The HP 60-
Mine was in the control room, with the individual outputs going into a patchbay (balanced) which I could patch to another set of jacks in the studio(live room). I had 7 dual output jacks scattered around the room to minimize having headphone cables running all over
You could use the A channel left/right input for a general mix, and the B channel (L/R) for vocals... or I used for click. The external ins- leads need to be a short a possible/practical- keep in mind that the external in is only for the channel it's fed into, so you're limited to "more me" (or more of 1 feed) for the most part. I used a Q-Matrix (Mackie bought the company and now calls it something else... basically same unit)mixer which allowed me to have separate mixes on 4 outputs that were sent to the external inputs on the HP60 (you'd need 2 to get your 6), but at higher levels it gets a bit hissy. Then I used the RME matrix (part of my interface) and while it works well, I was continually making adjustments through sessions which was time consuming, and then the next session, time was spent getting back to a "starting" mix.
If you can save the money, the Hearback system is well worth it. I initially pooh-poohed it because of both the added cost and the requirement to run Cat 5 cables... It allows a stereo channel and 6 independent channels and the artists gets to control it themselves... it will accept analog or digital in (ADAT)... it's saved me a ot of time and headache! I have the system and 1 additional mixer 5 'stations"... and each mixer can power 2 headphones (same mix to each)
worth considering
