Audio Media - September 2008 - (Page 46) SOLID STATE LOGIC MATRIX Mixing Console A few months after Audio Media featured a special preview of SSL’s mixing console, SIMON TILLBROOK puts one into a studio and through its paces. ver the past few months, I have had a number of opportunities to use the SSL Duality. The Duality introduced a few new ideas to workflow, breaking away from more traditional routing schemes and also integrating more of the core DAW systems that are at the heart of many of the facilities we now use. The Duality is a high-end console product, and there is nothing wrong with that, of course, but a smaller system following the same principles for smaller production rooms or project studio at a more cost effective price? Enter the Matrix. O THE REVIEWER SIMON TILLBROOK is the Principal Music Tutor at Islington Music Workshop in London. The rest of his time is spent as a freelance engineer, mainly in the USA. The SSL Matrix is a -channel line mixer utilising the SSL SuperAnalogue signal path seen on its premier range of large frame mixing consoles. There are two inputs per channel, giving a total of simultaneous analogue inputs along with fully integrated DAW control. The SSL Matrix follows both the HUI and MCU controller protocols and so is able to work with the majority of popular DAW systems in use today. Up to four DAW systems can be controlled through the Matrix simultaneously, split between different control layers without the need for complex switching or rebooting… very nice indeed. Midi-controlled automation, Total Recall for the console, and any loaded SSL XRack equipment, is part of the SSL Matrix system as standard. There are four stereo auxiliary returns that can be assigned to the main mix bus, so this would then allow a total of simultaneous analogue inputs at mixdown. A single stereo and four mono auxiliary sends can be utilised for FX and Cue mixing purposes, and the SSL SuperCue system for switching between source and DAW return is fitted for zero latency monitoring when recording. There are no microphone inputs or preamps, and no onboard processing of any kind. This brings us to where the Matrix takes its name. There are insert points, one per channel, but rather than being fixed they are floating insert points. Their patching is controlled through an insert switching matrix accessed through the supplied software. You can plug all your analogue output equipment into the system, then insert it either singly or in a chain to any channel you wish. More on this accompanying software control later. M atrix System O ver view control between the Matrix and your DAW or DAWs. The USB connection is used as a keyboard emulator where the Matrix can send customised keyboard control information to your DAW from a variety of soft keys. Digital connection is through XLR for AES, and Toslink for SPDIF. The vast array of analogue inputs and outputs are all via Tascam format -pin DSubs, and a pair of XLRs for connection to a pair of monitors. Connection to an external SSL XRack is supplied along with an SD Card slot to store recalls, templates, etc. An SD Card is even supplied. The SSL Matrix has an external power supply and this is connected through a large multi-pin socket. Connection to your host computer is via Ethernet and USB. The Ethernet connection uses the IP MIDI protocol, and can carry up to channels of MIDI data for principal Midi I nterconnec tion A quick scan over the control surface of the SSL Matrix has that same familiar feel with other SSL consoles, a clear, easy to follow layout. The Meter Bridge contains dual -segment LED meters for each of the channels that display either the DAW or analogue channel level. Status and analogue bus routing are also displayed through a series of appropriate legends next to each meter pair. Twin VU meters display the selected source output, and a further set of segment LED meters display the bus outputs (Mix, Rec, and Mon) as well as output levels for each of the auxiliary master sends. The channels of the SSL Matrix can be looked at in three sections. The top section is our analogue console with +/- dB input gain phase and insert return switches. The analogue direct outputs have +/- dB of gain control, and the auxiliary send and channel pans follow this. Bus routing and selection buttons complete the array for each channel. The digital scribble strip marks the division to the next section, which includes, for each channel, a V-Pot and channel selection switch for DAW use, and Solo and Cut buttons for use with the fader bank. A dry wipe scribble strip separates the final section, which is our fader bank. There are motor driven faders that can be used for fader control in both the analogue and DAW control modes. Automation of the faders in analogue mode is controlled via Midi from your DAW system. There is a single, separate fader with associated V-Pot and buttons called the Focus Fader. This is linked to the two Focus modes of the Matrix, which is mainly dealing with the V-Pot and Fader bank. This simply means you are principally controlling the analogue mixer, or your DAW system, at that moment. When in DAW Mode, the Focus Fader is your analogue Sur face Ergonomics > 46 AUDIO MEDIA SEPTEMBER 2008
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