SSL BIG SIX - An Honest Review
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- เผยแพร่เมื่อ 12 ก.ย. 2024
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I own a Big Six. I also own two Rupert Neve Newton channels. The Neve preamps are true magic. The Big Six preamps are very very nice. I was concerned about the converters but they are truly excellent (a lot better than UA Apollo and can handle proper level).
I compared the eqs on a drum bus once with extreme boosts and was not expecting that the SSL would even come close to the Neve. It certainly did; just as punchy and clear in midrange with great bass response but obviously lacked a little bit of the Neve ‘shine’. Both sound classic to be honest.
As for the compressors, they compress better than plugins but they are still compressors ;)
Totally on board with all this, but the converters are not better than UA's X line of Apollos.
@@BeauStephensonVoiceActor Nice! I can’t comment on those particular converters but I upgraded from Apollo Twin and the difference is definitely apparent to me, maybe it’s a preference thing :)
interesting video ---- I have two Big Six's that I use for small projects in my studio. I really like them. High sound and build quality with very fine functionality.
I’m okay with them also
Big 6 and little 6❤
BIG SIX is the cheapest in-line console by a long way. I wanted inserts, and it has them. It all suits me very well, at relatively low cost.
Bro you are coping.
I love my SSL Six for my hardware synths so much that I added a Big Six to my setup. You're correct that it doesn't color the sound but it does sound more expensive.
why would you want to own one of these over an Arturai 16rig. Asking out of actual interest
@@novalogue I don't own a Arturia 16 rig to give you the answer you're looking for.
Appreciate your opinion. The Big Six is the best option if you're looking for a small mixer. Yeah you can spend about $2,000 on a real Ssl G comp with a 500 rack. About $2,000 minimum on a quality summing box. About $700 a piece for a Ssl eq for 8 channels. And about $500 for a decent patch bay. You can also just buy a large mixing console starting at $20,0000 for that price. I have the Big Six. It has that Ssl sound, good headroom and low noise. Its better than stacking 1,000 plugins to get an analog sound. And the routing is great.
There are plenty of other options for a lot less.
@@BarryJohns Maybe a video about an option of comparable price with comparable features that you think is better would be helpful. I've done a lot of looking and not found anything that could meet my use case better than the Big Six, so it's still on my radar. Thanks.
Yeah there are plenty options. But the Big Six is one of the better options in this price range. I sold my Apollo X6 and bought a Lynx Aurora N interface and Big Six. I could easily use the Big Six converters to get 12 channels of internal summing without any cables. Also it has 2 aux channels, 4 inserts, and a master insert before the G comp that has the same settings I would use on a real G comp. Personally, i send 4 mono outs when tracking from the first 4 mono insert outputs to 4 inputs on my Lynx. The routing is insane.
@@BarryJohnscan you make a video on the topic
@@BarryJohnsplease do a video with alternatives ?
To some extent a swiss army knife is going to be a jack of all trades, master of none.
You can get a big six plus violet EQ 500 module now for 2.7K on Sweetwater. You can sell the violet EQ module for at least 400 on Reverb, I think, so that gets us to 2.3K.
I think it would be neat to see a couple "builds" of alternatives to the big six, lets say in the 2.2 to 2.8K range. What kind of packages could someone go get, for that price, that would be a better bang for the buck? I think that would be an amazing video.
Cheers Barry! Keep on keepin' it real!
Sorry man, but the pres on the big six are way better than stock interface pres. The bus compressor is better than any plugin I’ve ever heard.
I didn’t find that, but it’s subjective. Depends on the interface though.
I agree the Super analogue Pres are great. And I have a hell of a lot more Pres and interfaces than this channel has. It is up there with a Portico II or Shelford, nope. But they are a bit better than the ones on a Focusrite Clarett or most run of the mill interfaces.
@@infojunkie4989were those available when the big 6 came out? I would have given them a hard look if they were.
@@BarryJohnswell I recently bought one, is a great sounding console compared to All the interfaces I had before… including the SSL 12, or the universal audio twin… first improved thing I’ve noticed was the headroom, second the tone… I’m a musician too, and it responded quite lively to my bass or my guitars…
The thing is that I never recorded in a big SSL console, but in the Academy I’m learning music production we got a lot of analogue top gear, and big yamahas and soundcraft consoles and this thing stands really good tonewise against All that gear. Also ive been recording with my band in other profesional studios, and found myself wanting more charcater from the overall sound in those trackings … Back to the ssl big six I’m considering buying outboard stuff for better results in processing and colouring… but still keeping this as the heart of my project studio…. The summing stage makes the final mix considerably better… the routing is quite good too, plus the converters… you really can achieve pro sounding results If you know how to use things properly IMO…
I understand this unit to be a one-stop-shop piece of gear. If you have nothing, you can buy this and have a little of everything and an interface.
its an Analog /digital mini console with an audio interface built in?
Analog EQ on every channel (RARE)
Analog Compressor on ever 4 channel (RARE)
Analog Bus Compressor (RARE)
16x16 Audio interface
SSL Super Analog Mic Pre's
Great Metering (RARE)
Listen Mic Compressor (RARE) (RARE)
Bruh this thing is a monster sir
and inserts
It has all those things and they are all mediocre.
I have a lot of outboard gear. The reason I bought a big six is to be able to incorporate it all in tandem with a patch bay. (I do also use it for stemming out mixes) Would I use it as my standalone piece? Naw, but using it as a hub for all my gear when I am mixing (I'm tracking full bands at a different studio) Its great and flexible. It's clean (all my outboard gear has nasty tubes, dirty transformers, and the like) I Think that your suggestion to have SSL pull them off the self is pretty short sided, as there are people that really know how to utilize this type of piece in a work flow. You are not one of them (and that's OK!) I have a really good master bus so I am able to use the compressor that is on the big six as a Parallel comp, which is pretty amazing (SSL encourages that behavior ) I appreciate and understand your view on everything you put out, and mostly agree with you, and even agree that if you are buying an SSL Big Six as your only piece of analog gear, that , no its not a be all end all piece of gear. But it really hits a pretty high note for those of us that have outboard gear, but dont have a reason to jump up to a Toft, Trident, or Api Bigbox type of tier.
