Solid State Logic BiG SiX expands the company's SiX into an 18-input analog recording console that will transform any mid-tier project studio into a pro-level production powerhouse. Teeming with SSL's vaunted sonic character, BiG SiX supplies classic SSL channel processing, professional routing and monitoring, and pro studio-quality analog summing. Full-size 100mm faders ensure an inspiring mixing experience, while SuperAnalogue mic preamps inject your recordings with true-to-life SSL flavor. BiG SiX also includes SSL's legendary G Bus Compressor, arming you with the "glued-together" quality that all mix engineers strive for. You also get talkback with SSL's famous Listen Mic Compressor, which can also be routed for creative applications. To top it off, BiG SiX includes a feature-laden 16-in/16-out USB-C audio interface with extensive routing capabilities. If you want to move your humble project studio into the big leagues, BiG SiX delivers the big-studio sound, pro-level features, and user-friendly workflow you need to get in the game!
BiG SiX’s first four mono channels make a superb front end for recording. Each includes a transparent SuperAnalogue mic preamp with +72dB of gain (enough to handle your passive ribbon mics), phantom power, a 75Hz highpass filter, a separate line-level input that can be switched to instrument level, and an SSL compressor with program-dependent attack time, fixed ratio and release time, and automatic makeup gain. At Music Experience, we’ve found that this compressor design makes it easy to achieve great-sounding results very quickly.
Each of BiG SiX's channels (four mono and four stereo) includes a 3-band EQ derived from SSL's classic E Series console. This gentle, broad-stroke design includes high and low filters at 3.5kHz and 60Hz, respectively, that are adjustable from +15dB to -15dB of gain and switchable between shelf and bell curves, with unique center frequencies for each type. You also get a fixed 700Hz mid-frequency control. Beyond that, there are balanced insert points on channels 1–4 for integration with outboard signal processing; and in the SSL tradition, the insert send is always active, so it can be used as a pre-fade, post-processing record send to your DAW. BiG SiX also features full-size 100mm faders with tapers that give you maximum control over the most usable gain range for both studio and live sound applications.
While BiG SiX incorporates state-of-the-art AD/DA and a multichannel USB interface, you can eschew its digital features and operate it as a traditional analog mixing console. BiG SiX's first four channels are mono, while its last four are in stereo, with trim and balance controls and 100mm faders. BiG SiX also features two stereo EXTernal inputs (with level controls) that can be sent to the stereo mix bus. It all adds up to 18 inputs that can be summed to the main mix bus during mixdown.
Worth the price of admission on its own, the mighty G Series Master Bus Compressor is available across BiG SiX’s main outputs. This is the classic SSL console circuit only with fixed ratio, attack, and release settings as well as an updated, state-of-the-art quad-VCA chip. The streamlined controls make it easy to enhance the sound of your mixes — or whatever it is you’re pushing through the master bus — with that legendary SSL punch and glue.
Given its scaled-down form factor, you may be surprised to learn that BiG SiX is equipped with two cue buses for artist mixes. The console’s master section has main and alternate monitor outputs with a proper monitor source matrix, as well as mono check, dim, and cut. There’s also a talkback mic input with phantom power and SSL’s classic Listen Mic Compressor (LMC), the latter of which can also be deployed as an effect. Capturing authentic '80s drum sounds has never been easier.
Besides being a top-shelf desktop analog console, BiG SiX also includes a class-compliant, 16-in/16-out USB-C audio interface. The audio interface is paired with super-clean, 24-bit/96kHz AD/DA converters, which are connected to BiG SiX's SuperAnalogue signal chain. USB returns 1–12 (the signal from your DAW to the console) are connected to the input of each of BiG SiX's channels, while USB returns 13–16 are connected to its EXTernal inputs. USB sends 1–12 (the signal from the console to your DAW) are connected to the output of each of BiG SiX's channels, either pre- or post-fader, while USB sends 13–14 are connected to the output of Bus B. Lastly, USB sends 15–16 are connected to your main bus output, supplying you with an easy way to print a mix back to your DAW.
