I actually love my B6, Ive mixed over 100 projects with it and love the versatility and sound I get and so do my clients. Everybody has their own opinion though
The problem with this take, all too common on YT, is that you spend far too much time on gear/features and far less time on what's most important: making music. All of the "alternatives" mentioned here aren't. There are two alternatives to the Big Six when you look at *how people use it* - Tascam Model series and Soundcraft MTK series. With all these suggestions you've offered, you've complicated the streamlined process of working that these three options provide. There is no vibe at all to what you suggest-a patchwork mishmash of components. The three USB multi-channel units I mentioned have the vibe of making music. They're units you can master and get to know intimately so that when you have a project, you make music with it. With your approach, everything is replaceable, the gear lust never ends, and you're always having to interrupt the way you work. I have a Tascam Model 16 and I love it because I know it well and I know how to make music with it and I don't have to worry about a half dozen other companies and their constant changes and updates. My vibe is bliss. :)
Those are not apples to apples, and they don’t deal with any of the points that I made in the video. Those are products designed for a completely different purpose. A valid purpose, however, much different than what the big six was designed to achieve.
@@BarryJohns Well, I'll put @jamesbatcho's point more succinctly: SSL describes the Big Six as a *mixer*. You didn't describe a single mixer alternative. I've considered the Big Six because I'm looking to step up from a small-format mixer in my home studio. I was really intrigued by your video title, hoping to learn of a really good quality small console that I overlooked. For what I was looking for, your video comes across as clickbait. Sure, you offered good alternatives for several different things the B6 could be used for besides it's main purpose. But it's sold first and foremost as a *mixer*. So it's just bizarre to me to find that, by the time I reached the end of your video, you didn't address mixing at all. I mean, how is any of what you recommend more of an "apple" to the B6 than a Tascam Model X or Soundcraft MTK? If someone in this exchange is not comparing apples to apples, it's Barry Johns. I get all the criticisms (and it's valuable to hear them addressed clearly). But, being a mixer, B6 is a system. Even considered together, the various parts you recommend don't add up to the same system in terms of mixing/routing capability. Maybe you should have done the summing mixer video first....
@@BarryJohnsI think you either used the Big Six wrong, or you don’t really understand the kind of workflow the Big Six was meant to achieve. I’ve used the Arturia AudioFuse before, and it doesn’t compare IN ANY WAY to the SSL Big Six. And Focusrite Scarlett? Come on Barry. And you say the SSL doesn’t “really” sum, well that’s not true. You say the EQs and compressors are unusable, that is definitely not true. The 1 channel compressors and the G Bus comp sound better than any plugin alternatives. They are limited in control only, but very useable on drums, synths vocals guitars you name it. The SSL Big Six is basically a modern mini console with huge sound which has analog summing and a class compliant audio interface (future proof so no drivers needed on MacOS) built with multiple analog EQs and compressors. When you go out from your DAW via USB you do have full volume control of your faders, no they aren’t motorized but functions like that would only raise the price of the Big Six for a luxury feature. Your take on the Big Six is unnecessarily negative in my opinion. It’s not the greatest thing ever but it’s certainly a true studio beast in the right hands.
True...people tend to forget that its not just about recording but also about the live interaction with a mixer during the musical process...look at king tubby or other dub reggae legends, using the mixer as a real Instrument, you can do much more than with a 19 inch rack usb sound interface.the interfaces lack the handson playing twisting while possibly summing your audio from the computer...sure, in a classic recording setup where you record one part after the other,there are tons of better possibilities, here i give the flowers to barry,but there is a market for big six users definetely, because real alternatives are quite rare...tascam models, mackies with usb per channel recording have their advantages but im sure ssl is superior in terms of routing. Comparing a mixer to some audiointerfaces is per se legimitate, in terms of sound quality, but not in terms of interacting with a mixer in a creative way, e.g. mad Professor, lee perry, google up these legends if music and see what is meant..on the other hand a lot of music is created in a classic way, whereas there are other options than big six. Not all musicians are that deep into buying a lot of hardware, nor all the connecting buzz...b6 is quite easy going..less cables from the daw to the mixer no cable needed, much less connecting disconnecting work, so for a lot of folks who try to avoid the studio cable hussle, its legitimate, who knows how many creative people out there in small project studios need exactly that kind of flexibility and sweetspot.. For expansion, big six probably isnt the right thing as its very niche. I also have a friend who despises big 6. I was in the market for obe but still havent decided yet which route to go..personnaly, i like tonhave the ability to sum or mix down at least partially analog, as i believe that certain tracks of songs can breathe better in the mix...i am talking from a non professional Perspektive here..i do that just for fun. Fot my fun, i need a mixer to play with my diverse audio, be it from daw, live Instrument or whatever...we jam lively...i work currently with a allen heath zed18, a focusrite scarlett and a a designs mp2 preamp for recording...this setup gives me good enough flexibility for my purposes, saying this, i know this setup is at the lower end of what you might call flexibility, as the mixer isnt that flexible... As for expandibility, b6 isnt the way to go, but hey, you can sell it at any given time when its necessary or you feel you outgrow the system...
Big six is a product for demanding modern artists creating at home. I mean, it is a great tool if you are an artist wanting to record your projects at home with an intuitive unit that allows you to put your hardware preamps / instruments / phone synth / whatever in a hub you can rely on, having the controls in front of you as it would be in a big console. I can understand this is not something interesting or critical to have from the eye of an experienced producer or mixing engineer, but from the creators perspective, it's just great to have a solid mixer that will sound good enough, even if you can't record a whole band with it. It is limited, yes, but this limitation can also work as a benefit if you want to define a small live at home project. It won't win the competition with an interface on its price range (Apollo/RME), it cannot be compared with live mixers either as it has much more to do and the price is much higher, and again, the comparison to a real summing unit is not possible. Nevertheless, if it fits your artistic ideas, it's a reliable piece that sounds much better than common mixers will do, and will allow you to make things faster and easily than a common interface would do, with the possibility to have the "console feeling". Again, this "console feeling" will make laugh a professional engineer maybe, but as an artist, it will happen. In summary, from my approach, the kind of issue with the Big six assessments I see around is that it usually does not fit the classic professional producer mindset, but it should be mentioned that this assessment is just not fair, since the Big six concept is just different. Big six is vanguard (in the sense it has not competitors) for do-it-yourself artists who don't want to go to a professional studio but they want something better than ordinary mixer as their center piece for their projects. To give another example of a similar thing, I can see the same kind of issue with the Fender Acoustasonic guitars. It won't be the favorite of pure acoustic freaks, neither the favourite for electric guitar fans. But from the eye of a modern artist who just want to sound really good, it's just vanguard to have both things together in a proper Fender unit that, in the end, it's not acoustic, it's not electric, it just sounds amazing.
