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SSL Six

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Re: SSL Six

Postby CS70 » Mon Mar 25, 2019 1:57 pm

Sam Spoons wrote:So what's needed to complement the Six is a modular AD/DA to USB box or a high quality, no frills USB interface. Does such a thing exist?

Hm directly to USB, the one I've seen is a Lavry (but I havent really looked, so there could be dozens more). But with ohters the path can probably be AES to input interface to USB to computer or something like that, i.e. using the digital input capability of the interface to connect in the converter's digital output and then use the interface to get the signal to and from the computer.

Now a 12 channel good converter, as of price that's gonna put some water in your eyes :D
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Re: SSL Six

Postby Watchmaker » Mon Mar 25, 2019 2:41 pm

This is one of those things I have no real use for but want really badly. Most SSL gear falls into that bucket for me, the Nucleus 2 springs to mind.

I believe I could run this into the Audient ASP880 convertors without worrying about compromising the sound or having an extra pre in the signal path.
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Re: SSL Six

Postby James Perrett » Mon Mar 25, 2019 3:04 pm

Watchmaker wrote:I believe I could run this into the Audient ASP880 convertors without worrying about compromising the sound or having an extra pre in the signal path.

The ASP880 would be a good way to convert from analogue to digital as you could simply feed the Six's insert sends to the ASP's insert returns via a 25 way D-type cable. You would still need an ADAT equipped audio interface though - as well as something to go the other way.
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Re: SSL Six

Postby Watchmaker » Mon Mar 25, 2019 4:33 pm

I have both a Focusrite Pre8x and an Apollo 8 so covered for routing options I hope. I was thinking of using it as a summing mixer. i.e. send up to twelve analog outs to the SSL Six for summing, and bring the stero sum back via the ASP880.

Not sure if I gain anything by doing that... Point being, the insert into the AD convertors on the ASP880 is extremely cost effective way to get good convertors on your desk with the added benefit of some great pres.
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Re: SSL Six

Postby The Elf » Mon Mar 25, 2019 5:54 pm

CS70 wrote:
Hugh Robjohns wrote:I can appreciate the views
Well put, with this and the idea that people buying the six likely has already good A/D/A,I am now convinced :)
But I don't have my good ADA with me in the place that I would be most likely to use it - away from the studio!

It is what it is, and I'm sure many will be very happy with it, but with a simple 2-in/out USB interface it could have been so much more.

As I said way above I'm a 'nearly' customer, and an SSL user/fan, which is why I care. I hope the next model pulls me in. :)
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Re: SSL Six

Postby Wonks » Mon Mar 25, 2019 6:15 pm

The Elf wrote:As I said way above I'm a 'nearly' customer, and an SSL user/fan, which is why I care. I hope the next model pulls me in. :)

4 mic channels, 40band EQ, USB interface but with micro faders and a barrel jack wall-wart. ;)
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Re: SSL Six

Postby The Elf » Mon Mar 25, 2019 6:17 pm

Wonks wrote:
The Elf wrote:As I said way above I'm a 'nearly' customer, and an SSL user/fan, which is why I care. I hope the next model pulls me in. :)
4 mic channels, 40band EQ, USB interface but with micro faders and a barrel jack wall-wart. ;)
If it comes with an SSL T-shirt I'm in! :lol:
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Re: SSL Six

Postby Hugh Robjohns » Mon Mar 25, 2019 6:23 pm

The Elf wrote:But I don't have my good ADA with me in the place that I would be most likely to use it - away from the studio!

But surely, if you're going to bother to take a SiX with you, it wouldn't be much of a hardship to take your favoured interface too, if it mattered? So I don't really follow that argument....

...but with a simple 2-in/out USB interface it could have been so much more.

It would have been something rather different. ;-) But with only a 2-in/out USB interface it would also have had lots of people up in arms because they wouldn't be able to access the summing bus or the direct outs within their DAW... Which just goes to prove you can't please everyone all the time.