BiG SiX sounds like an SSL — and from that vantage point, it’s a tremendous value when you consider what it (and its G Series Bus Compressor) can do for the sound of your program material. Second, derived from SSL’s large-format studio consoles, BiG SiX’s professional feature set is like nothing we’ve seen thus far in a compact mixer. Who ever heard of a desktop mixer with SuperAnalogue mic pres, full-size faders, two cue sends, a monitor source matrix, 18 line inputs during mixdown, and a G Series Bus Compressor? Lastly, an invaluable intangible benefit: if you have clients or artists coming into your studio, appearances matter. When they see the SSL marque, they’ll know they’re in a professional studio with serious equipment. The name commands instant respect. Case closed.
Established in 1969 by Colin Sanders, Solid State Logic initially manufactured FET switching systems for pipe organs. Sanders also owned a recording studio, for which he designed and built a console. More console designs followed, and by 1979, SSL found commercial success with the SL 4000 E Series desk, which would go on to transform the recording industry with its sonic quality and Total Recall automation. Descendants of the 4000 E — the SL 4000 G Series, 6000, 8000, 9000J, and 9000K — would dominate the professional music recording studio industry for two decades. In the mid-1980s, SSL’s 5000 Series film consoles replaced decades-old Quad-Eight boards on many Hollywood re-recording stages, introducing the film and television industry to console automation and a new level of audio fidelity. Today, SSL is still an innovator, carrying on their legacy with a range of gear designed for the modern hybrid studio.
BiG SiX combines production tools from iconic SSL studio consoles with the latest in hybrid workflow. G-Series Bus Compressor with renowned ‘Auto’ release, E-Series EQ, glorious sounding mic pres with channel processing, and advanced monitoring and routing, all designed on a SuperAnalogueTM foundation and brought together with full USB integration. BiG SiX is the essential SSL studio.
BiG SiX is the natural evolution of the modern-day studio classic, SiX. Incorporating feedback from a wide range of artist, producers and engineers, BiG SiX increases its capacity in almost all areas with four SuperAnalogueTM mic pres, four SuperAnalogueTM stereo inputs with dual mono switching, 3 band E-Series EQ on every channel, dual independent headphone outs with source matrix and much more. Whether you’re wanting to take your content creation or post-production to the next level with SSL analogue processing or require advanced hybrid workflow for multitrack recording or stem mixing, BiG SiX offers absolute flexibility and creative agility for any production scenario.
Strapped across the mix bus of BiG SiX is the legendary G Series Bus Compressor, ready to add drive, energy and that all important 'finished' sound to your productions. Using exactly the same circuit topology as the original design found on the SL 4000 G-Series console, the Bus Compressor within BiG SiX has fixed 4:1 ratio, 30 ms attack and 100 ms release. These 'set and forget' settings are the go-to for many SSL large format console users, who will often engage the Bus Compressor very early in a session and build the mix into it. The BiG SiX Bus Compressor features the renowned ‘Auto’ release setting, adding further flexibility to this essential version of the legendary glue and punch maker.
BiG SiX contains a class compliant USB 96 Khz / 24 bit interface to connect to a PC or MAC. The interface is paired with 16 high quality A/D and D/A converters that are connected to the SuperAnalogueTM signal chain in BiG SiX. The first 12 channels are split across the first 12 inputs/outputs and can be switched pre/post fader. USB channels 13-16 route to/from External inputs and Master buses. Alternatively, sends 9/10 and 11/12 can be fed from the stereo cue buses. Perfect for additional ITB processing.
Fast, detailed and very, very punchy. BiG SiX’s SuperAnalogueTM preamps are capable of comfortably handling a wide variety of microphones (including ribbon) thanks to their super wide gain range. They feature a dedicated line input with Hi-Z, 48V, high pass filter and polarity switch, and will get the absolute best out of your new and vintage instruments and line level sources.
Smooth, refine and add character with classic SSL channel compression. The compressors program dependent attack time (8ms – 30ms), release time around 300ms and the gentle 2:1 ratio allow the compressor to work across a wide variety of content and makes up one of the three compression flavours BiG SiX offers.
