Nothing anymore. It distracts me a lot at the stage of producing. I find myself fiddling a lot with the master bus in stead of the rest. If I would render a song, then I would try to ‘master’ a bit. I use some of the airwindows plugins like console and totape. A bit of loudmax and I love the pultec magic…
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I used to bounce my mixes through a couple channels of my Boss KM60 with just a tiny touch of distortion happening, which was a crude experiment at the time but when I listen back to those tracks I really love what it did to them. Miss that mixer a lot.
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Hey, mate. Still happy with this setup? I’m thinking of getting a Boum to add to my SiX, to warm up the Deluge which goes into SiX ch1 and ch2, through the drum compressor and then straight into the g-bus bliss.
No I’ll slap it on a channel, record it, and return it back to the master. Super easy to do with Ableton, and OB. Although using it as an aux send on a physical mixer is a good idea as well.
Damn that was a sweet deal, hope some here jumped on it.
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maybe next time when its on sale…it’s at 299 currently.
Thanks for the heads up.
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Analog Heat mk2 (plus plug-ins) but I’m eyeing the Overstayer 8755dm and Louder Than Liftoff Silver Bullet but they’re probably replaceable with software solutions as almost anything else these days.
Actually, I’m not sure that hardware processors make much sense anymore. I’ll try to demo said hw processors and if they turn to be as good as ppl say they are and if I wouldn’t be able to replicate the results with plugins than maybe ill buy one of them. But for that money (3200 and 2400 euros!) im expecting to be amazed beyond belief!
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The TC Finalizer’s compressor mainly and it’s really good.
I would likely still be using that setup if Goodhertz didn’t release their Tupe plugin (beta version) not too long after getting Boum. Now I just track through the g-bus comp and use Tupe + a limiter plugin.
I have kind of changed stances and think that while Boum can work on a master bus - I am certainly happy with the tracks I used it on - it excels at processing submixes or individual sounds. So using it between Deluge and SiX should work well, or on a Prophet, or Blackbox effect send.
I think I may have just had to re-record too many tracks I went overboard on Boum with and found plugins make things easier for me for that final mastering stage (pseudo-mastering in my case… my approach is more hammer than scalpel). Tupe’s distortion sounds a million times better to me as well, I hate to admit.
So the honeymoon has clearly passed and Boum has sat in its box except for occasional experiments, but I still don’t want to get rid of it yet because as far as hardware goes it’s what I’d want to use for a “warming unit”.
I still think it’s worth trying and that you would very likely enjoy it, and if it’s not all love you can easily let it go for around what they fetch for, or perhaps more.
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don’t start now @circuitghost ! Just kidding. Now I have something else to watch for and ask about 
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Yeah, I’m not sure I’m gonna go for it. Still experimenting with new workflows, so we’ll see. You’re safe. For now 
Thanks @LaughingAnimal I’m hearing enough mixed opinions about the Boum that I think I’ll hold and look elsewhere. Thanks for your reply.
The Overstayer looks like a performance-soundshaping tool to me after a drum-machine but the price is a bit over the cliff, the LTL SB is a decent preamp with many options but replaceable with software? i have my doubts - on the other hand i guess nearly nobody would hear that gear except the one who is using it (just think about myself ironically) … but you know, hands-on-feeling is all that matters
so go for it
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If anybody is interested in the bx_masterdesk. Right now it’s available for 49.99$
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FabFilter EQ and Saturn saturator (rarely use the saturator on master, it’s just in the same rack that I made with the EQ), and Ableton Live stock Spectrum, Utility, and Glue Compressor.
Whole thread has me GASsing for an AH
Does anyone use a Bettermaker Limiter? How do you like it?
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even if you woud get arrested, you know the truth: SSL Six G bus compressor is still one of the “cheapest” SSL G bus compressor “hardware clones” out there. Even the SSL G Bus 500 series is more expensice (and ofcourse you need a 500 case) With Six you get on top: some more channels with faders for a nice little summing box (or for what ever you wanna use it).
So I think, yes the OTO Boum is great (sadly I missed the last one on stock at Schneiders). And the Six is also great because of the G Bus compressor alone - if its better then the software clones.
Another option for a bus compressor is the WES Audio Dione. Some folks saying it as a great “SSL clone” with added optional harmonic distortion and totall recall via plugin.
So many cheap and expensive options these days to make our music sounds perfect on the high end quality audio algos of youtube and spotify 
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You say it like it is, my friend.
And really, whenever I plug anything into the SiX, before I’ve even touched a knob or handle, stuff just opens up. When gear operates at this level, you don’t want or need many features anyway.
And I’ve since started to use its routings in different ways now, as I’m adding some fx in the chain.
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Voxengo Span, then Ableton Limiter until it’s time to mixdown. Then remove the limiter before rendering out the final mix
Erica Synths Acid Box 3 on Hardware side and bx_digital v3 + SPAN on Ableton Master Track
I’m generally ITB on Master. I’ve started tracking through the Acidbox and bouncing busses through it, but not a whole master yet… I might try it…
I wouldn’t gas for an AH for studio master duties. It can be ok (depending what you want) on master bus in a live situation, but not on a studio master bus. It has a ‘sound’ as @VanillaSun mentioned – and not the kind you necessarily want on a master bus tbh. To me it often feels just a bit flat, lacking a certain sparkle and life. I found it’s better for adding proper distortion to tracks where needed, as you track or mix. And I personally haven’t found it great at the more subtle analog warmth thing. Overbridge helps make it easier to use when mixing etc, but alas, I found it to be way too buggy and a massive waste of time (and there seems to be quite a lot of posts about AH and Overbridge issues at the recently). IMO, there are better options in a studio setting.
Re. plugins, I don’t always use the exact same things, it depends on the project. But the Shadow Hills Class A is almost always there, usually not even doing any compression - it’s one of the few plugins that I feel adds that kind of 3D depth that great hardware can impart! I’ll often have VSM-3 on there too, AMEK EQ, maybe Fresh Air or Type A for some top end, Sonnox Limiter.
I bought one (for playing through live). It sounds pretty good to me, but I’m not 100% I’ll keep it. It is a lot of money for what so far seems to be an impressive single trick and an extra box to carry/go wrong.