I purchased a second Big Six. I find them to be quite excellent for small projects. Very high sound and build quality with wonderful functionality. Of course a $38,000 SSL origin is better.
Personally, I think to call the Big 6 a 'very, very, very mediocre' unit is quite an extensive exaggeration in all honesty and such talk more aptly describes the Scarlett or Warm Audio 1176 you recommend so highly in your affiliate links....The KT 76, well that's possibly one step below budget in all honesty ...terrible noise floor so it's becomes rather like the onboard 6 channel EQ you describe in 'just unusable'... 😂 I Have the smaller Six and it's easily one of the best studio investments I've made to date ... a well-built, versatile analogue mixing desk with so many routing options that it does what I need perfectly ... I think the evolution of the Big 6 was possibly just SSL's reaction to the widespread consumer requests at the time for more channels/analogue inputs than the smaller 6 offered and they choose that have it host a basic direct interface as a secondary convenience for some users... The whole SSL vibe is super analogue mic pres that do a good job without the need for dedicated mic preamps so no digital/ADAT or motorized faders are required ... why would you include them as an unnecessary cost to pass on? I would also stress that first and foremost it's a mixing console and that's how it should be regarded...you talk of 'similar conversion' but that's not what 6 is about or even the primary function of a mixing console but rather the converters role...so conversion quality dosen't matter when it comes to considering how good a mixing console is or isn't ... let's face facts in stating that the converters/Mic pres or anything else for that matter on a Scarlet or Audiofuse is NOT the best quality either....Why include Digital conversion in your argument? Why would you invest in a good 1176 clone or bus compressor if you intend to 'cheap out' on the converters? It makes no sense and renders the more expensive gear pretty much useless if you're then using a Scarlett to subsequently print your tracks or record instruments? Why not possibly recommend a similarly priced mixing console and stress the importance of good conversion whereby if you can afford to do so then get a Burl mothership or Dangerous Music A/D! to pair with your Bus compressor ... it's a meaningless comparison. The extensive SSL ecosystem covers motorized faders/DAW control in great detail with the UF8/UF1/UC1 and these units work flawlessly alongside my Six whose intended use is in the routing of analogue signals rather than assigning some secondary DAW functions or automated fader control etc... The real beauty for myself lies in the streamlined routing options and workflow/hands on approach...personally speaking I think it's the best desktop mixer by some distance in a market that is already saturated with 1176 clones and I don't see why you are recommending a Scarlett paired with some halfway decent attempt to emulate the iconic G Bus compressor heard in so many hit records. Where are the onboard filters, EQ's & Channel compression, flexible routing/ Hardware Inserts & Sends, talkback / Listen Mic Compressor, G Bus Compressor on the Audiofuse or Focusrite etc You go on to mention mic pres? Those on the Scarlett are definitely much worse than those on the SSL... Why would you attempt to replace the G Bus circuit with budget gear that is only attempting to replicate it...These 'options' you provide don't compare in any logical way or contain on board gear that is far below what the Big Six offers...It also does the analogue summing thing pretty well...in effect your just running your collected channel count through analogue circuitry to impart flavour and it definitely does this ... The audiofuse is an interface/ADAT expander with limited digital connectivity whereas the Big Six's primary function is as an analogue mixer in a live recording environment that happens to house a USB interface also...they are not the same?
I'm really glad you made this these videos. I've been making steps out-of-the-box the last few years and during that time really considered the Big Six. Instead have opted to piece meal various gear. I feel like you've given me confirmation I made the right decision.
I have the SSL Six paired with the Cranborne ADAT which I use with my old Motu Ultralite mk4 Interface. I agree with Barry about the EQ and the compressor, hence why I use better units inserted into those channels from the Cranborne. The Cranborne is also super excellent with the adat in and out which makes processing super fast. The ADAT in and out was what is fundamentally missing from the Big Six.
Depends on what you’re doing. I do music as a hobby. I don’t nor care to own a commercial studio anymore. Cause there is no money in it anymore. But for four pretty good mic pre’s, inserts for for any compressor’s and eq’s. It’s great. The eq’ section is limited but it works well and is very useful. Even the one knob channel compressor is pretty good. I have focusrite isa pre’s, la2a,1176,pulteq clones. Etc. They all work well in various ways in using the big6. So it’s definitely a person and use of what they are doing. Works for some people and not others. And I do use it to some channels to it individually for certain things. So it works well for me. And what I use it for.
ev7en if you got a SSL origin you still would want a few outboard pieces like distressors 1176 etc plus the main buss insert is waiting for that master processor that you could bypass with a click of a button.
