Drums. Mixes. Remixes. SSL BiG SiX Delivers the Vibes and Vision for Stella Mozgawa.

Los Angeles, California, February 26, 2026 — Drummer, producer and remixer Stella Mozgawa, a member of L.A.-based indie rock band Warpaint for the past 16 years and a longtime collaborator with Kurt Vile, Cate Le Bon and Courtney Barnett, was considering upgrading her home production setup when she was introduced to the Solid State Logic BiG SiX SuperAnalogue^TM console with integrated USB audio interface. “It's really fun to use, which you can't say about a lot of interfaces — and the sound quality is incredible, too,” she says.

Mozgawa had originally thought about integrating an old analogue mixer and a collection of mic preamps and converters to produce electronic music, so SSL’s BiG SiX — which combines mic preamps, channel and bus processing, converters and a USB interface — was a welcome discovery. “It’s the highest quality modern interface and analogue mixer that I could find,” says Mozgawa, who is also a member of electronica duo Belief and an in-demand studio session and touring musician who has collaborated with St. Vincent, Sharon Van Etten, the xx, John Grant, Tracey Thorn, Tim Presley, Kim Gordon, Tom Jones, Regina Spektor and others. Her credits also include TV soundtrack work and remixes of tracks by artists such as Depeche Mode, Daughter and Sarah Blasko.

“I'm still in the process of figuring out how many ways I want to use it, because I also am a drummer and I do a lot of drum recordings,” she continues. Mozgawa maintains a larger production room elsewhere in Los Angeles that is her primary drum recording space for remote contributions. “But I have used the BiG SiX as a drum recording interface, and it was quite a quality jump, even from some of the nice preamps and converters that I've used before. Even without a lot of outboard gear, it sounded really, really good just using what’s onboard.”

Dialing in electronic and acoustic sounds

The BiG SiX features four SSL SuperAnalogue™ microphone inputs, which is plenty for her home setup, where she typically composes and produces in Ableton Live. “I have a small enough space where I can really only afford to put up four mics on the drums,” she confirms. Her work often involves playing acoustic drums on top of programmed material, a combination of sound sources that the BiG SiX console handles very effectively. “I feel like, with the SSL, when I'm playing drums along to electronic music, it really matches well, and I don't have to do a lot of extra processing. It all just immediately sounds really dialled in.”

Mozgawa continues, “I've got a lot of nice outboard pre’s and I have always leaned towards transformer-based coloring, especially because it works so well with drums for particular types of music.” In comparison, SSL consoles are renowned for their clarity and transparent sound. “I always thought clean or pristine sounds were boring,” she comments. “But there's a depth to the sound of the BiG SiX that is hard to explain. In comparison to the transformer-based pre’s that I'm used to, there's an extra level of bass response and depth to the SSL preamps that I didn't expect. There's a girth and a power to the SSL preamp sound, which I guess is down to BiG SiX’s SuperAnalogue^TM technology.”

Analogue production tools and streamlined workflow

The BiG SiX offers a collection of essential production tools in a compact package that can simplify the technical setup in a studio. “It’s a really streamlined unit. The individual mic input channels have compressors on them, and you also have a master G-Series Bus Compressor. I've seen a lot of first reaction videos online of the BiG SiX and people always say that the converters sound really good and that they are a huge step up, even from really reputable interfaces. It's a very clever unit with SSL’s reliability and quality control, which is extremely high. And it’s very enjoyable to use.”

Initially, Mozgawa primarily used the BiG SiX at her larger production space, she reports, but she has come to appreciate that the console’s capabilities also take her home studio to another level. “I feel like it's better as a multi-faceted tool in my smaller production space, just because there are enough channels and it has enough flexibility that I can do whatever I want. It makes me focus on what I have in that room without having to use a lot of other gear because it's very self-sufficient, and has a lot of flexibility.”

One of the first projects Mozgawa completed using the BiG SiX was a 10-minute electronic piece for a dance company in London. “I did the majority of the drum tracking through it,” she reports. Early next year she heads out on tour in support of Courtney Barnett’s new album release, which Mozgawa co-produced. “That's coming out next year, and we've just released the first single, ‘Stay in Your Lane,’” she says. Meanwhile, she says, “I am going to be doing some production and remote recording work and few sessions in L.A. until the end of the year.”