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SKU

113885

SSL SiX Small Format Desktop Mixer

Two-channel professional desktop mixer designed with SSL console technology
MFR# 729750X2

Product Description

A Portable Professional Powerhouse of a Desktop Mixer

The SiX from Solid State Logic pushes the envelope of what to expect from a small footprint desktop mixer. Built on over 40 years of knowledge and innovation from the industry leader in mixing consoles, the SSL SiX is packed with features that will make location recording simple, efficient, and of the highest professional console quality.

The SiX fills a niche for all those who need a high-quality analog recording tool in a small package. But even though it can fit in a suitcase, the SiX is no lightweight; it features fully balanced I/Os, a pair of new wide-range mic preamps, EQs, onboard compressors, balanced inserts and 100mm long throw faders.

For those on the go, you don’t have to sacrifice quality to get portability. The SiX is built to the same standards as SSL’s legendary large-format consoles. And the SiX is not just a repackaging of existing SSL technology; it contains many new elements engineered specifically for this desktop mixer to make it sleeker and more powerful. By focusing on the essentials and eliminating the bells and whistles, SSL brings you the functions you need to record professionally anywhere you want.

The SiX is the Whole Package

The SiX from SSL has been designed to be an integrated unit, with all components of the highest quality, woven seamlessly together into a mixing console that gives you total performance. Six channels of input allow two Mic/Line Ins and two pairs of Stereo Ins. The Mic/Line stage is handled by a new SuperAnalogue design with very wide range and ultra-low noise, providing gain up to 63 dB (Line) and 72 dB (Mic). The balanced Line input can even be used as a DI.

The EQ and channel compressor sections are also new designs. The two-band EQ selection switches between shelf and bell curves at different frequencies. The Compressor has a program-dependent attack, with fixed ratio and release. These simplified designs allow for the most versatility in the smallest footprint.

Both mono Input channels have an 8-segment LED meter and a pair of Stereo Cue Sends with independent level and panning. Overall channel level is controlled by a full 100mm long throw fader, designed to have more resolution near the 0 dB point, for more precise level control. The two Stereo channels also have a pair of Stereo Cue Sends with independent level control.

For monitoring, two sets of ¼” balanced outputs provide signal to speakers, augmenting the two sets of Stereo Cue sends, which have their own Foldback Master section and Talkback capability. The Talkback Input has its own preamp and compressor, allowing for creative use of this ‘extra’ comp, while two External inputs allow other signals to be fed to the Foldback mix. The (unbalanced) ¼” headphone jack rounds out the monitoring functions.

The Main Mix Bus feeds a pair of balanced XLR Outputs and naturally incorporates the legendary SSL ‘G Series’ Bus Compressor. With a fixed 4:1 ratio and optimal attack and release times, the Threshold is user-controlled and a 5-segment LED meter indicates gain reduction.

From preamp to EQ to dynamics; from monitors to meters to the main mix; the SSL SiX has it all. It’s been designed to be a comprehensive conglomerate of all the essential tools you need to track and mix professional recordings wherever you happen to be. Get all the power, precision, and prestige of an SSL mixer, in a potent and portable package.

SuperAnalogue for Super Performance

SSL has incorporated new components and design philosophy to augment their long-standing approach known as SuperAnalogue. This approach incorporates all the various features into an overall design whose total is more than the sum of its parts. With SuperAnalogue, you get circuits that have a frequency response beyond 100 kHz. Although this is far beyond the range of human hearing, it’s necessary to reduce Transient Intermodulation Distortion, whose effects can ruin that part of the signal which is audible to us.

Critical to avoiding TIM and providing a pure signal path is the elimination of coupling capacitors wherever possible. Since capacitors are inherently imprecise and subject to electromagnetic interference, SSL eschews them in favor of DC Servo coupling to provide low noise, wide bandwidth, and more precise DC offset control.

The Long and Short of It

To enhance the purity of the signal path, the SiX keeps those paths as short as possible. The channel processing is switched, which allows it to be completely removed from the path when not in use. And since the Insert Sends are always active, they can be used as Direct Outs to your DAW without any intervening EQ or Dynamics involved.

While short is beautiful in a signal path, sometimes length is needed too, as in long cable runs to your mixer. Have no fear, the SiX has fully balanced Ins and Outs, allowing long runs without introducing hum and noise. This is very helpful in cases where the mixer has to be a good distance from the microphones in a live recording situation.

Another instance where distance is helpful is the separation of the power supply from the electronics of the console. In order to keep the SiX small while maintaining its signal integrity, the power supply is external to the mixer. This keeps the strong magnetic field away from the circuitry, allowing wider bandwidth and higher fidelity. The power rails are also ramped up when powered on, to prevent any annoying ‘thumps’ from getting to your outputs.

The distance between nominal level and the point of distortion is also increased in the SiX, with a full +26 dBu of headroom. To keep track of all this room, 12-segment LED meters are provided, including segments for +18 and +24 dBu; these are designed to match the 0dB Full Scale alignment standards of the European/EBU at +18 dBu and the US/SMPTE at +24 dBu. To make them most effective, the meters are designed with a fast ‘peak’ response and a slower release; this enables the peaks to be measured while also indicating useful signal levels.