You’re missing the point Barry. The USP with the Big 6 , is a hybrid mixing and tracking solution albeit limited , To record track, mix and record with esteemed SSL analogue circuitry and preamps , seamlessly in and out the box (DAW). Why would you suggest conventional audio interfaces , with the added presumption that people have additional outboard gear to use for sonic processing ( EQ’s Compressors) etc. They may not have these additional resources hence their reason to purchase the Big 6, that provides that solution for them at that price . That advice is quite redundant in my opinion.💁🏾♂️ Btw RME /Motu owner considering Big 6 for purchase.
honestly i use the big six and love it I'm a producer and my studio consists of synths drum machines some live instruments, outboard gear and tape machines. If I didn't use the big six my next would be ua apollo and using the console for some unision pres going into pro tools. i don't think there's a product on the market that works as well as the big siix for me and I have other audio interfaces but having multiple hiz lines pre amps comps, eq's sends and inserts to patch into guitar pedals and outboard as well as routing whole loops to a send going to tape machines for creating samples to use in production I think its one of the best interfaces/mixers on the market because nothing else would offer the value it has for my workflow, I can run the SSL pre's into an insert with a neve preamp and get the colour of both and then send to outboard with the press of one button on the mixer and make decisions in the creative process that I couldn't with a standard audio interface. like I said if not the SSL big six id run a uad apollo x8p and x16 which is a lot more money and honestly not sure how much more quality compared to the SSL, since all uad plugins are now native. i think people overlook how well the big six 4 insert channels pair well with outboard a small lunch box with so o/b eq's and dynamics or other preamp colours and you could have even more versatility I also just use mac studio aggregate device and run another audio interface if I ever need more than the 12 inputs but in the genres I work in it's never been an issue. If I bought 4 six 500 series channels and a g bus it would cost me 2280 eur 80 less than the SSL big six
I was on the brink of getting the SSL Big Six because of the summing and G Bus. I’m glad I didn’t after thorough research. I settled for a Dangerous D Box. I went ahead and got two 500 series SSL Six channel strips. I used them for drums and synths. I like how I can change the tone of it. Also I recorded vocals through it but used the Warm 73 and WA on the way in . Plus my 500 series chassis is by Heritage Audio with ADAT. So I’m am getting good converters with this. I was able to get two 500 Warm Tone beast pre amps. So glad I went this route. It was very flexible and gave me a lot of options.
I have a Big 6. Adequate quality and Perfect for my limited space and use case (the example Barry mentioned - synths drum machines samplers ) w little bit of mic & guitar in
I've looked at the Big Six because of the SSL name and it's home studio friendly size, but as always, my budget just laughs at me. Since you're offering other options that we might buy, one of which is an honorable mention of the Avid MBox Studio, I'd like to ask you if you'd EVER consider reviewing the Tascam Model 12? It's been out for years, but so has the BigSix. For those of us who are monetarily disadvantaged, I'm of the opinion that the Model 12's value proposition is WAY above it's price range and a better unit than the MBox. It has plenty of inputs for the recording side, an audio interface included, inserts for outboard gear, onboard preamps that are every bit as good as the MBox, a built in recorder that you can overdub with or transfer tracks to your DAW and more. I feel like it's EQ capabilities are adequate, and it's one knob compressor is a little lacking, but still very usable. It's probably not considered PRO gear, but I'd still love to hear your opinion. What about it???
Sorry Barry, I didn't find your review too relevent in my world. Though I don;t own one, I could see how the Big 6 could be a very useful piece of gear. For example, I work in a hybrid digital / analog setup with emphisys on the analog side. My setup is built upon 90's and 2000 era equipment by design and value. I have been considering upgrading my 90's Tascam 16 channel, 8 bus console to something better. I'm looking for more headroom and a higher quality stereo bus.There isnt a lot to pick from in the under $ 5,000.00 market consle-wise. A used Toft ATB comes to mind. I beleive I would use the Big 6 strictly as a fader controlled summing mixer. I'm not that excited about using a software faders control surface I don't want the complextity of motorized faders either. I would still run my Black Lion Digi 003 audio interface into the Big 6. I would use the Big 6 strictly for mixing and stems. I would continue to use my current external pre amps to record into the Digi 003.The biggest holdback for me is the Big 6 only has 2 aux sends. The I use many hardware delays, reverbs, ect. Toft ATB has 6 aux sends for example. If I was willing to streamline my effects I think the Big 6 could be a good choice. The other directon is to purchase a hardware summing mixer and build around that. For now, I'm going to stay as is hardware-wise and continue to focus on my musical and engineering skills which is always the best investment we can make.
Agree Barry, not the quality of my other SSL gear! Compared to my other gear it is the weak link in the chain. When I patch it in it degrades the signal.
Sort of agree. I wish that they either focused on EQ or compression. Not this one knob EQ and one knob compressor thing. I feel like if it had a solid compressor a threshold and release without EQ or a 3 band EQ without a compressor, it would have been a much better product. I have seen and heard people running the Big Six as a small format sidecar mixer and loving it that way. Don't care enough for the midi faders but I wouldn't be mixing on it either. For me it would be more for tracking. They Big Six does make the regular Six seem like a fantastic deal tho when you compare the features per channel and the increased IO.
I use the ssl big six. I honestly feel like most don’t use it to its full potential. Inserts on the mono channels and the inserts on the master channel make it versatile (to me) running channels back and forth to & from the daw is easy as it comes. Even using daw effects as send fx for the console is great. However I don’t have experience with top grade ssl consoles so I’ll take a neutral stance.
Great video - have a question on HA73. I just got one and used it as a hardware insert on the line in and im losing all my low end even with the eq bypassed - have you had that experience?
That's pretty much exactly what I expected. No real alternative to the Big Six was mentioned, just individual components that are more expensive in total. For the price of a Big Six, you can just about get an AudioFuse 16Rig and Warm Audio WA 412 and ultimately have no hardware mixer. No (even simple) analog EQs, no buss compressor, no switchable, balanced inserts etc. and the things you mentioned are also only mediocre. I think it's good that you at least made a follow-up video to explain what you think is a better alternative, even if I don't share your opinion.
Have you tried and tested the Behringer 33609 clone? Many others are recommending it, and it would be quite flippant of you to simply disregard it on the name alone, without getting your hands on one. I recently purchased the Behringer 1273 pre amp, and I'm very satisfied with the unit. Also, both units come in at a very reasonable price point.
I totally agree with Barry’s sentiment. The Big Six was a failure it was a massive fail for multiple reasons but from my perspective no future made it a failure more than not having ADAT. As for a preamp, compressor and EQ they were completely trash too but depending on your source you could get maybe some use out of it.
