using the inserts is not getting 'more' from the Big six, it is not a 'hack' it's an .essential part of the board (same goes for the bonus tip). this console is hard to beat for the price, just the 4 preamps would be almost the same price :)
Totally get what you're saying. But I think the design/limitations of the box lends itself more toward project/home studio electronic musicians who will just use the box as it comes off the shelf and can live with only 12 channels. I love this box and even I'm struggling with the limited i/o. It's hard to see folks who have lots of outboard (that's as good or better than the onboard) being OK with the lack of i/o, extensibility, word clock, etc.
I didn't get the part well for the splitter for CUE1/2 . Is it possible to dedicate a video and demo how you are using it ? During mixing to SSL (from USB). i feel like i can only use 4 rack effect for each channel. channel 1 (cue 1 send w hard Left ), channel 2 (cue 1 send with hard right), channel 2 (cue 2 send with hard Left ), channel 2 (cue 2 send with hard right) and so ...
I haven't been mixing as much as I like but maybe I can plan for a video similar to what you're asking for. I find that once I'm mixing, I can just overdub effects in serially so I just need 1 or 2 outs. When I'm jamming, I really feel the limitation ... you can't really even do the hard panning to get four fx sends because that only applies to the 1st 4 channels and then your stereo channels are SOL. I usually settled on 1 stereo fx plus 2 hard panned mono fx.
The Phoenix DRS-Q4 mk2 is the Neve-ish one, a bit warmer and fuzzy. The Avedis MD7 has the op amp design that is reminiscent of the API design. It's not as noticeable as the Phoenix but when you hear it against an "ordinary" preamp, the difference is like wow. It has a slight weight and sometimes a 3-D quality that is missing from regular mixer preamps or mid-level pres like the Audient. For synths, it really depends on the context. I always think i want the warmer, fuzzy sound but often, that's not what works best in context with the other sounds so I really appreciate having all these options. More often than not, a synth sounds best through the AEA RPQ500, which doesn't even have a transformer. But honestly, preamps aren't the most important thing when it comes to synths.
Can you clip the big six on the input and bring the faders down to get that dirty sound like on a real ssl? And if yes, what does it sound like to you? I would buy it if it can do that!
I've not messed with a real ssl and i tend to oversaturate on the way in but whennI want to do that, i generally prefer transformer pres. I dont like the big six pres when pushed too far but they sound much punchier then some of my other pres like the Phoenix DRS which is neve-inspired.
If you need a great-sounding mixer+interface, that's the main reason. Nothing else I've tried sounds this good, though obviously I haven't tried everything. Depends on what your needs are.
Its a perfect mixer for hybrid workflows. You can utilize the usb interface routing for tracking/ analog summing/ mixing, or for example you can use it as an analog mixer/pres on the front end of a tape machine, or both at the same time! Also, makes location recording simple. its a self contained unit that is flexible, not to mention 4 ssl channel strips and a g-bus compressor, yes theyre more limited then the full size versions but they sound great and it makes the whole unit great value for the price
I usually do on the master insert bus. Sometimes on channels 1-4. Those are the only ones that have inserts. But there's nothing to stop you from sending signal first through outboard and then into the SSL stereo channels (5-12) at unity. There's probably a little alteration to the audio signal but who's really going to notice?
So much patching, ugh. Why can't someone make a modern version of the Mackie Onyx, Midas Venice or A&H ZED-R16. We want 16+ channels and at least 16 USB or TB I/O.
Update to Open Sorce SSL E Console inside your favorite DAW Run Pre Master through Acustica Audio Sand 2, STN API Tone Pre Amp Nebula Plugin and Acustica Audio FROST on outbus... Export Mix out at, at least 88Htz Bring wave back into your favorite DAW Run final mix through Tim P L Bus Comp and AlexB Nebula 4000 G plugin on Main Line in... and another Nebula 4000 G on Main Line Out I matched this Mix Recipe against a Full Mix Ran through Fusion on Access Analog and another mix ran through a physical SSL SiX...Reviewed mix on my Monitor, Phone with ear buds and Car...and its only about a 10% at the most difference, not making it worth it To spend so much on One Item in your Studio.....!!! Total = $600 with more options for Mixing and Mastering, EQing, Compression and Vocals Opposed to paying $1400 for something you can just run your mix through..... I did this becasue I'm sick of SSL and API being so overpriced...it should BE CRIMINAL!!! or maybe more Analog Cloans will keep stepping up and put them out of business...
There's not many alternatives, to be honest. The other options can't even get in the door, sound-quality wise. I've accepted its limitations and hoping to make them work for me, like the lack of expansion means I have to focus on the core sounds and tracks I want.