I usually agree with you....but some of the things you slammed SSL for......were things the COMMUNITY asked for. Original SiX HAD D-Sub...users cried about it. Six didn't have an interface (traditional console) users asked WHY not. Those alone, like you said, this could be a different piece. Its okay to dislike a product, but in this form factor what would you like to see from them? Better everything? Less channels? Its challenging for anyone to build a mixer and keep the cost down. Use ours all day everyday, to route External Inputs.
I can understand all of your points, however, I think the core of the problem is trying to squeeze all that into that price point, it’s simply cannot be done without a lot of compromise. And these were a lot of unnecessary compromises in my opinion. Appreciate the feedback!
The price alone for the features make not worth it because you can get a Yamaha DM3-D mixer for 2 grand. Add a little bit more money and you can get the DM3-D plus a 16 input Dante stagebox. The DM3 by itself has 16 channels.
No offense, but I'm not sure if you really understand the concept, the target group and the major use cases of this device. Of course, if you only want to record two channels, this is way too much hardware, to much routing options and way to much compromise regarding the EQs and compressors. But this is not the use case big six is designed for. Like you said, there are better options for that. But if you use it with eight external mic pres and some outboard compressors and EQs, it becomes the wonderful and very practical centerpiece of a little band or electronic music project studio. Of course a bigger console offers a lot more options and flexibility here, but that comes with a way higher price tag. I think big six is great value for the money. Yes, adat would be nice, but at least in my case 16 ins and 16 outs is enough. With two cue sends and an insert on the master bus, it offers a lot of possibilities to integrate outboard gear. And also summing to stereo and even recording that to tape is possible. After many years of working in the box only, I really enjoy the hybrid workflow that big six offers. Again, if you only need to record two channels, big six is not for you. But it really shines as centerpiece for band or electronic music recording at an affordable price. In a nutshell, I really don't understand your very harsh critique and can only explain it to me that you might had an use case in mind that big six is not really designed for. :)
2 grand buys you a Yamaha DM3-D, which also has 16 channels, motorized faders, Dante, can be controlled remotelly...If you need flexibility, live mixers are the way to go and the market is being introduced to affordable small format models which are all cheaper or in the same price bracket as the Big SiX.
@@BrunodeSouzaLino Dear Bruno, thanks for pointing that out. The beauty of the big six also lies in the fact that besides the actual i/o interface it as a real analogue device with analogue routing and analogue summing. The Yamaha console is a digital device with a CPU, I have one of those already in my MacBook. :) It is a very different kind of machine, not really comparable.
@@BrunodeSouzaLino No insert FX
@@tobhelmlinger He doesn't understand the target group for sure. And I would prefer he actually can do a demo on this and all the gear instead of just talk about them or what's on paper. I find that talking about products is easy when you never demo them. Terrible in my opinion.
like he said there is better options for that $ most people buying this are thinking they can get the sound of a an ssl desk in their mix not even close on individual channels
i have the six, and it sounds amazing. the six has that ssl sound. i don't use the compressors and the eq's are a bit dodgy. but it's the ssl sound, proper.
lol! shut up, you are coping so hard.
Thanks for the video!! I have the SSL Six and a Cranborne Audio 500 series interface. For me, that has been awesome and much better than the Big Six for cheaper($2300 or so), at least through slightly used/demo options. The Cranborne 500 interface is so underrated!
The biggest problem for the Big Six is no ADAT and no compatibility with with the SF8, No expandability
It's got 16 ins and 16 DtoAs coming back into board.
How many inputs does one need?
He didnt address hardly any of the things I want it for.
I appreciate hearing all reviews though.
@@germancarluv Let's see.... 1 909 drum machine 8 outs, 1 MPC 8 outs... there goes those 16 ins... 1 guitar, 1 bass, 1 ob-6 stereo 2 outs, 1 sub 37 (mono), 1 Nautilus stereo outs (2), 1 microphone that is a total of. how many inputs....24..... that is part of my set up and that doesn't include the mic'd drum..... there are thousands of serious musicians and producers like myself who have a similar set up like me... I gave you just some instruments. no other outboard gear, preamps, summing mixer, compressors, EQs..... that is why people need the inputs.... if you only play one instrument... then yeah all you need is 2 but if you play 4 instruments like me plugging and unplugging to finish a track. kills the vibe, its a time waster, and god forbid if something is not working.... You want your instruments and sound sources, plugged in ready to go without worry to produce... especially if you are tracking with other musicians.
You mention a lot of gear. This is an integrated solution.
If your goal is max preamps into computer and nothing else, then this isn't the product for you.
@@germancarluv Adding ADAT allows for expandability. If you are spending $3K. for any interface not only you'd likely get more than 8 inputs you'd definitely get the ability to expand for more inputs via ADAT or Madi. For Example i have a Universal Audio X4 that I don't even use anymore it had ADAT and I used a Focusrite OctoPre to expand from 4 to 12 that was massive when I was acquiring gear and learning my craft. It gave me the ability to grow. And that is the problem with this product. it doesn't allow one to grow and for the most part it gives you unusable components for the cost of it.
Biggest problem is that it's built of cheap components and sold expensive
I just ordered one and here’s why. I used to own a commercial studio. Got kind of a bad business deal with my partner. Lost a lot of great gear. Pretty much all of my analog, console, converters, mic’s and etc.
I didn’t want anything to do with music anymore. But got in a horse wreck and couldn’t do much but sit around and play guitar for a while. Then I started to put a small project studio together.
The reason I bought it is I don’t use more than two channels to record at a time. I already have focusrite isa pre’s. But it is a fairly cheap option for eq for tracking, inserts for my pulteq clone and la2a clone. Plus two additional mic pres.
And it’s also an interface so I can record with it. Or sum back to it and use it to reprint tracks through other analog gear that I will eventually purchase. I think it has a decent place in a small project studio for someone kinda like me. But I wouldn’t use it for anything else than that. Because that’s really what I think it was intended for anyway. But will I keep it forever no. As time goes on I’ll upgrade things. This just made it easier to get things going. And I bought it cheap enough to re sell and not lose too much money on the investment.