I can't claim to have much experience from a technical perspective, but it seems to me that the solutions you're proposing instead of the B6 are going to run your bill up to 3 times as much. Is it really comparable? If you go out and spend upwards of 3 grand, of course you should be able to get better results. But it seems to me that to make it a valid comparison, it should be gear that is within a similar price range when you add it all up.
No, I’m not suggesting you by everything, you piece meal certain pieces together and come up with a great plan based upon your particular needs. I can assure you, you can put a great system together for the same price as you’re spending on the big six.
I can’t co-sign Warm Audio…. I don’t like their products. i rather use Audioscape … Buss compressor $699, MEQ-A Tube EQ $899, and V108 pre amp $599 (optional) or a optional OPTO Compressor $1099. With a Presonus Quantum HD 8 $999 interface…. So for $3696 most expensive option you have a far superior option imo.
I much prefer the Alice 828 mk.3 mixing console, made in Britian, to the SSL Big Six. It's a much more vibey, old-school broadcast type mixer, with a heritage. The preamps have mojo than the SSL Big Six does not. It's not like the SSL Big Six gives you all the digital and analogue interfacing. So, I think it's better to get something more focused on just sounding really good and having a character. I'd also rather support a small builder than these big companies that mostly seem to be on the cash-in path, and are losing their soul, and losing track of their heritage.
Performance is results minus expectations. That means for two different sets of expectations, performance can be different for the exact same results. The Big.Six appears to me to be a utility mixer. This is just a swiss army knife, a jack of all trades, a master of none. I don't see an alternative utility mixer listed here in this video for a comparable price or feature set. I went from a Tascam M-08 utility mixer to this, so the Big Six has far and away a better set of features than the M-08. We could look at the affordable Tascam Model 12 but I like the pre-amps, routing, and connectivity on the Big Six better than the Model 12. Both are good enough, but I like the SSL better, though. I kind of agree it should have the ADAT I/O and a better EQ/comp section, for the price. This utility mixer was available in early 2022, not sure why its a hot topic now, vs. then.
Barry pls do a detailed audio interface suggestions video for our current time SSL UAD APOGY and many more just released new ones and we need tech comparisons!
I don't think anybody should be buying focusrite Scarlett anything, honestly that line just needs to be discontinued because the their higher end stuff is great
Would you happen to have any recommendations for studio ventilation and climate control? Just dealt with a mold problem and not looking to do that again
Why don't you do some audio comparisons so we can here what you are on about. Show the settings you are using too. Just hearing your opinon doesn't mean anything unless you can back it up?
After all of the smack I spoke in the comment, I sold my SSL Big Six for an Orion 32 + Gen 4 lol... yes it's digital, but it sounds so much better and has 32ins and outs with patch bays!
Warm can be hit or miss some of their mics are great but the wa 273 I found to be garbage the plugin of a 1073 or 1084 sounded better after recording clean and adding the plugin after or if you have uad record with the plugin you can buy two bae 500 series used for a lil more expensive
I agree Barry. It was a massive fail. The mic pres are no better than your basic budget ones that come with the majority of interfaces and they gimped the EQ and compressor to basically being useless. It does not sound like an SSL nor is the quality of the past. Old school analog mixers will give you more features and be a better buy. I agree definitely chose other options.
Barry! Love you man but you’re doing nobody any favors recommending WARM audio gear. Why them? They cut every corner they can. There are so many other better built products. black lion audio, heritage audio, audioscape, capi. BAE
Hey Barry. This video dropped right as I was about to ring up a used SSL big six on Reverb. This might be divine intervention? Haha! I will add that I manage to talk the seller down to $1500 Would you still argue that it’s not a good financial decision even at that price point? Really appreciate the feedback and I’m a huge fan of the channel. Thanks!
@BarryJohns thanks for the follow up video. You addressed questions that I had, especially towards the end of the video. My two cents (as an owner of the Big Six) if you’re interested are … I have no regrets with my purchase even though I believe everything you have stated… and here is why… I don’t think the Big Six was made primarily for professional creators of a certain level… in other words, it’s more entry level than pro level. I’m not a pro and I’m therefore ok with that. Many … and probably most folks on RUclips are probably in that bucket as well. I don’t think you get to grow in a field without trying different things and being innovative, especially with limitations. I believe a lot can be done with the unit, especially if you add analog inserts… is it the best way to do that? Probably not … but I think for Big Six users, the best thing to do is to use the unit to learn until they have genuinely outgrown it … and then matriculate to better gear that they will at that point be able to fully take advantage of. Thanks for explaining the alternatives based on your extensive experience. I’ll be keeping this in mind as I develop my skill set. You didn’t need to make the time for that but it’s sincerely appreciated.
I actually love my B6, Ive mixed over 100 projects with it and love the versatility and sound I get and so do my clients. Everybody has their own opinion though
The problem with this take, all too common on YT, is that you spend far too much time on gear/features and far less time on what's most important: making music. All of the "alternatives" mentioned here aren't. There are two alternatives to the Big Six when you look at *how people use it* - Tascam Model series and Soundcraft MTK series. With all these suggestions you've offered, you've complicated the streamlined process of working that these three options provide. There is no vibe at all to what you suggest-a patchwork mishmash of components. The three USB multi-channel units I mentioned have the vibe of making music. They're units you can master and get to know intimately so that when you have a project, you make music with it. With your approach, everything is replaceable, the gear lust never ends, and you're always having to interrupt the way you work. I have a Tascam Model 16 and I love it because I know it well and I know how to make music with it and I don't have to worry about a half dozen other companies and their constant changes and updates. My vibe is bliss. :)
Those are not apples to apples, and they don’t deal with any of the points that I made in the video. Those are products designed for a completely different purpose. A valid purpose, however, much different than what the big six was designed to achieve.