The channel EQ on BiG SiX has its roots in SSL’s classic E series, matching its EQ curves on the broadest setting. It is a broad stroke three-band design with high and low shelving filters at 3.5 kHz and 60 Hz, adjustable from +15 dB to -15 dB of gain and a fixed Mid Frequency control at 700 Hz. The HF and LF bands can be independently switched between shelving and bell curves, and can be found on every channel of BiG SiX.
Initially developed for the SL 9000 Series consoles to take analogue performance to the next level, SuperAnalogueTM technology is at the heart of BiG SiX and is fundamental to what sets it (and SiX) apart from other desk-top mixers. SuperAnalogueTM technology is the sum of an applied design philosophy, constant invention, and dedication to optimizing every detail of our precision audio products. There are many contributing aspects, including our bespoke circuits, ground-breaking low-noise gain control, servo-coupled amplifier stages, and many more.
BiG SiX is designed to enhance your production capabilities at any stage of the process. From the SSL console grade faders to the advanced monitoring section and 18 channels of analogue summing at mix-down, the meticulously selected feature-set found on BiG SiX brings almost limitless creative options and engineering authority from large-format SSL consoles to your desk-top.
BiG Six features four stereo SuperAnalogueTM line level inputs. These can be either be fed from 1/4 “ TRS balanced jack inputs on the rear of the unit or switched to the DA converters from the relevant USB returns. The USB input is before the Trim gain control. To add further flexibility, the four stereo inputs can be switched to dual mono, or will automatically switch if only the left input is used.
In addition to the Main and Alt loudspeaker outputs with MON, DIM and CUT controls, BiG SiX has two independent stereo headphone outputs. By default, the headphone outputs follows the MONITOR SOURCE selection. The headphone outputs can also be switched to monitor Stereo Cue buses 1 & 2 independently of the Monitor selection.
There are two stereo Cue sends on each channel of BiG SiX with independent level control. They are fed from channel pre-fader post-insert. Via the master section, each Cue send can be routed with a number of additional sources to provide FX sends and headphone mixes. To add further hybrid workflow flexibility, BiG SIX can re-route USB channels 9/10 and 11/12 from both sends to provide dedicated cue feeds to your DAW. Perfect for ITB effect processing.".
Channel level on BiG SiX is controlled by a 100mm long-throw SSL faders. If you have ever piloted an SSL console, you quickly realize not all faders are equal. With a large sweet spot around 0 dB, its easy to make subtle adjustments with confidence.
At the top of BiG SiX is the legendary Listen Mic Compressor as originally found in the centre section of the legendary SL 4000E. With its smash everything attitude made famous by that drum take, it’s the ‘80s producers secret weapon.
| Type | Analog Console |
|---|---|
| Channels |
18 Inputs (includes summing and inserts), 8 Fader Channels |
| Computer Connectivity |
USB (16 x 16) |
| A/D Resolution |
24-bit/96kHz |
| Faders | 9 x 100mm Faders |
| Inputs - Mic Preamps | 4 x XLR (SuperAnalogue) |
| Phantom Power | Yes (Per Channel) |
| Inputs - Line |
8 x 1/4" (4 x stereo channel), 4 x 1/4" (2 x external stereo input) |
| Inputs - Other |
4 x 1/4" (Hi-Z) |
| Outputs - Main |
2 x 1/4" TRS (main), 2 x 1/4" TRS (main monitor), 2 x 1/4" TRS (alt monitor) |
| Aux Sends |
2 x Stereo Cue Send (pre/post |
| Busses/Groups |
2 x 1/4" TRS (Bus B out) |
| Inserts |
2 x 1/4" TRS (L/R main bus insert send), 2 x 1/4" TRS (L/R main bus insert return) |
| Headphones |
2 x 1/4" |
| USB |
1 x USB-C |
| Talkback |
1 x XLR |
| EQ Bands |
3-band EQ, High/Low Bell Curve, Mid Frequency Shift |
| Signal Processing | G-Series Bus Compressor (main mix bus), Channel Compression |
| Power Supply |
4-pin 15V DC power supply (included) |
| Height |
5.6" |
| Width |
19.3" (including trim) |
| Depth | 15.4" |
| Weight | 15.0 lbs. |
| Manufacturer Part Number | 729752X2 878076001371 |