Wow, it's so refreshing to see an honest gear review on youtube. Thanks, for that.
Refreshing to hear an honest review. The whole of TH-cam seems more and more like one big commercials station in the disguise of "reviews".
One thing I can promise you, is I’ll never be bought and sold by anyone. I’m blessed, I’ve got a great regular job, I genuinely do TH-cam to help people.
Love your pragmatic, straight talk--have learned a lot from your channel. (The RME TotalMix tutorials are really great!)
Thank you for this. I was actually trying to get an honest perspective from someone that has a good amount of experience with recoding gear, especially with more expensive gear. Maybe SSL will take your feedback and work out something to the service of the average user. Keep it coming Barry, for the community, for us. Love your honesty !
That’s his opinion! Only person e we said pres weren’t good also never mention the converters for someone using hardware synths is really good the mixer sounds really good it’s that circuitry
Thank goodness it does not have db25 connectors - one of the great features of the B6 is the TRS connectors.
yes db25 suck
😂
I wish I’d known db25 sucks before I wired my studio, d’oh!Anyone wanna buy some used db25’s?
You make some good points. The omission of ADAT I/O was a huge mistake, but, imo this mixer shouldn't have tried to be an interface at all. I have the regular SIX and love it as a handy mixer (like an upgrade from a Mackie). If the Big Six was just a mixer for a grand less I think it would have been better. I agree DB25's on the back would be tidy and make sense. You did forget to mention you get the famous listen mic compressor on this which is cool for smashing drums. Also, the real benefit of those stereo channels is mixing stems (or tracking keyboards). But, the fact that they don't have stereo dynamics on those channels is really unfortunate imo because these basic EQ/Comps are actually good for stem mixing where you've already done your processing either on the way in with really good analog gear or with plug-ins and at the final stage you may just need minor adjustments to tone or some glue in the analog domain. It can be handy for that. The G Bus comp is better than what you're saying imo. But, obviously not expected to be as good as a real one. Overall you make some really good points, but, the trashing of it at the end is a bit over the top imo. They should pull it? Give me a break. The product is successful, so, I don't think they're gonna take that particular advice. But, the things you said it should have I agree it should have. Definitely 8 mic pres and/or ADAT I/O if it's going to be an interface at all. I'd want comps on the stereos too personally. A little more mojo on everything would be nice, but, at a certain point you gotta just do the math. How much would 4 x E series EQs and 4 UV EQs cost? $4,400 or so. 4 E series Dynamics would be around $2,400 (and 3 times that to get the 12 channels it should have had). Even adding a clone bus comp you'd be spending well over $10k total and not even have a mixer or an interface yet! It's actually AMAZING what SSL have done here for the price. But, if the question is should someone spend more for better quality all around (even from SSL)? Yeah maybe. At the very least, have some HQ 1-2 channel Pre/EQ/Comp to track with (unless you're recording drums or a band and prepare to spend a lot mroe) and either mix in the box or have some kind of analog summing. Just my honest 2 cents on this.
The Big Six mixer's converters alone justify its price, delivering exceptional audio quality. Its powerful equalization, flexible summing, and versatile routing options make it a highly capable unit for hybrid studio's.
I use the Big Six with my 8 track tape machine and I love it. The converters are great , definitely better then my Antelope Audio unit. Also the fact it has converters makes it easy to run tape outs from my machine back into it. The monitor out is great too, everything sounds so much more punchy, my A77x’s sound amazing through this. Also headphone preamp is very good. Routing is very flexible and I actually like that it has only 1/4 jacks. The fact that you can record digitally any analog channel without running into extra converter is amazing, very convenient. The bus compressor beefs up the mix in a pleasing way. Is it worth 3k? Maybe not but I haven’t found anything better yet for my analog/digital setup.
You not using it right man if I get a hundred likes on this comment I’ll make a video showing you guys how to mix a master with the Big Six! Let’s go
It would be nice to see how to use it as you see it. Please consider sharing that information without hinging it on you getting 100 likes on your comment. That’s not likely to happen
Why do you need so many likes, please make the video I’m interested in your use. Keep in mind my point was not that it was not functional but rather mediocre in its abilities for the money. Had they put more useable EQ’s and Compressors, and a better g-Comp and of course charged accordingly, my opinion would greatly change. The initial overreached with limited parts. I can assure you I am very well versed in how to use it, my point was that you can invest that same money in other gear and get much better results.
One last point, if you love it, why care what I think, it should not matter to you. No need to justify your purchase. I’m happy you like it, I’m just saying you would have gotten more mileage going other routes.
Agreed. I've spent 3yrs with my BiGSiX and every review like this I see, it's guys using the thing in the most vanilla and uncreative ways....this actually makes me never wanna hear this guy's opinion on ANYTHING ELSE. Fk this guy and his two cents. 🤷🏾♂️
@@RazeTastic414 wow … that’s saying a lot. I’m in the middle as an owner who is still learning. And I can appreciate something for what it is and what it is not. At the end of the day you sometimes have to learn how and when to use the gear. I’m not in a position to say the review is spot on or way off but it certainly isn’t going to make me regret my purchase. I just want to hear what SSL will say in response
Just make a video and show what you’re talking about. You can achieve your own likes once you do you.
I use it to capture and premix my drum room mics live. Works well at that, I enjoy that.
You just confirmed my expectations… Thank you for the video
This happened to me with the original SSL SiX. It was a great piece of gear, but I found myself wanting more from it. I was tempted by the SSL Big SiX, but a friend of mine advised me to invest in dedicated analog gear instead. Thank God I took that advice! Your video really confirms that I made the right choice by not going for the Big SiX. Thank you so much, and God bless you 🙏🏼
I think you were the market this was targeted at… but by the time you outgrow it, it’s time to move on from it.
I am in a weird place with my big six
IMO the conversion and mic pres are pretty damn flipping good!
I came from an Apollo Twin (not the x) and the difference in quality was massive.
I find the bus compressor to be significantly better than any software emulation I have
The routing options to be almost unlimited
And the seamless integration with ASIO on Mac to be really flawless. Very few crashes or issues.
