SSL SiX - Recording an FX loop using guitar pedals
HTML-код
- Опубликовано: 7 сен 2024
- In this video we highlight one of the ways SiX can record an FX loop using guitar pedals. The super wide gain range on the input channels allows you to bring instrument level signals up to line level, whilst retaining a clean signal and the original tonal balance.
Thanks, I definitely appreciate you guys for explaining the process and showing the back connections.
Uuuuuhhhhmmmm.....
Is this really on the official SSL Channel?
A) Absolutely show users all the ways they can use the SiX in their hybrid studio setups.
B) Using an Interface, like the SSL2+, that has at least 2-inputs and 4-outputs is the key. And this video show how, but the why is: the DAW needs two outputs (Usually outputs 1&2) for feeding your monitors, you need two more in order to 1) send a separate Artist Headphone Mix during tracking, and 2) setup a Hardware Insert during mixing (Which is what this video is really showing), which the SiX is perfect for.
C) Before getting into the Instrument Pedals, a Hardware Insert coming out of Interface 3&4 Line Level, into SSL SiX inputs 1&2, can be processed by the Channel EQ and Compressor, and back out the Channel Direct Outs to Interface inputs 1&2.
D) With that setup, you can run it clean, set the fader to unity and raise the input level till the input in the DAW matches the output from the DAW. Or, you can drive the channels, pull the fader down, crank the input until it starts to break up in a way you like, adding those SSL harmonics, then raise the fader to match the input level in the DAW. OR, you can do the old SSL trick and take the DAW outputs into the SiX Superanalogue Mic Pres, playing with the DAW output levels to the SiX input Gains, possibly padding in between, driving and shaping to taste, then fader and back in. A ton of flavors right there.
E) Each of the SiX’s Channels has a switchable Insert Send and Return, use that to patch in anything you got into the Signal Chain. If you bought an SSL you likely have at least one Compressor, or EQ, or Mic Pre, or whatever, patch it in and start twisting.
F) Rather than use the SiX’s Direct Outs, use the Main Outs, and then you can also engage the famous Bus Compressor as well. It’s sitting there, doing nothing, and sounds totally different than the Channel Comps. Squeeze and print a bus.
G) Now about those pedals: Using Guitar Pedals as effects is age old, but there’s a few things to consider that weren’t discussed in the video. First of all, they’re designed for Instrument Level not Line Level signals, as well as impedances. The way they were being driven in the video is from the Aux Send level controls, so in theory you could just run them lower signals. The better, proper way would be to use a Re-Amp box, that addresses both the level and impedance issues and feeds the pedals what they’re expecting to see.
H) If you were gonna set things up the way they were in the video, using the Aux Sends rather than Re-Amp Boxes, it would have made more sense to take the signal from the DAW into the SiX’s channels 3&4, then used the Aux Sends the same way to the Pedals, but brought the outputs of the Pedals back into the SiX’s DI inputs on channels 1&2. The Pedals are sending an Instrument level, and that’s what the Hi-Z inputs on the SiX are meant to receive. Then unlike in the video, you won’t have to max out the input gain and the fader to reach a level that was still too low.
I) Now if you did get a proper Re-Amp box, you could also come straight out of the Interface, into the Box, then to the Pedals, the the SiX’s DI inputs, all the way through the board, then back into the Interface. If you added a DI box, which if you have Pedals, you should probably have too, you can come off the pedals, into the DI, then the SSL Mic Pres, then the rest.
So yeah, using the console to process Outside the Box is a beautiful use of the SiX.
And I love that SSL is making videos on how to get more bang for buck out of your (relatively, unprecedentedly low) investment.
But I’m shocked at how they barely even scratched the surface of what you really can do with it.
I think what is happening is that a lot of people people who have not (and some who) have purchased the SSLsix are looking at the unit with untrained eyes(and aversion to reading manuals) and not knowing what to make of the six's i/o.
There really are many different ways to route signals through the Six and each will have a varied sound in result. I think SSL will likely keep adding little tutorials like this until people generally workout its flexibility. That as time goes on, I am pretty sure RUclips will be full of more granular examples of usage. To get the full Six sauce, one requires Db25 love to use the alt and ins. This really opens up the six.
Absolutely love my six especially die to the gbus compressor and the eq that is sooooo underrated. It is so much better than a lot of keyboard warrior engineers know. As the placement at least for me is perfect as a gentle sculpting tool for my mic but it can be killllerrr for transforming digital material as well.