@@BarryJohns Well, I'll put @jamesbatcho's point more succinctly: SSL describes the Big Six as a *mixer*. You didn't describe a single mixer alternative. I've considered the Big Six because I'm looking to step up from a small-format mixer in my home studio. I was really intrigued by your video title, hoping to learn of a really good quality small console that I overlooked. For what I was looking for, your video comes across as clickbait. Sure, you offered good alternatives for several different things the B6 could be used for besides it's main purpose. But it's sold first and foremost as a *mixer*. So it's just bizarre to me to find that, by the time I reached the end of your video, you didn't address mixing at all. I mean, how is any of what you recommend more of an "apple" to the B6 than a Tascam Model X or Soundcraft MTK? If someone in this exchange is not comparing apples to apples, it's Barry Johns. I get all the criticisms (and it's valuable to hear them addressed clearly). But, being a mixer, B6 is a system. Even considered together, the various parts you recommend don't add up to the same system in terms of mixing/routing capability. Maybe you should have done the summing mixer video first....
@@BarryJohns Big Six, Model series, MTK series are all apples, both as gear and as used by an engineer. I don't understand your comment at all.
@@BarryJohnsI think you either used the Big Six wrong, or you don’t really understand the kind of workflow the Big Six was meant to achieve. I’ve used the Arturia AudioFuse before, and it doesn’t compare IN ANY WAY to the SSL Big Six. And Focusrite Scarlett? Come on Barry.
And you say the SSL doesn’t “really” sum, well that’s not true. You say the EQs and compressors are unusable, that is definitely not true. The 1 channel compressors and the G Bus comp sound better than any plugin alternatives. They are limited in control only, but very useable on drums, synths vocals guitars you name it.
The SSL Big Six is basically a modern mini console with huge sound which has analog summing and a class compliant audio interface (future proof so no drivers needed on MacOS) built with multiple analog EQs and compressors.
When you go out from your DAW via USB you do have full volume control of your faders, no they aren’t motorized but functions like that would only raise the price of the Big Six for a luxury feature.
Your take on the Big Six is unnecessarily negative in my opinion. It’s not the greatest thing ever but it’s certainly a true studio beast in the right hands.
True...people tend to forget that its not just about recording but also about the live interaction with a mixer during the musical process...look at king tubby or other dub reggae legends, using the mixer as a real Instrument, you can do much more than with a 19 inch rack usb sound interface.the interfaces lack the handson playing twisting while possibly summing your audio from the computer...sure, in a classic recording setup where you record one part after the other,there are tons of better possibilities, here i give the flowers to barry,but there is a market for big six users definetely, because real alternatives are quite rare...tascam models, mackies with usb per channel recording have their advantages but im sure ssl is superior in terms of routing.
Comparing a mixer to some audiointerfaces is per se legimitate, in terms of sound quality, but not in terms of interacting with a mixer in a creative way, e.g. mad Professor, lee perry, google up these legends if music and see what is meant..on the other hand a lot of music is created in a classic way, whereas there are other options than big six.
Not all musicians are that deep into buying a lot of hardware, nor all the connecting buzz...b6 is quite easy going..less cables from the daw to the mixer no cable needed, much less connecting disconnecting work, so for a lot of folks who try to avoid the studio cable hussle, its legitimate, who knows how many creative people out there in small project studios need exactly that kind of flexibility and sweetspot..
For expansion, big six probably isnt the right thing as its very niche. I also have a friend who despises big 6. I was in the market for obe but still havent decided yet which route to go..personnaly, i like tonhave the ability to sum or mix down at least partially analog, as i believe that certain tracks of songs can breathe better in the mix...i am talking from a non professional Perspektive here..i do that just for fun. Fot my fun, i need a mixer to play with my diverse audio, be it from daw, live Instrument or whatever...we jam lively...i work currently with a allen heath zed18, a focusrite scarlett and a a designs mp2 preamp for recording...this setup gives me good enough flexibility for my purposes, saying this, i know this setup is at the lower end of what you might call flexibility, as the mixer isnt that flexible...
As for expandibility, b6 isnt the way to go, but hey, you can sell it at any given time when its necessary or you feel you outgrow the system...
Big six is a product for demanding modern artists creating at home. I mean, it is a great tool if you are an artist wanting to record your projects at home with an intuitive unit that allows you to put your hardware preamps / instruments / phone synth / whatever in a hub you can rely on, having the controls in front of you as it would be in a big console. I can understand this is not something interesting or critical to have from the eye of an experienced producer or mixing engineer, but from the creators perspective, it's just great to have a solid mixer that will sound good enough, even if you can't record a whole band with it. It is limited, yes, but this limitation can also work as a benefit if you want to define a small live at home project. It won't win the competition with an interface on its price range (Apollo/RME), it cannot be compared with live mixers either as it has much more to do and the price is much higher, and again, the comparison to a real summing unit is not possible. Nevertheless, if it fits your artistic ideas, it's a reliable piece that sounds much better than common mixers will do, and will allow you to make things faster and easily than a common interface would do, with the possibility to have the "console feeling". Again, this "console feeling" will make laugh a professional engineer maybe, but as an artist, it will happen. In summary, from my approach, the kind of issue with the Big six assessments I see around is that it usually does not fit the classic professional producer mindset, but it should be mentioned that this assessment is just not fair, since the Big six concept is just different. Big six is vanguard (in the sense it has not competitors) for do-it-yourself artists who don't want to go to a professional studio but they want something better than ordinary mixer as their center piece for their projects.
To give another example of a similar thing, I can see the same kind of issue with the Fender Acoustasonic guitars. It won't be the favorite of pure acoustic freaks, neither the favourite for electric guitar fans. But from the eye of a modern artist who just want to sound really good, it's just vanguard to have both things together in a proper Fender unit that, in the end, it's not acoustic, it's not electric, it just sounds amazing.
I purchased a second Big Six. I find them to be quite excellent for small projects. Very high sound and build quality with wonderful functionality. Of course a $38,000 SSL origin is better.
especially with outboard gear. Its more clear than the Neve summing mixer.
I do not use the built in audio interface.
I have a big six as well..I love it.