That being said…. It’s an ALMOST great device
Everything comes with a caviot,
The bus comp is awesome but comes with very limited controls
The 4 super analogue channels are nice but eq and comp is very limited only there for sweetening really
The conversion is great but not leading class
The sends are only available on 1-4
I’ve had hardware issues with mine regarding some phasing issues that need a retro fit and some issues with quality of the gain knobs being unbalanced.
It’s almost amazing but always trips itself up
However! You can get one of these in the uk for under 2k
To get an interface with this level of pre, a separate bus comp, this much routing options so you can connect a patch bay easily and all through TRS
It would cost me almost double to get this separately. Would it be better yes but for the price it really is compelling IMO
This comment needs to be pinned to the top.
Thanks for the opinion from someone who owns and uses one.
Appreciate the comment about the conversion quality.
I am in US. Going by the reviews of owners on Sweetwater, everyone has good and great things to say.
Even those who got early ones that has electronic issues mostly say that they still like them.
The. Audio demos of the big six on TH-cam haven't been stellar.
I did find one of a guy mixing dub music with one and you could clearly hear the SSL quality in the mix.
Yep, under £2k + some retailers are throwing in a 500 series Violet EQ too making it an amazing deal. Using it with another interface (aggregate device) and patchbay opens it up in so many ways, there are no limits this way. Of course that would be further purchases if you didn't already have them in your studio - most bods would though...
I agree with a point somebody made that the Big6 sounds superior to the Apollo 8. I didn't think this would be the case, but it really is. The headroom on the SSL is superb and fits my workflow perfectly
I'm a big fan of SSL and own 2 UF8's a UC1, UF1, and several preamps and the 500 g-Comp. I was considering the Big 6 a year ago, and came to the same conclusions that you did. To me, the unit fell short of what I wanted an analog console to for my needs. But, then again I'd have to spend a minimum of 15-25k for what I'd want my console capable of. I did not see the value in the "almost" fills the need with the Big 6. Great video Barry!
Alternatives have been asked. What would be a personal choice in the same price range - A&H MixWizard Wz4 14:4:2 + USB WZ4 option.
Of course, it needs additional hardware (dynamics!) and there are no returning channels except for two.
But it can be placed in a 19" rack, so the sockets are at the back, it has 6 sends, 4 groups, direct outputs, matrices and most importantly, a decent eq.
I personally think that if you add a headphone amplifier and a monitor controller, it will be very difficult to find an analog console with comparable and truly professional features in this price range. And it is possible to easily upgrade it by adding, for example, an additional sound card for returning channels and digital connections. It's definitely not dead end.
Of course, the sound characteristics can be debated endlessly.
You missed the Synthesizer/instrumental community. The SSL BIG 6 is a medium to connect potentially 6 stereo or 4 stereo and 4 mono synths (8 in total) hardware synths right into a computer. In theory, if I use Jack to XLR, I could add an additional 2 stereo synths or 4 mono synths (of course, not using them all simultaneously) connected to channel 1-4 Mixer. In addition, it lets you use Hardware Inserts on Channels 1-4 and all channels combined via Bus B - its master insert effect. It also has a 2 stereo FX sends and returns on all channels (1-12).
Let's talk about connectivity to the CPU. It is pretty much the only Mixer on the market that allows you to route channels directly to the mixer itself. For example, in Pro Tools or Ableton, I can (AT THE CLICK OF BUTTON) route the audio out my DAW to the mixer, add effects, and send it back into my DAW via the same mixer.
They got this right. At the time it was released, there was nothing like it. NOTHING. Barry is right, if you break the mixer down and buy parts individually, you can get better. The EQ and compressor are blah. They could remove them for all I care. However, to buy all the things the mixer can do, you would easily spend $10k +. A decent interface with 16 ins and outs is about $3k. A great-sounding external compressor (G Bus compressor) or EQ unit (i.e Fusion) is about $3k,
When I bought this, I did not care about the EQs or the Compressor (they could have removed them for all I cared). I bought as a hub for my synths - and for that A+. 10/10.
**Updated Post**
I talked about the synth folks, you know the whole pie thing.
You did not care about the EQs or the Compressor but you paid them expensively, you could bought other gear that does what you needed much cheaper with the same or better quality.
@@dimitrisgakis9206FACTS
Brother please check out the AudioFuse 16rig that is much better for hardware synths. I have also reviewed that if you are interested.
It is a great synth, drum machine and sampler mixer. It was better value before the price hike though.
I give it a few years until you have an Origin LOL. Idk but I can see it happening. Thanks for the video and honesty!
Barry, do you have any audio clips to share from a BIG SIX recording?
I didn’t record them when I was doing it, however, there are a handful of reviews out there that have plenty of audio clips.
@@BarryJohns okay thanks for the reply!
BigSix has completely changed the way I work, I have mono and stereo hardware synths and it handles them perfectly, I am also planing to use it for all synth based live performance. I have learned on E and G consoles and surely the EQ onB6 is quite limited but it somewhat does the job in combination with plugins. I also use it for mixing groups from the DAW and record back through the compressor, it just beats the mouse!
Yes the absence of adat/dante etc is quite a miss.
Yes as I mentioned, for the hardware synth community, it’s a different discussion. I’d say though they/you should consider then Arturo’s AudioFuse 16rig. I did a very positive review of that unit.
@@BarryJohns Yeah but I wanted/needed a mixer where I have hands on control on the levels and eq. I already have two other interfaces, Audient id22 and a Focusrite18i20.
Of what you are using works for you then my all means, be creative
This is silly.
Every point you make would either make it less flexible or way more expensive. It’s a phenomenal centerpiece for a home studio for smaller setups. The eqs and compressors are just extras, they’re not meant to replace a 500 rack or channel strip. Plus that eq you held up is about $1600 a pair racked, or 60% of the total cost of the board. No shit it’s better. That’s what the inserts are for, so you can integrate gear if you want. Bur adding a few of those eqs would easily double the cost. Why bother with the conversion? Seriously? Again, something to start with that’s easily upgradable. And to claim its not a summing box because it’s clean and doesn’t saturate? Throw some gear on the mix insert and not only is it a summing box, but it’s one with flexibility. I’d stick a silver bullet on the mix inserts and then I’d have any flavor of summing I want.
