I haven’t had a chance to hear the B6 compared to my Aurora… but I imagine that it has some magic since it’s little brother does.
Regarding the new Lynx module:
I’m sure it sounds just as amazing as the rest of the line, but if you’re planning on integrating a summing mixer, why not just use the 8-output D-Sub module?
The new firmware offers most of the same monitor control over outputs without the onboard TRS connectors.
It seems to trade 4 outputs for TRS vs D-Sub and an anti-thump power-on circuit.
If you can push your budget ( or talk a salesperson into making your budget work ) I’d suggest
Aurora(n) Pre1608USB/ TB + SSL SiX + 2 D-Sub cables
That covers all of your bases.
16 Inputs ( 11 mic pre’s ), 8 outputs, 3 headphone amps, a summing mixer, and a monitor controller.
Later on add a mastering processor and you’re good for years to come.
I think you’re right about the ground between B6 and Aurora(n).
While I hear and read that the Lynx converter quality is on par with Prism Titan / Atlas, Merging Horus / Hapi, or Burl anything, those choices will go through $6K quite quickly and won’t give you the I/O you need without additional cost.
Don’t misunderstand me: I’m not trying to talk you out of the B6 - I want one myself as I’m over the moon with my SiX and I’m pretty sure there’s some magic in the B6.
SCG I think is a very good idea, if the ssl six has enough monitoring and summing quality to not lose any of the cleanliness that Lynx offers. And so far I have only read good reviews of the little SIX. I don’t want to sacrifice audio quality and definition for monitoring.
The B6, of course, is still an option that I do not rule out. But in this matter of investing and dreaming, all possibilities must be explored, especially above the quality of B6. You have already told me that with B6, one has enough to work with and have excellent results.
The quest for the wonder factor remains a defining issue for self-produced songwriters. Anything that explores possible combinations is welcome and necessary. Here in Costa Rica I have nowhere to physically test or hear any of the high-end options or the B6. I guess there is more than one composer dreaming and trying to get the best for his goals. So we are leaving a good precedent in this forum.
SiX has 6 discrete channels: 2 mono, and 2x stereo.
There are an additional 6 extra inputs: 2 Alt that share the 2 mono channels, and 2x stereo inputs that basically go to the master bus.
There are 6 stereo outputs available without using the D-Subs on SiX: using the D-Subs adds 1x stereo and 2x mono outputs, and 1x stereo and 2x mono inputs.
There are 3 mic preamps: the 2 mono channels ( with direct out ) and 1 talkback preamp that can be routed to the Aux send for its Direct out
In the suggested configuration, both DB25 cables would be for the Aurora(n), DB25 to 1/4” TRS Male. These would connect to various inputs and outputs on the SiX depending on what part of the recording or mixdown process you would be in.
Was always a big fan of SSL but after the Nucleus it kinda went all downhill. There’s simple no way I would accept opening my expensive mixer to add something that’s going to fix something that shouldn’t be broken. That might have been acceptable in the early days but now no way imo.
Anyone know if BSs shipped from Thomann as of now already have the fix built in?
And I also wanted to get some advice from users on how to incorporate the compressors on channel 1-4. How are they and what do you use them for?
Reason I‘m asking is that I‘m planning on buying a BS once the QC issues are sorted out. The only problem is that I have 6 mono sources (Bass Drum + Snare/Clap + Toms/Perc + HiHats from individual outs of Analog Rytm, Bass Synth from individual outs of Analog Four and Guitar from Modelling Amp) and 3 stereo sources (Samples from main out of Rytm, Lead Synth from main out of Four and Strings/Pads from Udo Super Six) that I‘d like to monitor/mix/record on the BS. As the BS only has 4 mono and 4 stereo inputs I would need to combine two of the mono inputs into one of the stereo inputs setup as dual mono. The obvious choice would be to combine the Bass Drum from Rytm and Bass Synth from Four as they are both usually panned in the center without any FX sends. I‘m only wondering if I would lose out by not having the option to EQ and/or compress them individually? Any input greatly appreciated!
If you check the pics of the B6 you will see that you have a dedicated button on the 4 stereo tracks to make them mono. So you could set two stereo tracks to mono. And then you can the use external ins for stereo ins.
This way you have six mono and four stereo ins, of which two stereos will not have an eq
I don’t fully understand what this mono switch is actually doing.
Otherwise, I have another question, about the “medical grade” power supply. Does it really bring something to the sound? I ask this question because I hesitate to get a power regulator. Are these things game changing? (I should mention that I live in a place where the electricity is very stable).
you don’t need that extra power supply Mono switch makes Mono out of your stereo sum to check the mono compatibility or personal for me I mix 80% of the time in mono before I switch to stereo. it#s more easy because you don’t get distracted by the panorama.
think I’m going to take the plunge… by the time I’ve bought a used SiX, the 2 dsub and x8 snake I want I’m half way to a Big SiX. And once I sell my x2 interfaces, I’m almost square - and way less fuss with cables etc when I want to sum.
I was speaking about the mono switch on the 4 mono channels. I haven’t understand what is the purpose of these switches since theses channels autoswitch to mono when only one input is connected.
To me this is an amazing functionality. It allows you to input two mono signals to a stereo track without them being spread hard left and right. You can now sum 12 mono signals rather than being limited to 8.
When you want to track drum machines with individual outs for example.
OK, thank you. I have few channels centered, bass and vox, and eventually kick and snare. Yes, this switch can free the 4 mono which are panable. So here it let sum 10 “stereo” channel (in fact 4 of them centered) instead of 8.
No, the mono summing happens before the USB send and I would assume before the EQ also. The stereo balance affects the summed mono signal as well, so you can still pan the two combined signals.
When you go into your DAW you just grab the two signals as normal stereo but route it to two separate mono tracks in the DAW. So the mono function on the stereo channels are really mainly useful for mixing on the mixer
Oh…ok, that might be a dealbreaker for me. I thought that I could use the stereo inputs as additional mono inputs with summed to mono monitoring but separate outs for recording! Hmm, so it‘s really only 8 inputs with 4 of them having the option to be stereo.
I might have been unclear. If you want to record the two signals plugged into a stereo input as dual mono through USB, then on the BiG SiX you just leave the channel as stereo (two signals going separately, but parallel, through each their own half of the EQ and to the DAC).
Then you assign each of these two channels to their own respective mono channel in the DAW. You then get independent mono channels in the DAW where the inputs have equal EQ settings applied to them, but is otherwise completely separate.
If you then listen to the main monitor output from the SSL, these two channels will be panned hard left right, but if you listen to you mix in your DAW they’ll be mono.
Hope that makes sense, and that I understood you issue properly.
EDIT: So you can get 12 mono inputs out of it, if you use the routing flexibility of your DAW. Eight of those will have the same tracking EQ applied in pairs, but once you’re in the DAW you can apply anything in the world you can think of.
Going out (to the mixer) again you send the mono channels in pairs to left/right channels of the stereo inputs, hit mono and apply your last EQ changes before summing.
Mono switch makes Mono out of your stereo sum to check the mono compatibility or personal for me I mix 80% of the time in mono before I switch to stereo. it#s more easy because you don’t get distracted by the panorama.