Raised noise floor = loss in dynamic range.
In certain instances, Heat adds a nice vibe that I’ve been willing to forfeit the ability to go quieter with elements, but it’s more often the case that I prefer things stay as clean as possible.
As for how (or rather why) the floor is being raised? I imagine it has something to do with a need to compensate for the immense amounts of gain on offer.
Hmmm. I see, thank you.
I think this is a much better way to frame what I meant with overproduced.
I like where this is going.
One of many cons of not knowing shit about signal chains and stuff, is that you don’t get around to trying stuff like this unless you’re really compelled and also offered splendid advice from fellow nauts as you gentle folks on this forum.
Dear lord and their mother, this added such a tremendous level of space and atmosphere. Ch1 and Ch2 are from the Rytm and dry. Ch 3 and 4 are atmospheric and granular pads, with subtle input from the CXM. Ch 5 and 6 are leads and more driving harmonics, and they’re gushed in it.
Noticing that I’m so wired up to this rig now, I can’t write songs the way I used to. I have to memorise my performance and record it as I play it, to render a track. The pianist in me approves but the OCD gentleman in me, does not 
I’m actually having an old single ended denoiser (one of those very old black and red Behringers) just after the AH in the “warmifier/destruction”-stereo bus on my console.
It’s a dynamic thing with thresholds so it can be good at times.
Isn’t that the the fun part? As a sequencer (i.e. not a player), I’ve only recently discovered the joys of playing stuff in and liberating from the grid a bit. Cut loose and let it flow. 
I take it this is just an expander/ gate with a threshold/ ratio and attack/ release?
I can’t say I’ve ever been too keen on gates for the crudeness: I’m assuming you wouldn’t be able to remotely adjust the attack/ decay times to suit each track in a live set? Really the only denoiser I’m ok with using in post is Izotope’s Spectral Denoise.
To be clear, I think Heat’s a pretty magical tool (especially when utilizing its extensive mod-overhead), but I tend to favor retaining dynamic range over subtle coloring and vibe.
Here’s a clip where I enjoyed what Heat lent (gonna try and time-stamp it, but the effect becomes audible around 1:17):
Ok, bear with me. An idea if you want to go further with the SiX:
Route Stereo Cue 2 to the Rytm input
Route Mix Bus B out to the Blackbox input
Now, you can sample onto either device from anything that’s coming into the SiX (including the talkback mic through the LMC for the Rytm). For example: you can sample the Rytm onto the Blackbox through the SiX’s channel compressor and EQ; you can process Blackbox outputs through the Rytm and re-sample them in the Blackbox. I’m not sure how extensive the external processing is on the Rytm (maybe something new is coming in an update akin to DT 1.3?) but this could potentially take away the need to add a Heat.
No, it’s a dynamic filter with automatic envelopes and it’s supposed to be “program dependent”.
It’s actually surprisingly good 
Yep, I’ve used the SiX in similar ways before. Right now, I’m set on not recording new material, but stick to what I got but use it in another context. But as this is done and I go back to writing new material, I just might do something along the lines of what you’re suggesting.