Your wish list is basically an Origin - at 10-20x the cost.
Cmon man.
Man I made a series of videos on the B6 and then I had a break up with it and was honest as I could be about it. So many people hated for that decision to move on from the B6 but it is what it is. I wanted more a lot more. I am now happy with my new studio and interface with my whole setup. I appreciate the honesty in your video man thanks for sharing.
You did a great job, love your sense of humor!
@TouchToneDSG didn’t you find the Bix 6 initially amazing and then outgrew it, particularly after upgrading your monitors? What was the limitation that you were hearing through the monitors? In your initial videos you praised the sound and the width of your mixes if my memory serves me correctly… so I’m wondering what changed.
Would you be kind enough to share?
@@BL-zw5oi of course man no problem. Well, the first couple of things is that it was the platform that I was coming from the super old and that was the UAD silver face. I still think the big six is better than that. obviously because the tech is newer it just makes sense. And the limitations are some of the same that Barry talked about. I was looking to expand this really likes you in the system and keeps you at one level. If you look at my studio now that’s the expansion I was looking for hope that helps.
@@BarryJohns hey thanks man I appreciate you
@@TouchToneDSGI saw your video on the Big Six. Im at that stage now where I need more analog color. I sold my Apollo X6 for the Lynx Aurora N. The Lynx is so transparent but it needs color. I never use the Big Six converters really. I can understand your choice to upgrade. The Big Six is good but there will always be better gear.
I just moved on from my Big Six a few weeks ago. Owned for two years and generally enjoyed it. But once my new console and interface arrived it was quite obvious the Big Six just wasn't up to par, Don't get me wrong I think the B6 is a fantastic piece. It's a great utility knife, it covers a lot of ground. I just got to the point it was merely a summing mixer. The amenities were just too limited to do any real mixing. They packed a lot in there but it's a jack of all trades master of none situation. The eq des[parately needed a sweepable mid band, the channel compressors are ok for bass and that's about it, as you mentioned the pre's are fine and nothing to write home about. After about 6 months I got to the point everything stayed static and the only feature I used was the buss compressor as a parallel drum beater upper because as you mentioned this is not the real G comp, it feels a little small on the 2 buss. If you are on the fence about a B6 I'd say make sure you can live with the limitations. My needs just outgrew the B6 after a couple years. Glad to hear your opinion Barry.
Hey i respect your opinion but don’t agree you’re the only one who ever said the pres was subpar? Also you never mention the converters or your thoughts of the converters. Yore a guitar guy if you use hardware synths running them through this is amazing! The Gbus is limited but it’s supposed to be and it’s excellent on the master!! The converters match the RME! Only thing I would get is Prisim Atlas to replace it but what it does for synths maybe worth bribe getting the Lyra for converters only or burl b2 DAC
From my experience, SSL has never really been known for its mic preamps being much more than blah and transparent. I learned engineering on an SSL 4000 Series G+ that was outfitted with both E and G series channels. I don’t think I saw a single engineer that came through our studio ever use the SSL preamps for tracking. SSL consoles were always about mixing and the abundance of routing options they offered. The stereo image was true, the consoles had a good bit of punchiness to them, and the line inputs did not distort easily. They also had automation and total recall, so for the time that was a very big draw. The E and G series channel compressors, and especially the gates, are good, the EQ’s are nice, and of course the bus compressor is legendary. Allegedly, the J-series consoles had nicer mic preamps, but the one time I worked on the J we also used outboard micpres, so I don’t really know for sure how the mic preamps were from personal experience.
When the SiX was launched, I looked at it and asked myself which target audience was that product meant for. And the same question arises with the Big SiX. It does a lot of things, but none of them well. You can get a Yamaha DM3-D for less than that and have a small format mixer with the same amount of inputs, motorized faders and Dante.
No dsubs becaase most studio iusing this dont even know what a DSUB is lol come on sir
You could be right, shouldn’t they learn there is a better way?
Thanks for the Review. I was just looking at this unit and was intrigued, but ultimately no ADAT and the price are what killed the idea for me. The routing would have been reall great as I could do a lot with it, but that alone isn't worth almost 3k€ for me. I use an RME babyface pro and Total mix FX can do all that and more too. Plus you get a parametric eq on every channel. and that thing should cost under 500€ on the used market nowadays. It's a fine interface and has served me for over 5 years now very well. So I'll just keep it that way and have everything connected to it.
Isn’t this 3 years late? The landscape was surely a bit different
So true! Unfortunately I brought one to find out the hard way, but sold after a year, took a hit and purchased their 500 series preamps instead
Thank you!❤
Your so honest,this is why I see your videos before I buy
Thank you for saving me from buying this! I have a lot of hardware synths and was considering it, but kept feeling there was something not up to snuff. Love your forest gump accent!
This is great for hardware synths o use it with Fantom 8 Voyager XL prophet rev2 and about to get 3rd wave. This sonic chapter kills Apollo and sounds better the. RME or just as good if I got rid of it it would only be for the prison atlas or maybe just get a Butlrl b2 to use with it
I agree with pretty much everything you say, most functions are "meh", but I still use a Big SiX in my studio. I have a separate audio interface, but the SiX runs the headphones mixes for the artists. It's much quicker and better sounding than the software console for the interface. I also use it as a monitor controller. And this week my interface failed and I used the Big SiX as a backup audio interface while waiting for a replacement. It's great for streaming too. I even use it occasionally to record my 3-piece band when doing live performances. This thing has its uses.
There's a small / boutique small run broadcast-type console hand-made in the UK, that goes way back to the 1970s. It's the the Alice 828 mk.III. Has really lovely preamps and EQs. I think it has a more preamp vibe/mojo or whatever than the SSL Big Six, albeit with more limited features. I prefer them to these SSLs. The SSLs are great, but maybe lacking a few features, for me. It has inserts, which is great, but no Post-EQ & Comp Direct Outs? Those would have made it more useful. Espeically with a PC DAW where you can't have composite interfaces. And where I already have interfaces with enough input channels. And also for processing tracks indidually, post EQ & comp, with other external gear, pedals, rack FX and not be limited to a small number of aux channels.
