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SSL SiX small format mixer???
Old 3 weeks ago
  #871
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once a roadie's Avatar
How might the Six integrate with the xdesk? I’d love to add 4 mono channels of summing to my xdesk for vocal kick snare and bass and then have 4 stereo stem via xdesk. Plus a couple more pres and a compressor is nice to have too.
Old 3 weeks ago
  #872
Gear Addict
 

Quote:
Originally Posted by once a roadie View Post
How might the Six integrate with the xdesk? I’d love to add 4 mono channels of summing to my xdesk for vocal kick snare and bass and then have 4 stereo stem via xdesk. Plus a couple more pres and a compressor is nice to have too.
That is a thought.

I have been looking high and low for an X-Panda for my X-Desk.
Old 3 weeks ago
  #873
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once a roadie's Avatar
Thanks- i was wondering if the sends could be linked between the xdesk and SiX (are they compatible). And if the master bus can be linked up too. I think I’d prefer to bring the SiX into the xdesk, but certainly could try it both ways. I might get more flexibility that way as the SiX would handle 3 stereo stems, xdesk 4 mono channels plus two stereo stems)...
Old 3 weeks ago
  #874
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Quote:
Originally Posted by studio673 View Post
Do you mind explaining what you mean? Wouldn't this make it unworkable on a master mix?
That's exactly what I'm saying. I need a filter that can go higher - above 100Hz - so it can let the low frequencies pass uncompressed. I find, for my purposes at least, 50Hz is too low for me to really lean into the bus comp. It sounds good and at a very high threshold it can add a bit of that glue. It's not a dealbreaker for me as I didn't buy the SiX for the bus comp. I can't really get what I want out of it on a full mix. I imagine there will be plenty of situations I'll use the bus comp but it certainly won't be replacing my other stereo compressors.
Old 3 weeks ago
  #875
Gear Head
 

Quote:
Originally Posted by phillyguitar View Post
That's exactly what I'm saying. I need a filter that can go higher - above 100Hz - so it can let the low frequencies pass uncompressed. I find, for my purposes at least, 50Hz is too low for me to really lean into the bus comp. It sounds good and at a very high threshold it can add a bit of that glue. It's not a dealbreaker for me as I didn't buy the SiX for the bus comp. I can't really get what I want out of it on a full mix. I imagine there will be plenty of situations I'll use the bus comp but it certainly won't be replacing my other stereo compressors.
That's interesting because I dare say most would be looking at this mixer for exactly the G buss compressor! And if you and probably others are saying it's unusable for a mix bus then it makes the summing aspect of this mixer a lot less attractive. Maybe SSL could chime in here and tell us exactly who this mixer is for? It's a very expensive item and I reckon a few like myself were hoping that this feature, even though, fixed in ratio could be used to glue a mix?
Old 3 weeks ago
  #876
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Old 3 weeks ago
  #877
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Will The Weirdo's Avatar
Quote:
Originally Posted by studio673 View Post
And if you and probably others are saying it's unusable for a mix bus then it makes the summing aspect of this mixer a lot less attractive.
To some maybe....... I've used many SSL 4000's and 9000's and the bus comp never had a low freq filter option going into it and it NEVER made it unusable, lol.

To each their own.
Old 3 weeks ago
  #878
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Quote:
Originally Posted by Will The Weirdo View Post
To some maybe....... I've used many SSL 4000's and 9000's and the bus comp never had a low freq filter option going into it and it NEVER made it unusable, lol.

To each their own.
Fair enough, I think I understand the concept now.
Old 3 weeks ago
  #879
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Lando Calrissian's Avatar
Quote:
Originally Posted by Will The Weirdo View Post
To some maybe....... I've used many SSL 4000's and 9000's and the bus comp never had a low freq filter option going into it and it NEVER made it unusable, lol.

To each their own.
I agree. It certainly wasn't unusable for the engineers who mixed nearly all of my favorite rap records with it.
Old 3 weeks ago
  #880
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Lando Calrissian's Avatar
Here's a nice write-up on the SiX:

SSL SiX Desktop Mixer | Writing & Performing Electronic Music

https://www.soundtech.co.uk/musician...ectronic-music
Old 3 weeks ago
  #881
Lud
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Lud's Avatar
 

I'm gonna received mine tomorrow morning!
Old 3 weeks ago
  #882
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Quote:
Originally Posted by Will The Weirdo View Post
To some maybe....... I've used many SSL 4000's and 9000's and the bus comp never had a low freq filter option going into it and it NEVER made it unusable, lol.

