If this came out 10 years ago while I was still recording jazz, I’d have preordered one and easily sold some outboard to pay for it.
My old SSL-G4000 Bus compressor clone, $700,
dual class a eq/preamp $2300.
Boom, paid for. Get 4 mic/eq/comp channels, and some stereo eq channels, and a master compressor, plus loads of inserts.
Not to mention sell my old AudioArts 8x console. Possibly my MH 2882 pair as well, have money in my pocket.
No brainer.
They are going to sell sooooo many of these to the outboard crowd.
It makes me headache into madness this stuff. Most of the stuff I came across a few years ago was the opposite to that statement. I’m not disagreeing, or agreeing.
But hey, I sure like not recording at 256/64 like some “Audiophiles”
Mine has this issue (slight bias to the left channel), and from what I’m reading online (check out the Fusion topic on gearspace), the SSL Fusion also has issues with uneven channel outputs where one of the channels is slightly lower than the other. I wonder if this same flaw was because SSL used similar circuit designs in both the Six and Fusion products.
Irrespective, I pre-ordered a Big Six and hope the same issue doesn’t occur.
This is to illustrate what I was referring to here. In this example, my own energy field/aura is on ST CUE 1, instead of 2, and the jar of salsa is on ST CUE 2, instead of 1. The jaw harps are free running, like your favorite LFO, and play whatever they want. And instead of the 4th popcorn machine, I have Pavement singing “Stereo” on the final stereo channel.
Had an X-Desk and know a few other people with SSL’s other budget gear. Their attention to detail and reliability is lacking on issues like that. Hope very much they can put this to bed with the Big Six, but I’m not hopeful.
Well, we’ll see, need to think about it some more @Octagonist
The Big Six does a few things the Fusion does, @aloud - with three-band eq on all inputs and just the general amount, I believe I would have enough control over the frequencies for the master mix, as well as get the stereo width the Fusion does so well, by simply spreading out the tracks across 12 instead of 6 inputs. With the added features on the compressor, I can push the mix enough to get some kind of saturated sound equal to the drive in the Fusion, though obviously it won’t enhance the harmonics in the same way, or replace the low end saturation the Fusion has.
But the Big SiX solves a few fundamental pain points for me that would make the overall workflow faster, and I’ve done mastering on the SiX before I had the Fusion and enjoyed the results, so with the added flexibility of the BiG SiX, it might be that I wouldn’t miss the stuff that Fusion does all that much.
In my current setup, it’s essential. There’s no way I’d lose the Fusion in my current context but it could be that the BiG SiX would be enough to the point that I wouldn’t miss what the BiG SiX can’t replace from the Fusion, anyway.
But until I’ve done a few more mixes on the Fusion, I won’t make a decision on this one.
I’m moderately ignorant about signal chain stuff, but is this a solvable thing? If you’re sending signal down two completely independent sets of discrete analog components, and controlling the balance between each with a potentiometer, how would they make sure they’re at exact unity with one another? I have trouble sometimes just using different cables