Always appreciate your straight talk answers.
for the radiobroadcasting like I am engineering with a live stereomix of a classical orchestra, a radio host, a reporter, some guests and some pre-recorded music and interviews played from computer, this console would be just the right thing. Here the build-in talkback function is just what I need in my setup So if my studer micro-core one day breaks down, then I would certainly have the big six among my considerations :-)
I can see it for those applications.
The problem is that it is not a $37,000 SSL Origin console.
The Origin would probably be way better
And you would complain about it because the Origin only has DB25 connectors on the back.
Barry I bought the little 6,and the big six,they are hard as shit to understand but they sound great ,I’ve got 6 1073 clones with compressor,for tracking just finishing,my zones ,Guitar,Drums,Bass,piano, Mastering ,TEGLER and SSL BUS compressor,very good everything,room is fantastic,it Zounds really really good ❤love it ,as soon as I started mixing I’m not looking at the screen at all zero,I. Okay with the limitations cause when I MIX WE ROCK, CAN YOU TELL ME HOW TO SET UP IN PATCHBAY, the last Patchbay fiasco ,fucked me up ,I could not recover❤love most of your videos,gees your hard on some things,remind me never topissyouoff 😅
I would love one of those!
The racetrack cooler
A Big six would be ok, too!
If you want a cheaper alternative there is a Presonus AR12, which has mostly the same configuration with a little bit less features.
Barry, you hit the practical end of the average small studio today who would NOT find a lot of practical features with this product. You are correct about the profile of end user studios. I record one thing at a time, and do most things in the box.
As to analogue flavour. Did anyone buy anything SSL for ‘flavour’? That’s RND and Trident etc. you bought SSL for clean punch. The next Gen of this will I’d hope be a bugger 6 that addresses most of the limitations. A $6 that this should have been in the first place,
I am cool and can work around most of its shortcomings.
I wish it had a stereo insert in the mix B mix for parallel processing. Maybe it does and I am mistaken.
Otherwise I still can't find an alt product in its feature set and qua
I do love your honesty as much as sometimes it may P me off at times….it always turns out pretty spot on
Also, if someone can't track a full kit with the B6, they shouldn't be the one to track the kit in the first place. There's PLENTY of room on the B6 to track a full drum kit, including room mics and doubling on kick and snare.
If you're here for the review, jump to 4:20. He somehow spends the first 4mins talking about nothing.
Stereo channels for recording are real nice for: room mics, overheads, piano (multiple stereo pairs), synths... You can also set them to summed mono, and get away with kick in + kick out, snare top + snare bottom (for example)... I really think there's a lot of playing around you can do since the mono sums L and R channels.
I agree that depending on the genre, you can create some amazing space and get a very real sound, all I would ask you is what percentage of users are in that space?
@@BarryJohns I record blues and Jazz bands mainly. I have an 11 slot lunchbox loaded with pres (312, 88RLB, 1073RLB, RPQ), and the sound I get is great. The B6 channels have +27dBu of headroom (compared to 16 for Trident consoles, and 18 for Audient). Pushing the audio hard in the channels make them sing (when the red led barlely flickers). The converters are calibrated to +24dBu = 0dBfs which makes them extremely useful.
I use the 2 st. Cues as 4 mono auxes to drive 4 monitors, or 4 mono headphone preamps (from rockboard), when I track, or for two effects (UADFX and Strymon guitar pedals returning in the Ext1 and Ext2 inputs) when I mix. The 2 Ext. inputs can be routed to the mix, or monitoring, or headphones (which is super versatile for click tracks and effects).
But I agree, the 4 built-in preamps are ok. The 4 one-knob compressors you'd better never use, and the unit's lacking wordclock in/out (not ADAT need for me). I did find good use to the mini G-Comp, and inserting a pair or RND 542 on the main bus, makes the board sound huge.
All in all, it's meant as a centerpiece for small a studio jam packed with outboard gear. Of course I'd love an origin 16, a 1608, or a 5088. But the budget... if your studio needs that tool, is incredible.
And when I sum, I don't use eqs anymore at that stage (and yes, plugins are 1000 times more versatile than those mini eqs).
Well said!
You’re the 2nd engineer that said that the Big 6 didn’t meet expectations fully. The other TH-camr had the Big 6 for over a year and he said he had to move on from it bcuz of some limitations 🤷🏽♂️
Interesting video, but I think it misses the mark. Only because you are looking at it from a pov that is outside of its intended market.
You are looking at it from a high end user looking for maximum utility. Whereas I think it was intended for the desktop producer who has analog nostalgia (hip-hop and a lot of EDM guys) looking for an “all-in-one” solution that is basically a desktop console.
I think that user isn’t going to be concerned about what you are concerned by…and by the time he is, it’s going to be time to graduate from something like this.
I’m actually not looking at it from the high-end, quite the opposite, I’m looking at it from the Home project studio user. And all I’m saying here, is it’s a mediocre unit considering all it’s trying to do, and you can do much better with that same amount of money With fewer options.
@@BarryJohns Yes. But it misses the value a product like this has to a desktop producer. At home making beats or EDM tracks. Many of whom still work with hardware synthesizers and groove boxes, and are looking for simple ways to get all that gear playing well with one another.
A product like this is an elegant all-in-one solution to a problem like this, for someone who isn’t as knowledgeable and experienced as yourself. Which is why it’s popular.
But from a pure recording standpoint are there better options out there? Yes, I agree with you…and think your review best serves the needs of your audience.
This isn’t a product that will meet their needs. But I think it’s because it was designed with a more narrow segment of the market in mind.
I have an SSL X Rack with a 16 channel buss mixer, compressors and eq. I use it for summing ProTools mixes through 8 stereo channels. It wasn't cheap but a lot cheaper than an SSL console. It was discontinue awhile ago but I still love it.
