#430

Oh, man, it’s a treat. The Blackbox in the corner has three stereo outs, which you can switch to six mono if you like, so I’m routing anything I record into the Blackbox and from there into the SSL Six. Usually run drums and bass, potentially other rumbling low end stuff on ch1 and 2, with its eq and compression. ch3 - 6 only has summing and some gain, but it still opens up the mix and create new spaces. And all channels go through the bus compressor, so you still get a very clean and nice mix from all channels. I just love it to bits.

Right now, I’m only using Norns and Grid to learn the rig. But once I’m comfortable with it, I plan to record a anything from Norns into the Blackbox, for further song creation and layering and then mix and master through the SSL SiX. I don’t have a sound card, I record straight to Zoom and then the mix is done.

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#431

I’ve been going back and forth on the SiX for what seems like weeks now. I’m not super serious about mixing (meaning I don’t like to spend too much time tweaking and working on a mix), and I wouldn’t really be recording with mics. However, I do like the idea of being able to route things easily and have it go through a quality eq and compressor where I can twist some knobs, and be confident that if it sounds good, then it is good and I can print it leave it. Do you think it makes a big difference running synths and samplers through it vs direct to an audio interface or through a mackie? I really don’t need it since I have an audio interface with an extensive dsp mixer but I still can’t get it out of my head haha. I want to be convinced that working with the SiX would be so much better than setting up routing presets and using the mouse for routing and mixing, but I can’t seem to convince myself that’s the case, especially over using my cheap mackie if I want some hands on interface. Do you think I should be able to convince myself?

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#432

I keep considering selling my WASD CODE but can’t quite give it up. It’s so satisfying to use.

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#433

I have a SiX. It’s fantastic for the following reasons:

  • Good preamps
  • Useful compression (channel, “drum” via the talkback input, mix)
  • Very flexible routing, most easily to 4 channels out but can do more.

It packs tremendous flexibility in a small package and as a result you’ll need a couple DB25s to get the full utility of it. I absolutely love mine.

That said, if what you’re really after is just something to tame the signals from hot-level synths etc. A Mackie 802 will give you similar routing flexibility and in the difference in price you could get into 500 series with a Pre and a compressor perhaps, or get a quality DI (A-designs makes some great ones, but also DIY with cinemags from DIYRE if you’re handy with a soldering iron).

Love my SiX. I use it exactly like what you’re talking about. There are other ways to get to different but still fun/useful places.

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#434

Well, you should know that before I got it, I had no compression, no EQ, no summing, not even pre-amps. I’ve always worked away from computers, not as a statement but they simply don’t work for me, so for me, the SSL SiX really ticked a lot of boxes. I was on the Analog Heat for many years, but as I drifted more and more towards just wanting a clean mix, applying character from the source sounds rather than through a box like the Heat, I was more in need of something that just summed, mixed and mastered my stuff. It was either the SiX or going for a UAD sound card and a DAW, as far as I was concerned, which ended up being more expensive if I wanted more than a stereo pair of ins. Not to mention the fact that I had to go into computers after all, which I just don’t want to.

So I had literally nothing, and the SiX solved all this in one strike. If it’d had USB recording, I would’ve ditched my Zoom as well.

But I realise, most people aren’t as agnostic about these things as I am, so I’m probably not the best person to ask.

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#435

thanks @circuitghost and @Gahlord! Very helpful insights. It seems like both of you validated the reasons why i’m wanting one and also the reasons why myself personally can live without one haha. I think the thing that’s striking is that it seems like every single owner of the SiX absolutely loves it. And I’m sure I would too, but also in this time of austerity I’m trying to find reasons to not spend the money haha.

One of the benefits I tell myself is that I wouldn’t be chasing more plugins or going down other rabbit holes. It seems like it’s somewhat end game for me in terms of having enough features for me to work with and enough restrictions for me to actually get stuff done!

We’ll see, I’ll prob go back and forth for another few months haha.

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#436

Yes, we’ve all been there and we’ll go there again, for sure :slight_smile:

I think one important aspect of the SiX is that it doesn’t really apply any character to your sound at all, but only brings out what you already got. The Heat, while I was on it, even in Clean Boost mode, colored the sound to some extent or a lot, depending on how you worked it. It was eventually that coloring that was one of the reasons I sold it, not because it doesn’t sound great, but it does tend to make your stuff sound like “Oh yeah, that’s the Heat at work”. And when you apply it to the master, there’s no getting away from that.

The SiX did kind of the opposite and one of the first things I noticed when working with it, was that I’d overloaded some of my tracks. There was just too much going on, and now that I could hear that clearly, it became a lot easier to trim them down. But in that aspect, the SiX is also less forgiving. With the exception of overloading the input for a nice, analog distortion, it has nothing going on more than just extremely honest, transparent and clean mixing and processing. That’s exactly what I needed, my sound comes from my source material anyway, but it’s definitely not what everyone is looking for.