To each their own.
THIS!!!
Old 3 weeks ago
  #883
Gear Head
 
Transmisser's Avatar
 

I've been pretty damned happy with my SiX. In addition to the pres / summing / comps, I saved another $500+ since I'm also using this as my main monitor controller. I saw someone mention that they don't like what the SiX does to the stereo image, but I'm not really sure what the issue is? I haven't done an A/B against my DAC that I was initially using as my monitor controller (Clarett 8PreX), but it certainly doesn't sound worse with the SiX. Also, HOLY HEADROOM.

The only concern I have is that I get a 3-4 db volume increase when hitting the mono switch in the monitor section of the SiX. Is this normal?

Either way, I was initially going to go with a bunch of Warm Audio stuff for tracking before going ITB, but that became a little too expensive since I wanted to have stereo capability. I'd like to grab that stuff in the future, but the SiX combined with my RNDI-S is ticking all the boxes for me.

The desire to go hybrid started after I watched one of Tycho's IG stories on how he tracks his instruments. I'm sure this isn't new information to anyone here, but he was basically saying that having an analog front end for tracking mitigates a lot of issues down the line in post (in addition to getting a better sound). It was a bit abstract for me before getting the SiX + RNDI-S, but now that I've done a few sessions with these pieces I totally get it. I have do so little ITB at this point compared to before.

Next step will be to grab a pair of DB25 cables to open up my routing options, since I already have a patchbay. Pumped.
Old 3 weeks ago
  #884
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PettyCash's Avatar
 

Quote:
Originally Posted by Transmisser View Post
I'm sure this isn't new information to most of you, but he was basically saying that having an analog front end for tracking mitigates a lot of issues down the line in post (in addition to getting a better sound).
Definitely nothing new. I've been saying on here for years how using a great analog front end keeps you from having to rely too hard on carving out a good sound using plug-ins, but that wouldn't even be the main reason for using a great analog front end. Anyone's approach to tracking should be trying to get as close as possible to the finished sound that they're aiming for, rather than trying to figure it out after the fact, with plug-ins or hardware. It's a good practice from even just a workflow POV.
Old 3 weeks ago
  #885
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jazzcabbage's Avatar
 

Does the SiX sport automation?
Old 3 weeks ago
  #886
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Transmisser's Avatar
 

Quote:
Originally Posted by PettyCash View Post
Definitely nothing new. I've been saying on here for years how using a great analog front end keeps you from having to rely too hard on carving out a good sound using plug-ins, but that wouldn't even be the main reason for using a great analog front end. Anyone's approach to tracking should be trying to get as close as possible to the finished sound that they're aiming for, rather than trying to figure it out after the fact, with plug-ins or hardware. It's a good practice from even just a workflow POV.
Agreed. I go back to old sessions from when I first started recording and the amount of plugins I used to use on individual tracks made me cringe. Unless I'm going for a specific effect, I usually don't use more than an EQ and Compressor on single tracks at this point. My CPU and mixes are much happier.
Old 3 weeks ago
  #887
Gear Head
 

Per chance, is anyone using the SSL Six with a Console 1? Would they go well together or would the Six make the Console 12 redundant?
Old 3 weeks ago
  #888
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DirkP's Avatar
 

Quote:
Originally Posted by jazzcabbage View Post
Does the SiX sport automation?
No
Old 3 weeks ago
  #889
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Will The Weirdo's Avatar
Quote:
Originally Posted by studio673 View Post
Per chance, is anyone using the SSL Six with a Console 1? Would they go well together or would the Six make the Console 12 redundant?
Console 1 is a hardware controller for plugins while Six is an analog mixer, very different tools. Neither of which make the other redundant and IMHO would work well together in a hybrid setup.
Old 3 weeks ago
  #890
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Quote:
Originally Posted by Transmisser View Post
SiX combined with my RNDI-S is ticking all the boxes for me
How are you using the RNDI-S and what are you getting from it sonically?