Features:

  • 2x SuperAnalogue wide gain range mic/line preamps:
  • Individually switchable phantom power on each Mic Input.
  • Line level input with true HiZ (1MΩ) impedance switch for DI use
  • Gain +6 dB to +72 dB (Mic); -3 dB to +63 dB (Line)
  • Two-band EQ with switchable Shelf/Bell curves
  • 12 dB/oct 75 Hz High Pass Filter
  • Channel Comp w/ 2:1 Ratio, dependent Attack, 300ms Release
  • 2x Stereo Cues with independent Level and Panning
  • 100 mm Long Throw Fader with 8-segment fast peak LED Meter
  • Mute/additional Stereo Mix Bus B assignable
  • Pre Fade Listen (PFL) Bus assignable
  • Fully balanced Insert Send and Return on DB-25
  • Fully balanced Mic/Line Inputs
  • 2x SuperAnalogue wide gain range Stereo Line Inputs:
  • Trim from -10 dB to +20 dB
  • Channel Balance control
  • Left Input doubles as Mono only
  • 2x Stereo Cues with independent Level
  • 100 mm Long Throw Fader
  • 8-segment fast peak LED Meter
  • Mute/additional Stereo Mix Bus B assignable
  • Pre Fade Listen (PFL) Bus assignable
  • Fully balanced Line Inputs
  • 2x Fully Balanced Monitor Outputs:
    • 2x ¼” Fully Balanced Output Jacks (Main and Alt)
    • Monitor Output fine level control (Off to Unity)
    • Monitor Output CUT (Off) or DIM (-3 to -30 dB)
    • ¼” Headphone Jack for Main Monitor or 2x Stereo Cues
    • Monitor Source via Main, Bus B, or 2x External sources
    • Monitor Sources are summed rather than switched
    • Bus B has individual Trim control from Off to +10dB
    • 2x External Source Trim (Off to +20 dB)
  • 2x Foldback Monitor Outputs:
    • 2x Stereo Cue Inputs (switchable post-fader)
    • 2x Foldback controls for External Sources 1 and 2
    • 2x External Source Trim (Off to +10 dB)
    • ¼” Talk Input w/ switchable 48 V and LMC compressor
    • LMC can be adapted for creative effects
    • 2x Foldback outputs can be sent to signal processors
  • Main Stereo Outputs:
    • 2x Balanced XLR jacks
    • 100mm Long Throw Fader
    • 12-segment fast peak LED Meter
    • 2x External Source and Stereo Cue 1 summing
    • Main Bus Insert (DB-25) doubles as Compressor Input
    • Up to 12 channel stereo summing
  • Main Bus G-Series Compressor:
    • Threshold control from -20 to +20 dB
    • 2x Balanced XLR jacks
    • 5-segment LED Meter for Gain Reduction
    • Makeup Gain from 0 to +20 dB
    • Fully Switchable Bypass

Product Specifications

Condition New
Analog or Digital Analog
Tube or Solid State Solid State
Channels Dual-Channel
Input Connectors 1/4-inch TRS, Analog DB25, Analog XLR
Output Connectors 1/4-inch TRS, Analog DB25, Analog XLR

Product Reviews

5 out of 5 stars.
Review Count (2)

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I can not say enough good things about this little desk, it sounds amazing, and it is really flexible, I love the fact I don't have to turn a computer on to get idea's going, and I love knobs and faders, it feels like I'm making music again rather than clicking and pointing some mouse, if you're on the fence, just buy it, you won't regret it...SSL RAWKS!

By Tommy on August 14, 2020

What a solid and ridiculously flexible little unit - I've spent four months putting mine through the paces and am very pleased with it. The renowned SSL clarity, punch and huge-ness are strong with this one. I'm especially pleased with how it behaves as a monitor controller - it sits between my HD rack and a set of Barefoots, and does a brilliant job of keeping every detail, transient and ounce of power in place. All of my favorite controller features are right there, and my simplified home-studio workflow feels fully supported.

I'm powering on my rack preamps less frequently in favor of the two SA channels as well; bass is especially fun, simply DI with a little channel compression and EQ. Finally, rewiring it into 12-channel summing mode is now a must-do step in my final mix process - it reminds me of the XDesk, though the SiX is a little easier (or more fun?) to push harder, possibly due to the fantastic design of the simplified bus comp.

Cons - the channel compression is, for lack of a better word, audible; I hear it working before the first LED lights up on the unit. Whether or not this is desired is really program dependent, but I find myself backing the comp off to barely-there, or leaving the channel comps off entirely in favor of the bus comp (which is more pleasing to my ear for vocals/acoustic, or any stereo sources, anyway). Also - while the EQ points were very well chosen and the bell/shelf switch helps, I certainly wouldn't have minded paying a little extra for a slightly larger unit with a couple mid EQs.

Overall, well worth the price of admission - especially if, like I did, you can make up a couple bucks on the secondary market getting rid of the 16x4 mixer, monitor controller, headphone amp, etc. that used to sit in the SiX's place.

By Tanner C on September 20, 2019

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