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#437

Yes, thanks @circuitghost and @Gahlord for the input, very useful.

@circuitghost - what Zoom are you using? I am guessing this could be regarded as the weakest part of your recording chain, so I am interested to hear how you think this works with the output of the Six going into the preamps (presumably?) of your Zoom recorder.

At the moment I am using Tascam DP24SD for tracking and mixing, direct from my synths, and occasionally using the Analogue Heat for post processing on an effects send. However, your talk of tracking everything though the Heat has got me thinking that maybe I should give that approach a try for a while…

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#439

A simple H1N. No preamps, I record straight into the Zoom. I’ve released one or two commercial tracks summed, mixed and mastered through the SiX and recorded into the Zoom and got away with it :slight_smile: for better or worse.

The Heat on the master worked quite well for me. Eventually, summing became too much of a big deal, though, so I needed more inputs. The mix was just too compact, with all that shit going on in my music. And the coloring, of which the Heat always has some. But what a lovely color, though :slight_smile:

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#440

It’s a good choice to preserve your resources right now. You can get almost as much flexibility in routing from a Mackie 802 (which is what I used prior and still probably would use for a live gig if I had any) and definitely more conveniently (Mackie is smaller, doesn’t need a DB25 for full capability).

If you know that what you love is SSL compression (perhaps tried all the different models in software etc) then the SiX is probably the cheapest way to get their compressors. Not all the same knobs, the interface is simplified, but the underlying circuit is on-brand.

The SiX eq and compressors are great. But if that’s the main thing you’re after–eq and compression–I’d encourage small 500 series lunchbox, like a six slot, and then explore EQ and compression via different modules that way.

This might be crazy too but you could look for a couple excellent compressor pedals as well. I very much like compressing at least a little bit on the way in.

Good luck out there!

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#441

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Not quite tiny; definitely a corner. Usually in a constant state of flux, but a bit more settled than usual lately, cause nothing’s going anywhere anytime soon.

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#442

Those pipes! Hope they’re in good repair and that you live in a warm weather climate. Speaking from experience here.

#443

Good repair, yes. Warm climate… ehh, not so much. Those are the hot water pipes coming from my furnace though, so if they’ve frozen I’ve got bigger problems. :laughing:

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#444

I think this is what I’m going back and forth on! I like to run my stuff through pedals and then all of that through a strymon deco when recording and part of me thinks that having something that is extremely honest will help me dial in the best recording chain so that I’m not just recording a bunch of mush from my sources. But at the same time, is that sort of transparency and going to give me a lot more in the end? I have a feeling I will never know until I try with something like the SiX, but also I could just continue to be blissfully unaware haha :slight_smile:

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#445

I have a 1202 vlz4 that I am using and it’s definitely flexible enough. I have to do some dirty routings and in that sense, the SiX would be a bit more flexible in that regard (master inserts, the way the channel inserts are routed, etc) but yeah, good to preserve my resources right now (until something gets announced at superbooth haha)

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#446

I love that shelf thing. That’s so great.

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#447

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Build/jam/recording station

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#448

For straight-up clean summing this little box is super easy to make, just straight wires with no fluff. I had one for a long time while I was saving for current gear and it was fantastic for analog summing. For master inserts, just throw your final compression etc between the sum and your converter box. Control your mix levels with the volume/gain of whatever you’re sending to it. :slight_smile:

(feeling like we should have a SiX topic or something)

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#449

Hell yeah - good to know! I’m still really looking forward to getting the 8010s and don’t work with deep bass in my room so I may do the Joshua Eustis thing and have them on yoga blocks next to my monitor.

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#450

Yeah, I ran into three kinds of people when I was shopping for monitors.

First, people like myself, who don’t know all that much about these things but generally think that having a pair of monitors can’t be a bad idea, can it? Gentle, kind folks who just want to make some music in their spare time.

Second, people saying “Yes, it’s a terrible idea, don’t even bother, your room isn’t this and that and you don’t got that and this and your space isn’t that and it’s definitely not this and you’d just be wasting your money and also you’re ugly.”

Third, people going “You can use monitors in any space. Just learn what they’re telling you, and you’re good.”

This last category contained only (very) seasoned musicians and producers, people who’d been in the professional world for ages. They all suggested mid range stuff, the big ass monitors were overkill for the purpose and the smallest one were def all right, but always go for mid range if you can afford it (but don’t panic if you can’t, low range still offers plenty value). I would’ve gone for 8010 cause that’s where my budget was at, but got a stupid great deal on the 8020 so went for it.

So yeah, it’s like with everything. Those who don’t know much, enjoy preaching. Those who know plenty, remain largely quiet until they serve a single piece of advise, and the mist clears.

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