This was an amazing comment sir
“ I think what is happening is that a lot of people people who have not (and some who) have purchased the SSLsix are looking at the unit with untrained eyes(and aversion to reading manuals) and not knowing what to make of the six's i/o.
There really are many different ways to route signals through the Six and each will have a varied sound in result”
Geez, tell me about it.
That comment is the video we really wanted to see! 👍
Every time I use my six, I find another way to do something. It is such an underrated and misunderstood mixer.
Like what?? Can you give me a few examples?? I own one... But i don't use it as much as I'd like to
@@essouna what hardware are you putting through the six or are you primarily in the box?I think the main issue with people and the six is in what they are connecting "with". I really like the way my bass via the Line/hiz sounds as well as a u87 that I use a touch of the channel eq(very little) and very very light compression going in works as its only 2:1 which I really like. I connect via my old prism orpheus which has great ADDA and is 8 in and out so I have separate channels for a few different things which keeps me from having to juggle cables like some may with simple 2 in etc. You can either use the bus b option for sending stuff out for processing or recording straight out or you can use the insert via db breakout plus the alt options as well. I have a few varying signals coming in so for me the flexibility is welcome being able to use the chan. ins. for a hardware eq or being able to go out and come back to a different channel to compress with the GComp.
One way I’ve been using six’s bus b is to record two different mono tracks at once.... I’ll hard pan the 1st mono channel left and the other hard right (send them both out bus b). This will allow you to split the stereo bus b output into two separate mono outputs for the two mono channels. For ex, acoustic guitar miked on ch1 hard panned left + acoustic guitar DI hard panned right + bus b button= two separate mono tracks for ProTools.
That is correct - I feel the same way
WHy not skip the mixer and just go out from your audio interface to your FX pedal and then back in to your DAW?
Thanks great video
So we are going to loose a stereo channel for the EFX Return ? I guess maybe brink the returns back to external 1 or 2?
Would anyone please show me how to connect Lexicon pcm91 to SSL six? I'm not a pro and I'm not into DAW, everything I'm using is for live performance, I'm confusing cause I don't see AUX Send or Return like other mixers ( the fact is, this mixer do have if i have DB25 connector cable, which I don't have it ) my connect is simple SSL + Lexicon reverb + compressor + Apogee duet 2 interface
I'm in the process of setting our SIX up with St Cue1 -> re-amp box ( Little Labs ) for live sax through pedals ->DI Box -> External MicPre -> SIX St.In 3,4. Avoid that high trim right?
Anyway it really helped to get a visual of this in action, thanks for the vid :)
Forgot to mention, I love how 3-4 sums to mono with only 3 connected
- Steve
I do something similar except I usually mute the fx returns which sends them out of bus B giving me separate processed channels for each with compression and eq and the fx return recorded on separate channels via bus B
This technique is great for parallel compression techniques to
Fantastic mixer it is literally indispensable now , thinking of getting a second to be honest
Don't you think the EQ section is very limited?? I think it's a shame that we cannot dial the frequency we want
alexis charrier yeah the parameters are limited but I never worry if the signal going in is recorded well. My main use for six’s eq is boosting the frequencies that please the ear, I may attenuate, however it’s more important I mic the signal right. I guess it depends what you need it for.
Can you also listen to just the FX return (without the original signal present in the mix)?
do you have the same video with Ableton set up? I'm trying to do the same here but with lexicon mx200.a friend set ti up for me before and I had to move stuff and forgot to make notes ,anyhow im back to square one. I've routed a mono output from the back of the mixer to the input of the lexicon and the output of lexicon going to 3/4 on the ssl.im getting signal but its on everything. any help would be appreciated .my interface is apollo twin x.cheers
Ok how is the ssl six connected to the audio interface inputs?
What if you are looping an external unit that is mono?
Hi don't you have phase issue, small decay with re-recorded file??
alexis charrier you certainly will. But not difficult to address in the daw. Lookup Hardware Inserts and Delay Compensation.
^ lower the DAW’s disk usage as well to half your ram
This makes no sense.. you send mono and discuss mono.. then all the sudden
we dealing with stereo. Wtf are u doing…
Mono is only in de DAW, guess this DAW also treats mono-audio as stereo (don't know the DAW he's using but with Ableton that is the case); also because he is sending (mono?) to outputs 3 and 4 which he then connects to inputs 1 and 2 of the mixer he is getting this (stereo) signal. From there it goes to cue out into the pedalboard (which also ends in stereo signal).