Personally, I think to call the Big 6 a 'very, very, very mediocre' unit is quite an extensive exaggeration in all honesty and such talk more aptly describes the Scarlett or Warm Audio 1176 you recommend so highly in your affiliate links....The KT 76, well that's possibly one step below budget in all honesty ...terrible noise floor so it's becomes rather like the onboard 6 channel EQ you describe in 'just unusable'... 😂
I Have the smaller Six and it's easily one of the best studio investments I've made to date ... a well-built, versatile analogue mixing desk with so many routing options that it does what I need perfectly ... I think the evolution of the Big 6 was possibly just SSL's reaction to the widespread consumer requests at the time for more channels/analogue inputs than the smaller 6 offered and they choose that have it host a basic direct interface as a secondary convenience for some users...
The whole SSL vibe is super analogue mic pres that do a good job without the need for dedicated mic preamps so no digital/ADAT or motorized faders are required ... why would you include them as an unnecessary cost to pass on?
I would also stress that first and foremost it's a mixing console and that's how it should be regarded...you talk of 'similar conversion' but that's not what 6 is about or even the primary function of a mixing console but rather the converters role...so conversion quality dosen't matter when it comes to considering how good a mixing console is or isn't ... let's face facts in stating that the converters/Mic pres or anything else for that matter on a Scarlet or Audiofuse is NOT the best quality either....Why include Digital conversion in your argument?
Why would you invest in a good 1176 clone or bus compressor if you intend to 'cheap out' on the converters?
It makes no sense and renders the more expensive gear pretty much useless if you're then using a Scarlett to subsequently print your tracks or record instruments?
Why not possibly recommend a similarly priced mixing console and stress the importance of good conversion whereby if you can afford to do so then get a Burl mothership or Dangerous Music A/D! to pair with your Bus compressor ... it's a meaningless comparison.
The extensive SSL ecosystem covers motorized faders/DAW control in great detail with the UF8/UF1/UC1 and these units work flawlessly alongside my Six whose intended use is in the routing of analogue signals rather than assigning some secondary DAW functions or automated fader control etc...
The real beauty for myself lies in the streamlined routing options and workflow/hands on approach...personally speaking I think it's the best desktop mixer by some distance in a market that is already saturated with 1176 clones and I don't see why you are recommending a Scarlett paired with some halfway decent attempt to emulate the iconic G Bus compressor heard in so many hit records.
Where are the onboard filters, EQ's & Channel compression, flexible routing/ Hardware Inserts & Sends, talkback / Listen Mic Compressor, G Bus Compressor on the Audiofuse or Focusrite etc You go on to mention mic pres? Those on the Scarlett are definitely much worse than those on the SSL...
Why would you attempt to replace the G Bus circuit with budget gear that is only attempting to replicate it...These 'options' you provide don't compare in any logical way or contain on board gear that is far below what the Big Six offers...It also does the analogue summing thing pretty well...in effect your just running your collected channel count through analogue circuitry to impart flavour and it definitely does this ...
The audiofuse is an interface/ADAT expander with limited digital connectivity whereas the Big Six's primary function is as an analogue mixer in a live recording environment that happens to house a USB interface also...they are not the same?
I appreciate your honesty over everything else, Barry! Great work on the vids, thanks for the hard work you do, I enjoy your content!
I'm really glad you made this these videos. I've been making steps out-of-the-box the last few years and during that time really considered the Big Six. Instead have opted to piece meal various gear. I feel like you've given me confirmation I made the right decision.
I've got the smaller Six and it's awesome.
I have the SSL Six paired with the Cranborne ADAT which I use with my old Motu Ultralite mk4 Interface. I agree with Barry about the EQ and the compressor, hence why I use better units inserted into those channels from the Cranborne. The Cranborne is also super excellent with the adat in and out which makes processing super fast.
The ADAT in and out was what is fundamentally missing from the Big Six.
Depends on what you’re doing. I do music as a hobby. I don’t nor care to own a commercial studio anymore. Cause there is no money in it anymore.
But for four pretty good mic pre’s, inserts for for any compressor’s and eq’s. It’s great. The eq’ section is limited but it works well and is very useful.
Even the one knob channel compressor is pretty good. I have focusrite isa pre’s, la2a,1176,pulteq clones. Etc. They all work well in various ways in using the big6. So it’s definitely a person and use of what they are doing. Works for some people and not others. And I do use it to some channels to it individually for certain things. So it works well for me. And what I use it for.
ev7en if you got a SSL origin you still would want a few outboard pieces like distressors 1176 etc plus the main buss insert is waiting for that master processor that you could bypass with a click of a button.
You’re missing the point Barry. The USP with the Big 6 , is a hybrid mixing and tracking solution albeit limited ,
To record track, mix and record with esteemed SSL analogue circuitry and preamps , seamlessly in and out the box (DAW).
Why would you suggest conventional audio interfaces , with the added presumption that people have additional outboard gear to use for sonic processing ( EQ’s Compressors) etc.
They may not have these additional resources hence their reason to purchase the Big 6, that provides that solution for them at that price .
That advice is quite redundant in my opinion.💁🏾♂️
Btw RME /Motu owner considering Big 6 for purchase.
Because I got lots of comments on the original video. Of course I realize it’s usb, which is why I included interface options.
@@BarryJohns USP, acronym for Unique Selling Point, not USB.
Forgive me for not being clear .🤩
I love your Vlogs BTW, I am a fan.
If I want a mixer, I buy a mixer. So on this case we will have to have different opinions. Workflow is critical for many.
