Next along from the mono inputs we have the 2 stereo channels. Although they don’t have a mic preamp, EQ or compression they still serve as a super clean signal path for line level sources. If you need the channel for a mono source, plugging into only the left input turns this into a mono channel, with the balance control becoming a pan pot to the mix bus.
One of these channels would be ideal to use with the OP-Z which has its own onboard compression, mixer and filters. It still allows us to send signal out on a cue send. We’re going to use the other stereo channel as a return path for our DOD Rubberneck pedal. This might surprise you, as we could’ve used this channel for the stereo output of the OP-1. We’ll explain why we've chosen to do this in a moment…
Mix Bus B
The 2 mono & 2 stereo channels on SiX have a button beneath the fader labelled ‘Mute’ and ‘Bus B’. In regular use, this button operates as a channel mute. If we turn our attention to the back of SiX you’ll see the majority of outputs are located here, including a pair of TRS outputs labelled ‘Bus B Out’. Plug into these, and you’ll find the audio from muted channels is routed here. This output option allows you to process re-routed audio separately from the main mix bus.
We’re going to use this feature to switch channel routing between the Main Mix Bus and Bus B, which will be connected to the line input of the OP-1. This means we can divert our inputs to the OP-1’s virtual 4-track tape recorder and use it as a looper. When you’ve finished recording looping a channel you can simply flip the output back to the main mix. Simple!
The Ext (external) inputs provide 2 additional stereo inputs on the SiX. They can be assigned to the main out, monitor out or foldback outputs using switches on the top panel. They only have a volume control, but make for very useful additional inputs. It’s worth mentioning that they can operate in mono, just like the stereo input channels. We’ve made use of Ext 1 to plug in the OP-1. This is ideal because we won’t need to be adjusting it as much, and we’re also not going to need to send it any send FX.
Stereo Cue Sends
SiX has 2 stereo cue sends, often labelled aux sends on some other consoles. Each channel has an on switch, level & pan control for both sends, allowing you to perform precise adjustments to your cue sends. They can be used for a number of operations, but most commonly are used to create a separate monitor feed to a recording / performing artist.
In this case, we’re going to use ours for a Send FX signal path. We’ve plugged the left output of foldback 1 to the input of our DOD Rubberneck Delay. This has then been plugged into one of the channels as previously mentioned.
G Series Bus Comp
The final bit of ‘glue’ to bind our mix together. Now that our connections have been setup, we can introduce the The G Series bus comp to our main bus. The circuit topology is based on the original compressor found on the G Series desks. There are a few differences, the obvious one being the fact that it’s been squeezed down to fit into a small section on the SiX. Because of this, you don’t have a full set of compressor controls. A carefully selected attack / release time with a fixed ratio of 4:1 reflects the most popular settings used by engineers on the original hardware. It does feature a make up gain control and fixed sidechain filter hi-passed at approx 50Hz. This gives smoother performance on bass heavy tracks.