Alternatives to the SSL Big Six

The Lounge Other Gear
#1

Hi all,

I’m curious if anyone knows of any high quality alternatives to the Big Six? It is so close to what I am looking for (a compact mixer with 4 combo mic pres/line inputs, 3-4 stereo line inputs, EQ, mono tracking compressor, stereo bus compressor, 2-3 aux sends, channel inserts, and a few other details).

I really like the concept of the Big Six but I would prefer more control over aspects like the EQ and Compressor and I am dubious about the USB interface aspect. Like, what happens if they stop supporting drivers? I am concerned whether the Big Six is straight forward to service if something goes wrong. the reports I’ve read on this site about the build quality and SSL’s response to those issues have soured me on this product overall. Also, it’s sort of a turnoff that it’s built in China.

I ultimately want a small, high quality, mixer for tracking (and possibly summing) that covers a lot of ground. I have found that I dislike having too much gear and prefer to have an all in one solution for things like eq compression and overall sound sculpting. I’ve started down the road of 500 series gear and I could see it working for my situation until I get to thinking about sub mixes, aux sends, faders etc.

It really feels like there is a market for this type of product. A mixer for home studios that doesn’t need 64 channels (or even 8), sounds fantastic, and is an intuitive and basic solution for connecting various gear. This is a big purchase for me and I’d rather spend a bit more but only have to make this purchase once. I’ve done a lot of research but have yet to find an ideal product so any ideas would be very welcome.

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#2

I agree there’s void in the mixer market that needs attention.
Have you looked into any DJ mixers?
Some DJ mixer check a few boxes but not all, and the real nice ones are pretty large.
I’m trying to figure out a similar scenario.
Stuck on this Mackie 1642VLZ4

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#3

I always liked the look of the old Soundcraft B100s, but never heard one. They were designed for broadcast use:

Or for something that can be bought new, how about an Alice 828?

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#4

I have looked into dj mixers a bit but the big hang up I’ve had with the ones I’ve looked at is the lack of mic pres. I record a lot of mic’d guitar and would like to do some basic drum tracking. I will delve into dj mixers a bit more to see if I can find one that emphasizes mic pres. Good luck with your search. It is really hard to find something that fits specific criteria.

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#5

Thank you. These are both mixers I was not aware of. I am going to do a deep dive on them right now. Much appreciated!

#6

The Big Six is class compliant, so no issues worrying about drivers.

You could check out the Cranborne R8, and build out your own small mixer with your own compressor, EQ’s, etc., and utilize the audio interface as well.

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#7

Thank you. I have looked into the Cranborne a bit and it seems like a cool idea but I think something about the routing capabilities wouldn’t work for my situation. But I will look at it again because it did check a lot of things off my list. I also wondered if the audio interface aspect would be comparable to something like an RME (or other high quality) interface.

#8

I really like the look of the SSLs, but generally just use a Mackie VLZ when I need a few extra channels. They aren’t absolutely incredible, but they aren’t bad either. Same with the small Yamahas. All of the mixers in this class of these latter ones use the same op amps, and similar circuitry it seems. I’ve looked at several schematics for them, and they’re well designed, but don’t use any particularly fancy components.

The SSL schematics that I’ve seen (granted they’re for the big console strips) have novel circuitry. Can’t remember any specifics as it was years ago that I looked. Some inputs had interesting discrete circuits feeding op amp circuits though (from memory).

My brother just picked up an 8 channel Soundcraft, (new one) and it’s pretty nice. Good build quality, seems pretty transparent from what I’ve heard, but I’ve only briefly heard a few synths through it.

I know a lot of people with mid sized Allen and Heaths that swear by them, but I’ve never touched them.

I think the small SSLs is where the bar starts to raise a little bit.

Honestly though, I think how one uses the tools, and any additional processing might matter a bit more unless you’re up to large studio with full desk level.

I use a Blue Box and occasionally a VLZ, and don’t have any complaints really.

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#9

When I was reading up on the Crancborne on some other forums, people spoke highly about the converter quality, but I have no experience with it myself.

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#10

I’ve recorded a few rock records through a mixwizard, and they sounded good. I’ve got the Big SiX now and love it. It does sound great, but the routing versatility and onboard compression—three different flavors—are what really set it apart for me. Interface works well too.

I agree Big SiX is the one to beat but I don’t know that anyone’s managed it…

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#11

I had a big six and I agree with you about everything being a little too limited. I downsized and sold it and just ended up with a prism titan interface and doing all my eq-ing, compression, etc. ITB. If I decided to go outboard again I would probably use a 500 series rack. I think the cranborne 500R8 (or 500adat8 if you don’t need the usb interface) is not a bad idea. I have also heard that the converters are quite good (better than whatever is in the big six I am sure). Of course I would love a zahl am1 but don’t think that is ever going to be in the cards for me lol.

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#12

APB DYNASONICS PRO RACK 1020

Best choice atm for our budgets and tasks

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#13

Yeah, I’ve considered this one a bit. I wish they made one half the size. It’s looks great but is overkill for what I’m doing and space is an issue.

#14

gonna come from left field and say the play differently (allen and heath basically) model one, i run the 4 channel version and the EQ/filters are really effing good for the elektrons and modular. The DSUB outs could be a little more straightforward for my liking but other than that its been a blast using it the last couple of years

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#15

Looking at the Cranborne R8 again and it would solve a wide amount of the issues I’m trying to address in the studio. Does anyone have firsthand experience with an R8? I’ve got a few questions concerning routing that I can’t quite wrap my head around.

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#16

When I read Cranborne I hear Crambone
image

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#17

I use the Cranbourne audio 500 RB with the adat expansion. I have a selection of modules that i swap out from time to time which gives me a great deal of flexability.

The conversion is exellent. I chose this unit specifically because of the high dynamic range, low noise floor, low harmonic distortion and low jitter.

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#18

This is all great information-thank you. I’m going through the R8 manual and I can’t seem to get an answer for this question. Please bear with me because I’m awful at articulating this sort of thing. One thing I am aiming to do is work with a drummer I sometimes play with. What I’d like to do is record his drums into a sampler (probably 3-4 mics). I would like for him to be able to hear me through one of the phone outputs when I am playing along through another of the 500 slots but not have my playing make it’s way to the drum tracks going to the sampler. Is it possible to do this? It seems like this should be easy to do but with no dedicated aux send knob to send my playing to while keeping it out of the main stereo output I’m not sure how I’d go about it. The aux functionality is a little hazy to me overall.

#19

Yes. So the 500 RB has just one MIX BUSS. The main output, AUx output, Both headphone outputs, and the 2 speaker outs all share this one buss.

However, there are direct outputs on a per module basis on the rear of the unit which are essentially pre module slot fader, so, i think the way i would approach this is to run your channel from a direct module out, into a small mixer of somekind just so you can get a headphone out for drummer. Then i would run the main outs to the sampler which would be just a sum of the drum mic pres.

#20

Yeah, that is as I suspected. That’s tough - it seems like a missed opportunity to not utilize those Aux a bit more. Still a lot of functionality to this thing overall, and the solution you mentioned of the small mixer makes sense. I was just hoping to have a more streamlined, minimalist approach as I am planning to haul the R8 around to rehearsals. I’m also trying to wrap my head around the CAST system and wondering if there is a solution in there somewhere.

But overall you are happy with the audio quality and headroom with the R8, yeah?