I like the sound of it
honestly i use the big six and love it I'm a producer and my studio consists of synths drum machines some live instruments, outboard gear and tape machines. If I didn't use the big six my next would be ua apollo and using the console for some unision pres going into pro tools. i don't think there's a product on the market that works as well as the big siix for me and I have other audio interfaces but having multiple hiz lines pre amps comps, eq's sends and inserts to patch into guitar pedals and outboard as well as routing whole loops to a send going to tape machines for creating samples to use in production I think its one of the best interfaces/mixers on the market because nothing else would offer the value it has for my workflow, I can run the SSL pre's into an insert with a neve preamp and get the colour of both and then send to outboard with the press of one button on the mixer and make decisions in the creative process that I couldn't with a standard audio interface. like I said if not the SSL big six id run a uad apollo x8p and x16 which is a lot more money and honestly not sure how much more quality compared to the SSL, since all uad plugins are now native. i think people overlook how well the big six 4 insert channels pair well with outboard a small lunch box with so o/b eq's and dynamics or other preamp colours and you could have even more versatility I also just use mac studio aggregate device and run another audio interface if I ever need more than the 12 inputs but in the genres I work in it's never been an issue. If I bought 4 six 500 series channels and a g bus it would cost me 2280 eur 80 less than the SSL big six
I was on the brink of getting the SSL Big Six because of the summing and G Bus. I’m glad I didn’t after thorough research. I settled for a Dangerous D Box.
I went ahead and got two 500 series SSL Six channel strips. I used them for drums and synths. I like how I can change the tone of it. Also I recorded vocals through it but used the Warm 73 and WA on the way in . Plus my 500 series chassis is by Heritage Audio with ADAT. So I’m am getting good converters with this. I was able to get two 500 Warm Tone beast pre amps.
So glad I went this route. It was very flexible and gave me a lot of options.
I have a Big 6. Adequate quality and Perfect for my limited space and use case (the example Barry mentioned - synths drum machines samplers ) w little bit of mic & guitar in
I've looked at the Big Six because of the SSL name and it's home studio friendly size, but as always, my budget just laughs at me. Since you're offering other options that we might buy, one of which is an honorable mention of the Avid MBox Studio, I'd like to ask you if you'd EVER consider reviewing the Tascam Model 12? It's been out for years, but so has the BigSix. For those of us who are monetarily disadvantaged, I'm of the opinion that the Model 12's value proposition is WAY above it's price range and a better unit than the MBox. It has plenty of inputs for the recording side, an audio interface included, inserts for outboard gear, onboard preamps that are every bit as good as the MBox, a built in recorder that you can overdub with or transfer tracks to your DAW and more. I feel like it's EQ capabilities are adequate, and it's one knob compressor is a little lacking, but still very usable. It's probably not considered PRO gear, but I'd still love to hear your opinion. What about it???
At that price. It should Adat in and out
Or Madi
Please review summing mixers !
yes!
Sorry Barry, I didn't find your review too relevent in my world. Though I don;t own one, I could see how the Big 6 could be a very useful piece of gear. For example, I work in a hybrid digital / analog setup with emphisys on the analog side. My setup is built upon 90's and 2000 era equipment by design and value. I have been considering upgrading my 90's Tascam 16 channel, 8 bus console to something better. I'm looking for more headroom and a higher quality stereo bus.There isnt a lot to pick from in the under $ 5,000.00 market consle-wise. A used Toft ATB comes to mind. I beleive I would use the Big 6 strictly as a fader controlled summing mixer. I'm not that excited about using a software faders control surface I don't want the complextity of motorized faders either. I would still run my Black Lion Digi 003 audio interface into the Big 6. I would use the Big 6 strictly for mixing and stems. I would continue to use my current external pre amps to record into the Digi 003.The biggest holdback for me is the Big 6 only has 2 aux sends. The I use many hardware delays, reverbs, ect. Toft ATB has 6 aux sends for example. If I was willing to streamline my effects I think the Big 6 could be a good choice. The other directon is to purchase a hardware summing mixer and build around that. For now, I'm going to stay as is hardware-wise and continue to focus on my musical and engineering skills which is always the best investment we can make.
Agree Barry, not the quality of my other SSL gear! Compared to my other gear it is the weak link in the chain. When I patch it in it degrades the signal.
Sort of agree. I wish that they either focused on EQ or compression. Not this one knob EQ and one knob compressor thing.
I feel like if it had a solid compressor a threshold and release without EQ or a 3 band EQ without a compressor, it would have been a much better product.
I have seen and heard people running the Big Six as a small format sidecar mixer and loving it that way.
Don't care enough for the midi faders but I wouldn't be mixing on it either. For me it would be more for tracking.
They Big Six does make the regular Six seem like a fantastic deal tho when you compare the features per channel and the increased IO.
I use the ssl big six. I honestly feel like most don’t use it to its full potential. Inserts on the mono channels and the inserts on the master channel make it versatile (to me) running channels back and forth to & from the daw is easy as it comes. Even using daw effects as send fx for the console is great. However I don’t have experience with top grade ssl consoles so I’ll take a neutral stance.
I love your insight Barry. Much love from Lutz, Florida!!!
We are neighbors!! Carrollwood Florida here!!!! 🙂
Great insight, thanks!! So, overall, Warm Audio products are worth the price tag?
I sold mine didn’t like il. I stay with merging Anubis plus Hapi mk2 plus protools. Waiting for pyramix 15 pro too.
Great video - have a question on HA73.
I just got one and used it as a hardware insert on the line in and im losing all my low end even with the eq bypassed - have you had that experience?
No, check you wiring/cables.
Did you check the hpf?
That's pretty much exactly what I expected. No real alternative to the Big Six was mentioned, just individual components that are more expensive in total. For the price of a Big Six, you can just about get an AudioFuse 16Rig and Warm Audio WA 412 and ultimately have no hardware mixer. No (even simple) analog EQs, no buss compressor, no switchable, balanced inserts etc. and the things you mentioned are also only mediocre. I think it's good that you at least made a follow-up video to explain what you think is a better alternative, even if I don't share your opinion.
Have you tried and tested the Behringer 33609 clone? Many others are recommending it, and it would be quite flippant of you to simply disregard it on the name alone, without getting your hands on one. I recently purchased the Behringer 1273 pre amp, and I'm very satisfied with the unit. Also, both units come in at a very reasonable price point.
Not yet
I totally agree with Barry’s sentiment. The Big Six was a failure it was a massive fail for multiple reasons but from my perspective no future made it a failure more than not having ADAT. As for a preamp, compressor and EQ they were completely trash too but depending on your source you could get maybe some use out of it.