Thank you Barry for telling it like it is on this company/piece. Not to mention down the road if something breaks, good luck ever getting it fixed in the US at least. They don’t support their repair syndicates.
That’s his opinion only! What has he done ?? Other than have a home studio??
@@muzicmanc945 yeah and I’m saying it’s a pretty good opinion of this product.
Ive always thought this was a $3k mixer worth about $600 comparably, just because its SSL brand.. its like buying a Ferrari lawn mower, still a Ferrari , but yet , still just a lawn mower.
They reduced the price at Thomann in Germany to 2,349 Euros.
Yes
I agree with not having an adat/ spdifs etc,but what would you replace it with or buy instead for beat producton, summing, mixing?
Great cogent review. Seems a lot of people would be better off with a couple decent mics, a bullet proof Scarlet Interface, some of the outboard gear you mentioned and a Mackie 1604 to monitor with. I like SSL and all but even the biggest SSL rooms had piles of outboard gear for a reason... It was never the sound for me really, it was the recall and moving fader automation that made SSL famous. I get that SSL is trying to stay relevant but this seems more like big dough/low show capitalizing on brand perception rather than substance. UF-8 is pretty cool though.
IMPECCABLE 🙏🏼You KNOCKED THIS OUTTA THE PARK!! Perfect Video & I love Racetrac from my Texas days.. prolly 😝- THIS AINT NO SUMMING BOX.. I’m listening & texting.. No G Buss Comp - NAILED IT 👏🏼👏🏼👏🏼
I concluded the same. It is a great concept. High quality, clean, good interface, but too many compromises to be a main console in a small studio. I ended up moving onto an RND setup focused around a 5060….. relegated the B6 to be dedicated for synths. to be fair though for $2000 which is what I paid there was nothing else on the market that gives you all those elements in a single box. There’s a huge thread on Gear-space that’s made most of these points for a few years.
does fifty sixty give you a sound worth ten thousand american dollars? id like to see him do an honest review on it
@@barneyrubble8255does it have a sound. Hell yes. Is it worth 10k who can tell. But it is a joy to use. Helps bring the hybrid gear together and has a very small footprint compared to a 5088. So I like it a lot. Love RND gear.
@@infojunkie4989 for sound i"d pay ten grand but for hooking up outboard gear to daw thats EXPENSIVE can do that just with an interface and outboard gear
@@infojunkie4989 i actually have one on the way
Man, great honest review. Thanks Barry. Not interested in the product, but will be watching for more reviews.
For that price you can not find anything near as good as the big six,i have been using it since it came out ,the eq and compressor does what it says,you dont need a full band eq to make great song,for mixing it is way better that any full band plugin out there,show me one single hardware that comes packed with all that goodies the big six has ?you have to know how to use it,ever since i bought it i have never used any other plugins eq and compressor,i have tracked a complete band with this bad boy
I thought we’d see the panel or a look around the back at least. Maybe sonic examples.
I have the big 6 for 2 years now and I’ve maxed out the connectivity with other outboards geer (2 little devil chandler stereo strip, RND eq and tape emulator, 2x emperor, elysia karacter, 2x roger Mayer 456 tape and the final touch is the Overstayer modular channel and RND MBP on the master bus) to get the ultimate analog summing box for the price.
To get to the next level I would need to invest 50 000$ into a API or whatever console and another 20 to 30 000 into converters…
So … SSL nailed a big chunk of the market with this price.
Your other option is the old Midas Venice F that is not supported anymore
So very Bad reviews here …
🤷🏻♂️
Finally. Well you have points about the functionality and lack of color.
I was hoping to get an idea of the quality of the converters,the headphone amp and mixbus headroom.
I guess it all about purpose.
I still haven't found any other equipment that offers interface with 16/18 I/O and analog mixing summing that is a USB interface.
It doesn't do everything I want either. But I can't find any products that offer mixer interface of this quality.
I am surprised more people like Neve or Orher competition haven't come out with their offerings.
There are some analog mixers but don't come close to this. Soundcraft, beringer etc but not SSL grade.
I have one. The converters are on par with my RME ADI2 FS. The headroom is pretty fantastic also. I disagree with Barry about the usefulness of the stereo channels (which can also track as dual mono); they’re great for me for bringing in my 500series preamps.
Thanks for info. Barry is looking at the cup half empty.
Fair enough. We want his honest opinion. I think he overlooked some of its strongpoints in favor of the negatives.
I had the same plan in mind. Fill out those stereo line channels with 500 series modules.
@@andyharrington2714 Exactly. Also for somebody like me that has to track themselves, it's much nicer to have the B6 in front of me to create cue mixes than dealing with a second software mixer on the computer. IMO you pair this with outboard and create a fantastic tracking setup. Then mix it ITB. Also the class compliant and driverless USB makes this future proof and not tied to OS updates at all. I haven't bought one yet but this is how I view the B6 value proposition. I will likely pick one up around the holidays
I haven’t used one, but for $3000 that’s a lot of feature for the money. I spent that on two mic preamps alone. I have always recommended folks get the closest to a channel strip they can afford, that would be ideal to have mic pre/eq/comp on each channel they purchase. But that’s big money, if we look at Manley or Neve. 5k/channel not uncommon. The only reason this device doesn’t appeal to me is the space requirements. I don’t have a lot of desk top at my disposal, no mixer. If I did, the Big 6 would certainly be on my radar. Appreciate your insights.
I snagged a previously enjoyed Midas Venice 320 for $499 Canadian recently on the Long& McQuade gear hunter section of their website. 😆😂
Threw one into a podcast studio I was setting up for my last job. Got it for the perfect form & function, especially for co workers who don’t know audio
I would say for that community, it’s well suited.
Thanks Barry. Finally an honest review from someone. I think a lot people are buying these because of the name SSL on it, thinking they're getting a mini SSL Origin. I've often considered buying one myself, but was n't sure if it was worth the money. I think your key point is, it's not bad, but for $3K you can probably do much better buying individual components.
I own a Tascam Model 12 that costs about $600. Basically, a prosumer device, but it does sound pretty good for the money. It does everything the Big Six can do with far more features, more channels, plus has ability to do multitrack recording. I would love to see someone do a comparison between the $600 Model 12 and the $3K Big Six. Does the Big Six sound 5 times better?
