it would be epoxied and all sorts of vague marketing of “special circuits” and cost an eye watering amount
Thank you for your reply. Forgot to mention that I’m looking for something cheaper and portable. It was great idea to merge my thread with pro-audio-mastering (kinda)
@Noisetrees Thanks, I need to check them.
Also got interested by Roland Aira Torcido
In my totally baseless and unqualified opinion, it seems like the Ox is ideal for commercial production - built for speed, flexibility and usability.
have you tried the strymon deco? i bought a 2nd hand unit some months ago and i´m delighted with it: lots of functions/modes, simple, quiet & clear sound when boosting signals. nice as a desktop pedal too (mixer aux//soundcard insert)
As mentioned I think it’s hard to beat the RNC if you’re looking for cheap. It does all the things you mentioned, it’s 2 channels, and it sounds fine. It’s a fully functional compressor, with all the standard controls, and then some. Not the most unique sounding, but it sounds better than most plugins and costs even less. I use it all the time on my stereo drum machines.
Sounds to me like your opinion is more than qualified. The first time I tried the Ox I was like…I HAVE to get one.
I think it’s an amazing piece of gear if you don’t have all the other pieces it is replicating, then WELL worth the price.
Also a nice piece of gear when you want to make records with a toddler sleeping in the next room
The idea for this approach came from an interview with Scott Hansen. He works with a Kemper Profiler a lot I guess, but mentioned having it hit a couple of Neve units before the interface.
EDIT: I remembered the source! It’s from an interview with Scott in “Pedal Crush”.
Maybe look at the API transformers gt? I actually tried running my guitar through the ssl six pre then sending it to my amp. It made a huge difference! It inspired me to get the API pedal because it is not cheap, but worth it.