Hello, nope, I don’t think it is, but the files are pure wav, so moving a recording from the Bluebox to the Blackbox is an easy enough affair, well worth the effort.
I’m gonna give the master section a more thorough try this week, as well as the CC mapping. I need to at least experience it conceptually myself to properly write about it in the review, even if I won’t be using this much in my own productions. I’ll let you know how it goes.
Ok, so here’s the fallout from testing the master section as well as midi mapping - this all works as you might expect it to.
Master records the stereo output to a separate file, which you can access from the card or from the Edit section within the Bluebox and actually apply it to a track. I would imagine this could get messy fast, but it’s an interesting way to create longer sets from rendered files, if you’re happy with the in-box Bluebox results. And it skips the recording to final output part, again if you’re happy with the Bluebox mix being your master for whatever purpose.
As far as CC control goes @Dymaxion , I took out the Deluge and mapped out its controls to all kinds of Bluebox parameters, essentially turning the Deluge into a live midi controller for the Bluebox. Apply this workflow to any of your favourite controller with sliders, knobs and whatnot and you’re good to go. For a live context, the Bluebox might be a bit fiddly for the random funky DJ, but this feature takes care of that. If you got a space ship dashboard-sized favourite controller, you can most likely use it with the Bluebox.
This is awesome! I’m glad to know it’s working. Can you map a control to mute the send of a channel to the secondary outputs, without muting the whole channel or changing the level? If it works, this means I can use a secondary output as a looper input and sequence what tracks get sent to the looper. If it doesn’t, I guess I can use post-fade sends at unity gain, but it’s nice to have the possibility of a channel muted on main but not in the looper.
maybe I shouldn’t sell my 16n AtoVproject faderbank! 
Most likely you can, since that parameter is on a screen that generally accepts CC input. I could try it next time. I can’t say for sure, since I didn’t try that particular setting, but I’ve heard of no limitations in this regard. You can’t tweak all parameters with external control, but you can tweak a lot of them.
Essentially, you want to control the second output, which is the one that has its own internal send and volume, right? Without affecting the original six tracks?
I’m currently routing just the Tempest into the Bluebox now, splitting up all six outputs from the Tempest into the box. I’ve always felt the Tempest was a rowdy beast, part of its untamed sound also very much contributing to its charm. But sometimes, you can’t get it to behave even when you try. It’s like, really, Tempest? On the carpet? Again? A little reverb and delay, some subtle cuts in the frequencies and gentle compression, just to bring out the best of this beast.
This works really well with the Bluebox. Here, the clear and uncolored sound of the box really makes a huge difference, helping the Tempest get dressed and comb its hair ever so slightly, while still maintaining its wild spirit. Many of today’s multilple output machines already have a fairly controlled sound, the Roland boxes, the Rytm and the Toraiz to mention a few, but to get this crazy funky instrument just trimmed to not break the monitors but still be its own wild self, that’s something else. Bluebox and Tempest are a fine match indeed.
Did you have the master bus comp switched on for this (SSL) version?
I want to mute and unmute the send from a track to the output, without muting the track itself or the entire secondary output, and having the track’s send level be the same when unmuted — so not just zeroing that level, which I’m pretty sure you can do on midi. So not controlling the second output itself, but the sends feeding it.
Yep. If you mean the SSL compressor, that is. The Blackbox compressor was turned off.
Should probably work. Can’t see why it wouldn’t, but can’t say for sure until I’ve tried it. I can give it a go next time I’m using an external controller with the Bluebox.
Okay. I kind of thought the two examples sounded like the difference between having the sslsix master bus comp switched off and on.
If you take your Bluebox recording and put it thru the sslsix with master bus comp switched on, I wonder if it’ll sound as ‘percevably’ good as the Blackbox/SSLSix recording?
I actually get really good results playing some crappy old cassette tapes thru my SSLsix this way.
Nothing sounds bad through the SSL SiX 
but it’s an interesting angle, I’ll try that.
I didn’t really push the Bluebox hard enough though, there was headroom left to challenge the compressor, and in hindsight, I think I should’ve done that. Now that I’m running the Tempest through it, which is just all over the place, I’m finding the Bluebox compressor can actually take a pretty heavy load and do something great with it.
Review’s live now. Hope you like it -
Nice!
Thank you
I started out on 0.98 I believe (or something of the kind) and by the time I was done, I think we were on 1.02.
Hey man great read!
Thank you 
hate to bring this up…
but how is it different/better from a zoom h6 + 2 extra inputs adapter ? (makes for 6 stereo inputs you can record and mix simultaneously) - there’s eq and compressor too.
Ok, no reverb/delay per recording track…but I sure have enough pedals or gizmos to do that anyways…
Main point is, the H6 doubles as a computer audio interface, apparently 1010 doesnt want to go that route for now…
I think I should I cancel my preorder for the Bluebox to get the H6 instead, change my mind