@@edjefferson9175 i dont think the ssl big six sounds as good as the Cranborne 500 setup I'm coming from. I wouldn't want to go below this, sound-quality wise. But to each their own. I've played with enough gear through the decades to know why things cost as they do. Not saying there aren't exceptions or valueto be had but even if your proposed rig sounds as good (which I'm skeptical), then I still have to get a ssl g comp!
@@MKDVB That is just one example of an alternative. There are endless alternatives. Sound quality is subjective. My preference is the right tools for the job over work-arounds and limitations. Not knocking the Big Six I think it’s a fantastic all in one box starting point for a personal studio.
@@edjefferson9175 SSL is filet mignon. Midas is chuck steak. When you are talking high end sound there are not endless alternatives. At this price point there is no other alternative.
I've always fantasized about an API Box but can't justify the price. The SSL Big Six and its little brother are the cheapest console products on the market by far. It's like $10,000 more to get the next priced product and that won't even record into the box.
@@jaysgood10 Not close to $10k. And the workarounds aren't necessary or exclusive to the Big Six ... I'd gather every studio should have a patchbay or 10. Don't need other outboard if you're happy with the SSL sound., etc.
I just got my big ssl six with the sampson patch bay,ill be running a similar setup doing all my production 80% hybrid and 20% in pro tools… Do you have a instagram so i can message you for tips fam?
using the inserts is not getting 'more' from the Big six, it is not a 'hack' it's an .essential part of the board (same goes for the bonus tip). this console is hard to beat for the price, just the 4 preamps would be almost the same price :)
Totally get what you're saying. But I think the design/limitations of the box lends itself more toward project/home studio electronic musicians who will just use the box as it comes off the shelf and can live with only 12 channels. I love this box and even I'm struggling with the limited i/o. It's hard to see folks who have lots of outboard (that's as good or better than the onboard) being OK with the lack of i/o, extensibility, word clock, etc.
I didn't get the part well for the splitter for CUE1/2 . Is it possible to dedicate a video and demo how you are using it ? During mixing to SSL (from USB). i feel like i can only use 4 rack effect for each channel. channel 1 (cue 1 send w hard Left ), channel 2 (cue 1 send with hard right), channel 2 (cue 2 send with hard Left ), channel 2 (cue 2 send with hard right) and so ...
I haven't been mixing as much as I like but maybe I can plan for a video similar to what you're asking for. I find that once I'm mixing, I can just overdub effects in serially so I just need 1 or 2 outs. When I'm jamming, I really feel the limitation ... you can't really even do the hard panning to get four fx sends because that only applies to the 1st 4 channels and then your stereo channels are SOL. I usually settled on 1 stereo fx plus 2 hard panned mono fx.
So which preamp is your neve-ish? For synths, which one do you like? Your API-ish? (which one is that?).
The Phoenix DRS-Q4 mk2 is the Neve-ish one, a bit warmer and fuzzy. The Avedis MD7 has the op amp design that is reminiscent of the API design. It's not as noticeable as the Phoenix but when you hear it against an "ordinary" preamp, the difference is like wow. It has a slight weight and sometimes a 3-D quality that is missing from regular mixer preamps or mid-level pres like the Audient. For synths, it really depends on the context. I always think i want the warmer, fuzzy sound but often, that's not what works best in context with the other sounds so I really appreciate having all these options. More often than not, a synth sounds best through the AEA RPQ500, which doesn't even have a transformer. But honestly, preamps aren't the most important thing when it comes to synths.
Can you clip the big six on the input and bring the faders down to get that dirty sound like on a real ssl? And if yes, what does it sound like to you? I would buy it if it can do that!
I've not messed with a real ssl and i tend to oversaturate on the way in but whennI want to do that, i generally prefer transformer pres. I dont like the big six pres when pushed too far but they sound much punchier then some of my other pres like the Phoenix DRS which is neve-inspired.
Why use the Big Six? I can't see a reason for doing so. Thoughts? Great video. thanks.
If you need a great-sounding mixer+interface, that's the main reason. Nothing else I've tried sounds this good, though obviously I haven't tried everything. Depends on what your needs are.
Its a perfect mixer for hybrid workflows. You can utilize the usb interface routing for tracking/ analog summing/ mixing, or for example you can use it as an analog mixer/pres on the front end of a tape machine, or both at the same time! Also, makes location recording simple. its a self contained unit that is flexible, not to mention 4 ssl channel strips and a g-bus compressor, yes theyre more limited then the full size versions but they sound great and it makes the whole unit great value for the price
Do you route your channel to a pre-amp using the insert buss? Can you tell me with more detail?