Cheers
Old 3 weeks ago
  #891
Gear Head
 
xojjt222's Avatar
Quote:
Originally Posted by Will The Weirdo View Post
Console 1 is a hardware controller for plugins while Six is an analog mixer, very different tools. Neither of which make the other redundant and IMHO would work well together in a hybrid setup.
I agree. I have the SiX and Console 1. The six is great for tracking, summing, and mastering. You can even take advantage of the monitoring section. Mixing however, I would leave that to the Console 1, but that's just my workflow. Just be careful not to compress too much if you're tracking in from the SiX since you can't undo it.

The console 1 is a huge time saver for me since you can make a template with one instance on every track and quickly hop between tracks to make adjustments while mixing.

I consider both of these Swiss Army knife tools along with the Silver Bullet. In reality it's more like having a screw driver, a crescent wrench, and duct tape in your tool kit. - They all play well together.
Old 3 weeks ago
  #892
Quote:
Originally Posted by xojjt222 View Post
In reality it's more like having a screw driver, a crescent wrench, and duct tape in your tool kit. - They all play well together.
Sounds like an episode of MacGyver lol
Old 3 weeks ago
  #893
Gear Head
 

Bought mine today and will have it in a few days. I'm a console 2 user and will report my findings too. Super excited to finally get my hands on this!
Old 3 weeks ago
  #894
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Transmisser's Avatar
 

Quote:
Originally Posted by j0hnny View Post
How are you using the RNDI-S and what are you getting from it sonically?

Cheers
I use a single side of it for a guitar, bass, or mono synth > SiX Mic input or Clarett 8PreX mic input

or

MPC X / Behringer Deepmind / Line 6 Helix into both inputs of the RNDI-S for stereo > SiX or Clarett 8Prex.

or

Line 6 Helix balanced outputs > RNDI-S > FOH (in addition to the RNDI sonics, it prevents prevents phantom power from getting to the Helix)

For guitars, the RNDI adds clarity without being harsh. For bass, there's just a little bit more going on in the lows. Comparing the DI track of the RNDI to the instrument input of my Clarett, the Clarett sounds muddy in comparison. It's subtle, but running the DI guitar through Helix Native for amp sims I had to do a lot less EQ wise with the RNDI track to get what I wanted.

I find that it really shines when using higher gain amp sims for guitar and bass. Like I said earlier, clarity without harshness. The Clarett isn't bad either, but I'll be using the RNDI from now on instead of the instrument ins on my interface.

I would just say to not expect a monumental difference from the get go. I spent an afternoon A/B'ing it with the Clarett and while it isn't cheap, I think it's worth it after hearing how it opens up your signal. Combined with the SiX, there's so much less work I have to do after tracking.
Old 3 weeks ago
  #895
Gear Nut
 
Rapollo's Avatar
My interest has recently been peaked in the SiX, however I'm just not sure how to incorporate it into my current setup... I have a RME Fireface UFX II, a RND Shelford and an Audient ASP880 (for drums)

Having the hands on faders and summing capability is extremely attractive to me however I have no idea how I'd actually reap the benefits of it with the UFX fully without running out of I/O. Also the sheer amount of cabling to utilise it fully seems somewhat untidy! How would I simply and tidily implement it for summing?
Old 3 weeks ago
  #896
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DirkP's Avatar
 

Quote:
Originally Posted by Transmisser View Post
I use a single side of it for a guitar, bass, or mono synth > SiX Mic input or Clarett 8PreX mic input

or

MPC X / Behringer Deepmind / Line 6 Helix into both inputs of the RNDI-S for stereo > SiX or Clarett 8Prex.

or

Line 6 Helix balanced outputs > RNDI-S > FOH (in addition to the RNDI sonics, it prevents prevents phantom power from getting to the Helix)

For guitars, the RNDI adds clarity without being harsh. For bass, there's just a little bit more going on in the lows. Comparing the DI track of the RNDI to the instrument input of my Clarett, the Clarett sounds muddy in comparison. It's subtle, but running the DI guitar through Helix Native for amp sims I had to do a lot less EQ wise with the RNDI track to get what I wanted.

I find that it really shines when using higher gain amp sims for guitar and bass. Like I said earlier, clarity without harshness. The Clarett isn't bad either, but I'll be using the RNDI from now on instead of the instrument ins on my interface.