I can't claim to have much experience from a technical perspective, but it seems to me that the solutions you're proposing instead of the B6 are going to run your bill up to 3 times as much. Is it really comparable? If you go out and spend upwards of 3 grand, of course you should be able to get better results. But it seems to me that to make it a valid comparison, it should be gear that is within a similar price range when you add it all up.
No, I’m not suggesting you by everything, you piece meal certain pieces together and come up with a great plan based upon your particular needs. I can assure you, you can put a great system together for the same price as you’re spending on the big six.
I can’t co-sign Warm Audio…. I don’t like their products. i rather use Audioscape … Buss compressor $699, MEQ-A Tube EQ $899, and V108 pre amp $599 (optional) or a optional OPTO Compressor $1099. With a Presonus Quantum HD 8 $999 interface…. So for $3696 most expensive option you have a far superior option imo.
I don’t disagree with you to a point, that said, keep in mind. I’m trying to do all of this and still stay within the price of the big six.
I much prefer the Alice 828 mk.3 mixing console, made in Britian, to the SSL Big Six. It's a much more vibey, old-school broadcast type mixer, with a heritage. The preamps have mojo than the SSL Big Six does not. It's not like the SSL Big Six gives you all the digital and analogue interfacing. So, I think it's better to get something more focused on just sounding really good and having a character. I'd also rather support a small builder than these big companies that mostly seem to be on the cash-in path, and are losing their soul, and losing track of their heritage.
A cheaper route would be the x32 producer edition... Solves all those issues
The SSL SiX Channel 500 Series version is a pretty good option. but I do not have a side by side comparison to the console version.
Performance is results minus expectations. That means for two different sets of expectations, performance can be different for the exact same results. The Big.Six appears to me to be a utility mixer. This is just a swiss army knife, a jack of all trades, a master of none. I don't see an alternative utility mixer listed here in this video for a comparable price or feature set. I went from a Tascam M-08 utility mixer to this, so the Big Six has far and away a better set of features than the M-08. We could look at the affordable Tascam Model 12 but I like the pre-amps, routing, and connectivity on the Big Six better than the Model 12. Both are good enough, but I like the SSL better, though. I kind of agree it should have the ADAT I/O and a better EQ/comp section, for the price. This utility mixer was available in early 2022, not sure why its a hot topic now, vs. then.
Barry pls do a detailed audio interface suggestions video for our current time
SSL UAD APOGY and many more just released new ones and we need tech comparisons!
I don't think anybody should be buying focusrite Scarlett anything, honestly that line just needs to be discontinued because the their higher end stuff is great
Would you happen to have any recommendations for studio ventilation and climate control? Just dealt with a mold problem and not looking to do that again
You can install a Mr Cool, I put one in my garage for my woodshop.
Why don't you do some audio comparisons so we can here what you are on about. Show the settings you are using too. Just hearing your opinon doesn't mean anything unless you can back it up?
what u think about the SSL PURE QUAD DRIVE ?
How about presonus studio/live with studio one?
If they would have skipped the interface and provided more robust I/O on DB25s, I think it would be a better product.
Great video
After all of the smack I spoke in the comment, I sold my SSL Big Six for an Orion 32 + Gen 4 lol... yes it's digital, but it sounds so much better and has 32ins and outs with patch bays!
any suggestion for a good summing mixer?
Well thanks
It’s the Truth thou Barry !!
😂 i knew to come str8 to the comments.. i still like your videos tho... but yea...sit this one out buddy 😂
why do so many people trash the warm stuff ??
Trash it, I’m recommending it.
It’s trash because for the price what are the major features none for the price. He is right.
Warm can be hit or miss some of their mics are great but the wa 273 I found to be garbage the plugin of a 1073 or 1084 sounded better after recording clean and adding the plugin after or if you have uad record with the plugin you can buy two bae 500 series used for a lil more expensive
The whole, gating the audio to minus infinity in this video is just not necessary; and is quite frankly annoying.
Can anyone recommend an audio interface for a Rupert Neve RMP-D8?
I have an Allen and Heath z14 and its great... And thousands cheaper.
😉👍🏼 Good Stuff
I agree Barry. It was a massive fail. The mic pres are no better than your basic budget ones that come with the majority of interfaces and they gimped the EQ and compressor to basically being useless. It does not sound like an SSL nor is the quality of the past. Old school analog mixers will give you more features and be a better buy. I agree definitely chose other options.
Barry! Love you man but you’re doing nobody any favors recommending WARM audio gear. Why them? They cut every corner they can.
There are so many other better built products. black lion audio, heritage audio, audioscape, capi. BAE
There’s a reason.
Hey Barry. This video dropped right as I was about to ring up a used SSL big six on Reverb.
This might be divine intervention? Haha!
I will add that I manage to talk the seller down to $1500
Would you still argue that it’s not a good financial decision even at that price point? Really appreciate the feedback and I’m a huge fan of the channel. Thanks!
Hell yeah! If you don't like it, sell it for 500 more and it will still be a bargain for someone..
I love my B6 to be honest and 1500$ is definitely a steal, so just go for it.
💯
😂😂
First comment
@BarryJohns thanks for the follow up video. You addressed questions that I had, especially towards the end of the video. My two cents (as an owner of the Big Six) if you’re interested are … I have no regrets with my purchase even though I believe everything you have stated… and here is why…
I don’t think the Big Six was made primarily for professional creators of a certain level… in other words, it’s more entry level than pro level. I’m not a pro and I’m therefore ok with that.
Many … and probably most folks on RUclips are probably in that bucket as well. I don’t think you get to grow in a field without trying different things and being innovative, especially with limitations. I believe a lot can be done with the unit, especially if you add analog inserts… is it the best way to do that? Probably not … but I think for Big Six users, the best thing to do is to use the unit to learn until they have genuinely outgrown it … and then matriculate to better gear that they will at that point be able to fully take advantage of.
Thanks for explaining the alternatives based on your extensive experience. I’ll be keeping this in mind as I develop my skill set. You didn’t need to make the time for that but it’s sincerely appreciated.