It’s certainly fun and quite productive, but for me, it’s hard to know when to reach for the tools within the Blackbox to fix something and when to go for the SiX, since I use them at the same time now.
Generally, I’d like to keep the source as tight as can be, and not move to the SiX phase until the track’s done and sounds as good as can be within the Blackbox. This has worked for me in the past. But now, it’s pointless since I’m reaching for tools within the Blackbox that does improve the internal quality of the track, but also means I’ll approach the SiX in a less efficient way.
I guess it’s a matter of knowing your tools and craft so well, to know when to fix something from the source, when to fix it in the mixer, and when both might apply at the same time.
Its kind of two “schools” on mixing. One is bottom up, and other is top down. Often people reccomend the bottom up method on fixing everything at the source, and then mixing, and adding stuff like master compression at the end.
But alot of people do it the other way. Compression on the master always require some adjusting of the mix anyway, so why not add it at the start of a mix.
But if there is a “problem” with some of the tracks, that should be taken care of at the track, and not in the mix/master bus.
Yeah, that’s what I’m thinking. Though I wouldn’t perhaps say I’m running into problem, it’s just the source sounds so plain and dull now, compared to where it’s going when I run it through the SiX, and once into the SiX, I hear things that make me wanna go back and change the source, not always in a subtle way. But perhaps not to “fix” it, but rather “Okay, now that I hear it like this, I should instead try this.”
In a way, it reminds me of the Elektron sequencers, where sound design and the sequence itself can be closely linked. All them p-locks and stuff going on, influences the actual sequence so much that you do both at the same time (and for me, as a result, it’s harder to reach something finished).
But obviously, both the Blackbox and SiX being much more straight forward tools, essentially just two big sweet spots working together, I reach results more often than not. Elektron’s like 95% of its settings are unusable, like “Who would ever want something to sound like this?” With the Blackbox, it’s more like “This is one of many great paths I can take with this track.”
I didnt mean to imply that you had problems with anything! That was more a general idea.
Its no point in adding “digital eq” on a sound when you can add an analog eq at the mixer. So i totally see why you do it this way. Specially since the SSL is a pretty small mixer. People with larger mixers can get into challenges with recall and stuff, and might do things differently to cope with that.
I also find that just having physical faders and knobs gives me better results than flicking about with a mouse or in a menu on something. Faster and easier to find the sweetspots.
If your source material is sounding “meh” and when you apply the Six and then it sound “yeah!” it can be two things:
The source material has to be worked on: Sounds do not blend well together, some EQ is needed, or just some simple panning or volume adjustments.
The Six is becoming part of the overall sound so it’s becoming essential for the sound you’re looking for.
Both can also be true at the same time. I’ll try to make the source material as good as it can be before adding the comp / eq / mastering fx sauces. But other approaches can work too, there isn’t a single truth when it comes to mixing.
Less elektronauts and more time spending on music can also help to create a better mix
(Sidenote: Sometimes I create sounds to be dull on purpose so the effect I apply has more room to do something. The analog heat for example is great on dull sounds so the extra harmonics have more room in the mix)
Not in my case. The stuff I’m learning here, all the good advice people offer, just engaging with people who share a mutual interest, makes me a better musician.
Screen time can be a disruptor, but only if you’re not mindful of its purpose.
It doesn’t sound blah from the source, if I’m being honest to myself here. It’s just that I have such a specific idea in my head now, that if I can’t get exactly that, then I kind of think it’s a waste of time. Which is I’m using the SiX as a part of the song dev now, instead of at the end of the creative process.
I guess like @HoldMyBeer said, I already figured this out now. Like you say, it’s a bit tricky with the lack of recall, but the good part is, I’m looking for the same balance in all my tracks in this project, so I’m hoping I can use the SiX settings now as default throughout, and work with the track from the Blackbox to get the SiX to respond accordingly. So far, it seems to be working out.
Works great. I use the CXM 1978 like this. Nothing on ch1 and ch2, some on ch3 and ch4, a lot on ch5 and ch6. Still figuring out if I’m gonna use something on the second ext in, or if enough is enough.
Which is perfectly fine of course! You could also re-record tracks trough the SSL back into the blackbox again as part of the process. (I guess you already do that). The fastest way you get the sound you want, the more time is left to be creative on other parts.
Yep, like @rtme suggests, that’s an option. But I don’t much like to lock down stuff like compression, eq and such, in actual renders. I prefer those to remain dynamic until I record the master. It also keeps the work more focused. The resampling / re-recording / multi-tracking rabbit hole makes Wonderland seem like an organised office in comparison.
I’m on the verge of going for this and want to make sure I bundle in necessary cables with my order.
For the effects routing, what flavour cables (particular to the Six) am I looking at for setting up a typical send/return?
I might initially go through a mono pedal and finish with a stereo,
or else (in the case of my Red Pandas) initially go through a TRS and finish with regular (dual TS) stereo.
What I’m really trying to fathom is the outs and ins.
I’ve already got plenty of cables, but what often happens is that I’m short of that cable because I didn’t do my homework…
best thing to do is check these images
Essentially everything is balanced TRS, but would except normal TS - I’ve run the foldbacks with balanced stereo pairs and I’ve run them with single TS mono cable with no problems. I haven’t come across many pedals that have balanced outputs though. If your using one of the stereo inputs with a mono device, put it in the Left connection and it will sum it to stereo. Only thing I needed was the XLR male to TRS for the Main Outs to my interface. And the DB25 cables if you need them… (handy for Main Insert etc)
That was more a general idea.