As you said; it is what it is -- and I'm quite impressed with it as it is. I see no need to get bogged down in what something that doesnt exist might be if someone wants to make it in the future. There are several good quality 2-in/out USB interfaces on the market already if that's what you seek. SSL chose not to make another; they made something quite different and unusual, and interesting... It obviously won't appeal to everyone, or meet everyone's specific needs. But it will suit some people's set ups and ways of working and they will appreciate what the SiX offers.
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Re: SSL Six

Postby The Elf » Mon Mar 25, 2019 6:39 pm

Hugh Robjohns wrote:
The Elf wrote:But I don't have my good ADA with me in the place that I would be most likely to use it - away from the studio!
But surely, if you're going to bother to take a SiX with you, it wouldn't be much of a hardship to take your favoured interface too, if it mattered?
My MADIFace? Why would I want to unrack my main studio interface? ;)

For my mobile rig at the moment I use a pair of SSL SA channels plumbed digitally into an old DigiDesign MBox. At least if the SiX had digital outs I could use it in place of the SAs. As it is I'd not only have to still take the MBox, but interface to its AD converters, which I can bypass at the moment.

As I said, I'm sure others will love it, but for me - no sale.
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Re: SSL Six

Postby MOF » Mon Mar 25, 2019 7:28 pm

But I don't have my good ADA with me in the place that I would be most likely to use it - away from the studio!

It's unlikely that this would be used on location due to the restricted number of inputs.
It's not a cheap piece of gear either, so if you're worried about it being damaged or stolen (away from the security of your studio) then you wouldn't use it there if you weren't happy about taking your good ADA.
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Re: SSL Six

Postby The Elf » Mon Mar 25, 2019 8:12 pm

MOF wrote:
But I don't have my good ADA with me in the place that I would be most likely to use it - away from the studio!
It's unlikely that this would be used on location due to the restricted number of inputs.
It's not a cheap piece of gear either, so if you're worried about it being damaged or stolen (away from the security of your studio) then you wouldn't use it there if you weren't happy about taking your good ADA.
I'm happy to take a pair of SSL SA channels, which only present two channels and are as easily stolen or damaged. No, that's not a reason I recognise! I would be happy to take the SiX - much easier to carry! :)

The problem with taking my studio ADA is that it is plumbed into my studio and screwed into my rack!

I'm just one guy - let's see what the rest of the market makes of the SiX. I wish it well.
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Re: SSL Six

Postby Wonks » Mon Mar 25, 2019 8:26 pm

It would seem, based on the SiX, that SSL could probably make a really nice 12-16 channel summing mixer for £500-£600 if they kept it simple and didn't try and make it do several other functions. Considering the price of other summing mixers by the likes of Dangerous etc, then it should should sell very well indeed. They might even have to make the signal path less pristine than the SiX, so that it actually sounds like it is doing something! ;)
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Re: SSL Six

Postby Hugh Robjohns » Mon Mar 25, 2019 9:35 pm

The Elf wrote:For my mobile rig at the moment I use a pair of SSL SA channels plumbed digitally into an old DigiDesign MBox. At least if the SiX had digital outs I could use it in place of the SAs. As it is I'd not only have to still take the MBox, but interface to its AD converters, which I can bypass at the moment.

I totally get that the SiX offers no benefits to your specific mobile set up, and hence no sale to you. And that's completely fair enough, obviously.

However, for other potential customers, I don't see any practical difference between lugging around a rack of Superanalogue channels fitted with converter boards feeding an interfacE (digitally), versus carting around a SiX mixer feeding an interface (via analogue lines).

Obviously, the two rigs offer a different set of features and facilities, so one might be more appropriate than the other for different situations and workflows, but I just don't see that the absence of an A-D card or USB interface in the SiX is a relevant practical impediment in general.

H
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Re: SSL Six

Postby CS70 » Mon Mar 25, 2019 9:52 pm

Wonks wrote:It would seem, based on the SiX, that SSL could probably make a really nice 12-16 channel summing mixer for £500-£600 if they kept it simple and didn't try and make it do several other functions. Considering the price of other summing mixers by the likes of Dangerous etc, then it should should sell very well indeed. They might even have to make the signal path less pristine than the SiX, so that it actually sounds like it is doing something! ;)

I guess that's their main problem.. you spend a lifetime as a company to make the signal path as transparent as you can, and then someone comes along telling you to make it dirty again... :D
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Re: SSL Six

Postby Dave B » Mon Mar 25, 2019 10:59 pm

Elf, tell you what, just to keep the peace, I'll do you a deal. You buy the SiX and I'll buy you a 2/2 usb interface to go with it that you can keep keep in your laptop bag.