I would just say to not expect a monumental difference from the get go. I spent an afternoon A/B'ing it with the Clarett and while it isn't cheap, I think it's worth it after hearing how it opens up your signal. Combined with the SiX, there's so much less work I have to do after tracking.
I'm mainly a bass player and use the one channel RNDI with the SIX and it's a great combination. The only complaint I have about the SIX is that the channel-compressor can't handle real low end. It gets into a kind of self-resonance mode if confronted with for example an ordinary Precision bass with the passive tone control set back. This can ruin entire recordings.
But otherwise it is really really great.
Old 3 weeks ago
  #897
Gear Head
 
Transmisser's Avatar
 

Quote:
Originally Posted by DirkP View Post
I'm mainly a bass player and use the one channel RNDI with the SIX and it's a great combination. The only complaint I have about the SIX is that the channel-compressor can't handle real low end. It gets into a kind of self-resonance mode if confronted with for example an ordinary Precision bass with the passive tone control set back. This can ruin entire recordings.
But otherwise it is really really great.

I’m going to have to keep my ears open for this bass issue. If that’s the case on my end also, kinda sucks. I’m curious why it functions that way. I don’t have much experience with the G Comp before the SiX, so I guess it’s not an issue on other SSL stuff? (Edit: just re-read your post and see that you’re talking about the channel compressors and not the G bus, right?)
Old 3 weeks ago
  #898
Gear Head
 

Quote:
Originally Posted by DirkP View Post
I'm mainly a bass player and use the one channel RNDI with the SIX and it's a great combination. The only complaint I have about the SIX is that the channel-compressor can't handle real low end. It gets into a kind of self-resonance mode if confronted with for example an ordinary Precision bass with the passive tone control set back. This can ruin entire recordings.
But otherwise it is really really great.
Here's something from the SOS Forum on this: "Hugh Robjohns - I suspect it's wave-shape following due to a fast release time constant. It's a common effect when using a fast recovery time, as the compressor tries to follow the low frequency waveform shape, resulting in a modulated amplitude output and the fluttery effect you describe.

I think it important to remember that the channel compressors in the Six are general-purpose with fixed parameters -- only the threshold is adjustable -- and I suspect their time-constants have been optimised for vocals, rather than powerful synth bass lines. This isn't the same fully-controllable channel comp as found in a 4000E/G or Duality console!

I would normally expect to set a compressor's parameters differently for a synth bass than other sources, so I'm not entirely surprised with your findings with the Six. And I don't think it can be counted as a fault as such. Just not the right tool for that rather specific job.

The master bus compressor is lovely...

I thought it was a good compromise too. Again, it's a simplified design, but it seemed to work well on full mixes all the same.
"
Have you tried the bass through the MIX BUS compressor?
Old 3 weeks ago
  #899
Gear Head
 

Quote:
Originally Posted by Thebigcomedown View Post

The SiX sounds larger than life the way a good preamp does.
Are the Six's preamps much more dynamic, clean and with greater headroom than say an Apogee Quartet?

Last edited by studio673; 3 weeks ago at 08:52 AM..
Old 2 weeks ago
  #900
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DirkP's Avatar
 

Quote:
Originally Posted by studio673 View Post
Here's something from the SOS Forum on this: "Hugh Robjohns - I suspect it's wave-shape following due to a fast release time constant. It's a common effect when using a fast recovery time, as the compressor tries to follow the low frequency waveform shape, resulting in a modulated amplitude output and the fluttery effect you describe.

I think it important to remember that the channel compressors in the Six are general-purpose with fixed parameters -- only the threshold is adjustable -- and I suspect their time-constants have been optimised for vocals, rather than powerful synth bass lines. This isn't the same fully-controllable channel comp as found in a 4000E/G or Duality console!

I would normally expect to set a compressor's parameters differently for a synth bass than other sources, so I'm not entirely surprised with your findings with the Six. And I don't think it can be counted as a fault as such. Just not the right tool for that rather specific job.

The master bus compressor is lovely...

I thought it was a good compromise too. Again, it's a simplified design, but it seemed to work well on full mixes all the same.
"
Have you tried the bass through the MIX BUS compressor?
thank you for your reply. this is exactly the effect i have (the fluttery effect). i use an 1176 and really like the bus comp with the high pass at 50 hz. i was just a bit dissapointed that such a device has such a dramatic effect on recordings if the channel comp is used the wrong way. this self resonance can really render a recording useless. calms me down that i‘m not the only one. but as said before: in every other aspect the Six is just great. more than i expected and i expected a lot.
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