I usually do on the master insert bus. Sometimes on channels 1-4. Those are the only ones that have inserts. But there's nothing to stop you from sending signal first through outboard and then into the SSL stereo channels (5-12) at unity. There's probably a little alteration to the audio signal but who's really going to notice?
How does the SSL compare to the neve 5060
I wish I could tell you but I've never messed with a Neve 5060. I imagine all the cliches about SSL and Neve apply though.
2 completely different creatures. the 5060 is a traffic cop that adds heat. The Big six is a swiss army knife
So much patching, ugh. Why can't someone make a modern version of the Mackie Onyx, Midas Venice or A&H ZED-R16. We want 16+ channels and at least 16 USB or TB I/O.
Update to Open Sorce SSL E Console inside your favorite DAW
Run Pre Master through Acustica Audio Sand 2, STN API Tone Pre Amp Nebula Plugin
and Acustica Audio FROST on outbus...
Export Mix out at, at least 88Htz
Bring wave back into your favorite DAW
Run final mix through
Tim P L Bus Comp and AlexB Nebula 4000 G plugin on Main Line in...
and another Nebula 4000 G on Main Line Out
I matched this Mix Recipe against a Full Mix Ran through
Fusion on Access Analog
and another mix ran through a physical SSL SiX...Reviewed mix on my Monitor, Phone with ear buds and Car...and its only about a 10% at the most difference, not making it worth it
To spend so much on One Item in your Studio.....!!!
Total = $600 with more options for Mixing and Mastering, EQing, Compression and Vocals
Opposed to paying $1400 for something you can just run your mix through.....
I did this becasue I'm sick of SSL and API being so overpriced...it should BE CRIMINAL!!! or maybe more Analog Cloans will keep stepping up and put them out of business...
Totally hear you but if I'm honest, I would probably never make music if I had to do it all ITB. That's definitely worth something to me.
@@MKDVB
Well
Plug-ins like Nebula N60 Tim P dbx160
Is identical to the hardware unit it’s no point in wasting the Rack Space with the Hardware Unit 😂😂
@johnisrael5183 so you're saying you cant afford it, we hear you.
I occasionally need more than 4 mic pres to records drums. Do you just use your external pres and go into the line ins on 5 through 12?
I don't record love drums butbI do have a Audient ASP800 hooked to it for pedals and stuff. No reason you couldn't do what you said.
How do you have your asp800 “hooked to it” if the Big Six doesn’t have digital in?
You chose the wrong mixer for your purpose.
There's not many alternatives, to be honest. The other options can't even get in the door, sound-quality wise. I've accepted its limitations and hoping to make them work for me, like the lack of expansion means I have to focus on the core sounds and tracks I want.
@@MKDVB For the same cost I can get a 48 ch analog Midas console, a MOTU 24i and a MOTU 24o. That gets you 24X24 over USB on a split console workflow.
@@edjefferson9175 i dont think the ssl big six sounds as good as the Cranborne 500 setup I'm coming from. I wouldn't want to go below this, sound-quality wise. But to each their own. I've played with enough gear through the decades to know why things cost as they do. Not saying there aren't exceptions or valueto be had but even if your proposed rig sounds as good (which I'm skeptical), then I still have to get a ssl g comp!
@@MKDVB That is just one example of an alternative. There are endless alternatives. Sound quality is subjective. My preference is the right tools for the job over work-arounds and limitations.
Not knocking the Big Six I think it’s a fantastic all in one box starting point for a personal studio.
@@edjefferson9175 SSL is filet mignon. Midas is chuck steak. When you are talking high end sound there are not endless alternatives. At this price point there is no other alternative.
Jeez man, why not just buy a real console?
I've always fantasized about an API Box but can't justify the price. The SSL Big Six and its little brother are the cheapest console products on the market by far. It's like $10,000 more to get the next priced product and that won't even record into the box.
@@MKDVB true
@@MKDVB but what’s the cost of all the workarounds you’ve applied ?
@@jaysgood10 Not close to $10k. And the workarounds aren't necessary or exclusive to the Big Six ... I'd gather every studio should have a patchbay or 10. Don't need other outboard if you're happy with the SSL sound., etc.
I just got my big ssl six with the sampson patch bay,ill be running a similar setup doing all my production 80% hybrid and 20% in pro tools…
Do you have a instagram so i can message you for tips fam?
ig @mkdvb1 but i don't check it much. you can always hit me up here if i don't catch you on insta. 🙏🙏