I have a couple of the 500 series SSL SIX CH and they are fantastic. Very forward, clean with good headroom. I have other more expensive preamps and these definately have their place.
I agree I wish they doubled the price and went all out. This could have been a mini console with their new pure drive preamps with adapt. All interface should have talkback though so you can use all your io if needed
I love ssl. Their 500 EQs sound great. Also have their xdesk which sounds amazing. It’s alt routing, features, and 16 ch summing can’t be beat price or size wise imho. Only wish I knew about the ssl sigma + uf8 + uf1 combo before buying it but I can’t complain. I’m happy as heck.
As someone that enjoys your videos, whos opinion i respect, and generally agree with; I respectfully couldn't disagree with you more about your assessment of the big six and would absolutely recommend it to anyone for many of the reasons others have pointed out in the comments section. Yes, It could've been perfect if it had mororized faders and adat expandability to increase channel count. Would gladly pay extra for that, but DB25 connection?!?!?...man do I remember people screaming bloody mary how terrible it was that the regular SIX had it instead of 1/4 I/O. Its a wonderful unit, especially for anyone thats been mixing ITB and have been wanting to go more analog route and this is possibly the only higher-end, all-in-one solution in the market.
All good man.
I purchased the LITTLE SIX specifically because of DB25 I/o
I have two that I use for summing stereo pairs, and for tracking I use the 8 inputs over the two desks plus external preamps to send to the stereo channels.
I couldn’t agree more! I have a real console, Ramsa with 20 channels + 8 buses. With 3k I go and get a bus comp, some eqs and I’m much better that way!
When I was shopping for interfaces, I seen this and was wowed like most ppl. But there are a lot of red flags with this:
1. Only 24/96 😮
2. The mic preamps
3. No ADAT
And all the other stuff Barry included here. For $3k you could get a digital mixer with a nice analog preamp and have way more. Or an Arturia 16rig and record at a higher rate with more money for other gear.
I think this is geared for people who have a lot of outboard synths & are just going on the name.
thank you so much, I am very happy with my X-Desk! …even more after watching this.
Lol! I'll probably get backlash right along with you Barry. But I don't give a 💩. I have never used one and probably never will! Just like you when I first heard and glanced at the Big Six I was SUPER pumped, that was until I read and seen the details of the unit. Now I have to confess, if I was to buy an analog console today, of all the different brands it would no doubt be an SSL! So if I'm being honest, and this is just my opinion, its almost like SSL was trying to piss off their big fans, like myself, when they made this unit! Every piece on it (pre, EQ, comp and bus comp) are sad, wanna-be versions of the classic gear their made after! Im with you, if your gonna make this unit put the original pre in it with an actual 4000E eq, 611 DYN and G Bus Comp and mark the price up!
The SSL 4K B is the absolute GOAT channel strip. It’s a fucking MONSTER on drums!!
I appreciate this review!
Do SSL interfaces really "sound great for the price" or do they sound just fine and price has nothing to do with it? What would make them sound better? Less distortion? Less noise? Wider bandwidth? Flatter frequency response? What products can you pay more for and get those parameters better?
I think you are reading way too much into what I said.
@@BarryJohns You know that, and I know that, however, saying things like this is why noobs think they need to buy a 5000 dollar mic preamp and unless that unless mics were made by hitler they can't possibly be good. When people make claims about sound quality, especially when given the deepity "for the price", they should say what exactly is wrong with them, so as not to give the idea that spending ten times the price would make anything better. In our mic preamp tests, we show pretty easily that spending more can actually be worse. Sometimes far worse. This is the same reason you have guys running around screaming how a species of wood is magically going to make an electric guitar sound better.
Probably would've been better with one Track/Preamp. Quality Eq and Compression. These companies just try to do too much in one Unit. It's better to have Great Quality than Quantity.
Barry’s out here sipping direct from the water tower. Leave some water for the rest of the city will ya! 😛
I have to agree with you on this one Barry. Maybe if the price point was lower, it would make since but their their plugin channel strip 2 and bus comp I believe will outperform this unit any day. Really can’t see me paying over $2k for something that is suppose to be a desktop console but only gives me barely even a 1/4 of what a budget friendly desktop console could do. Just my opinion.
I have the Six. I'd agree with your overall assessment. But I do really like the monitor section. I'd been through a couple of different monitor controllers and this one seems to really sound right to my ears. So it's ended up being my monitor controller, a couple of plain but good preamps and I use it to interface with a few guitar pedals now and then (even though I could do that without it). So I'm keeping it but it feels very underused.
I primarily work with voiceovers, sound design, podcasts, and live streams. Nothing too serious. Last year, I replaced my main mixer (A&H GL2800) and briefly considered purchasing the B6. I decided against it for two *main* reasons: the construction isn't robust enough for daily use (pots & faders & horizontal PCB &..), and it lacks a TB footswitch, which is absolutely essential for my workflow. Also, i agree 100% with what Barry said.
I ended up with the following setup:
SPL MTC Mk2 (cheapest good enough monitor controller with footchwitch!)
Focusrite Clarett+ 8Pre & Octopre
Midas M32C with a DN 32 ADAT card (for live mixing and headphone mix)
Behringer X Touch (DAW & mixer control)
X Touch one for recording DAW
TC Electronic Clarity M Stereo
ART Headamp 6 Pro
2x Klark Teknik DN9630
Also i have couple 500 Series preamps etc for voice strip
I'd call this "digital hybrid" :D
I don't believe an all-in-one solution even exists for semi-pro's like me. The closest would be something like a small "The Box" what is much more expensive :D Or at least built as Zed-something / MixWizard (I have Zedi10, Zed 10, GL2800, XB-10 :D ). I like Alice but it is similarly extremely limited and for niche usage.
Also- i do post 100% ITB because there is no way i can realtime print.
Totally feel you with the DB25 and especially the ADAT. However, as for the analog character, the first time I ran our Moog Sub37 through it my wife who doesn't know much about production ran into the room and said "why does it sound so good?!?"
Good review