See? I'm nice like that. I just want everyone to be happy ... (considers our current political climate and elected representatives) ... Well ... _almost_ everyone ...

:D
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Re: SSL Six

Postby Hugh Robjohns » Mon Mar 25, 2019 11:50 pm

Wonks wrote:It would seem, based on the SiX, that SSL could probably make a really nice 12-16 channel summing mixer for £500-£600 if they kept it simple and didn't try and make it do several other functions.

SSL already have an eight-channel summing module for the X-Rack, which costs around £750, as well as the X-desk, of course. So you're probably right cost-wise if they went down the Chinese manufacturing route with a simple summer. The question, as always, is whether there is a market for a simple SSL summer, or if the general expectation would be for something more capable and more feature rich?

H
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Re: SSL Six

Postby blinddrew » Tue Mar 26, 2019 1:17 am

I have a much simpler question: what's a Listen Mic Compressor (LMC)?
I kept waiting for a break out box or further explanation.
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Re: SSL Six

Postby Wonks » Tue Mar 26, 2019 1:23 am

It's the simple compressor fitted to the talkback mic on SSL desks so that you didn't need to be right next to the mic to be heard.

Became famous for creating the Phil Collins drum sound when drum tracks were being played back in the control room, the talkback mic was on and the drums got that huge crunchy texture to them that was heard in peoples headphones. The rest was history...

(Or something along those lines).

Do keep up, Drew! ;)
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Re: SSL Six

Postby blinddrew » Tue Mar 26, 2019 1:32 am

Sorry! I think i was just getting to grips with my first four-track when that bit of studio history was being made. :)
Thanks for the explanation.

Edit: correction, just looked it up and i'm at least a decade out, i was 7 at the time and, unlike the smallest member of the Stranks clan, i had yet to be introduced to the delights of SOS. :)
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Re: SSL Six

Postby Hugh Robjohns » Tue Mar 26, 2019 1:33 am

blinddrew wrote:I have a much simpler question: what's a Listen Mic Compressor (LMC)?
I kept waiting for a break out box or further explanation.

As I said in the review (transfer plot caption), it's a misnomer is what it is! ;-) Its Not really a compressor at all, it's actually a hard limiter with fast attack and release times, a very low threshold, and a shed load of make-up gain. So it provides a lot of fast and heavy squashing!

A 'listen mic' is a reverse talkback mic hung up somewhere in the studio with the aim of picking up conversation and comments from the performers so that the engineer/producer can have a two-way conversation over the studio talkback when necessary.

So the control room talkback mic feeds into a studio loudspeaker and/or the cue headphone system in the studio. Meanwhile, the studio listen mic is routed through the listen-mic compressor into a reverse talkback speaker in the control room. The compressor is there to make sure that any studio conversation is audible, no matter how close or far the musicians are from the mic, while also keeping a lid on things when the band strikes up.

SSL's LMC subsequently became infamous when it was used during a Phil Collins drum session for a Peter Gabriel track (Intruder) in 1979, and it was an effect discovered by accident -- as these things always are -- by engineer Steve Lillywhite (and producer Hugh Padgham). Collins was rehearsing and the listen mic was on so Steve and Phil could discuss what they were doing. Needless to say, when Collins started hitting the kit the heavy limiting gave a massive room sound, which they thought was rather special.

However, the reverse talkback signal only went to the reverse talkback speaker in the desk, and couldn't be recorded, so Padgham had the resident studio engineers modify the SSL4000E console overnight to split out the heavily-limited reverse talkback signal and put it on a spare hole on the patchbay, from where it could then be patched into a channel and routed to the multitrack for recording.... Which they did the next day!

The rest is history and, as you'll be aware, the uber-compressed room sound effect subsequently became a key part of Collins' signature drum sound (Think 'In The Air Tonight'... and all that).
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