Audio Media - September 2008 - (Page 47) SSL | Matrix without the need for constant manual reference. > master fader and, when in Analogue Mode, it is your DAW Master Fader (only with MCU protocol). This fader can also be assigned to control any selected DAW channel. Next to the analogue section is the Master Channel, a global set of assignment buttons that selects things such as bus routing and channel input selection for selected channels of your analogue mixer, as well as your Focus Mode. A section of buttons for selecting the source for your VU meters, source for control room monitors, level of the talkback microphone, bus levels, artist monitor source, and level are all collected together and clearly marked. Master send levels and routing sit above the level and routing controls for the four stereo returns. A large time display linked to your DAW timeline is below with Save and Undo buttons, which again feed to your DAW. We now come to the softkeys with display and mode buttons. This is where we can program a number of keyboard commands to use with your chosen DAW. Up to four DAW systems can be controlled, so you switch between them here, and your softkeys follow. Each DAW layer has five sets of five banks of softkeys, which gives you up to key commands per DAW… that should do! Finally, there’s a machine control section with transport buttons and jog/shuttle wheel with a few navigation buttons for DAW control. This has been a quick run through rather than a function for function account. There are extensive breakdowns of this information on the SSL website, and the majority of the controls will be familiar enough for most to work through The software supplied with the SSL Matrix is called Matrix Remote, and deals with a number of things. Simple session management is in the same vein as other SSL console computers. Each Project, as they are called, stores general personnel information, track sheets, total recall setups, and digital channel strip labelling when in Analogue Focus. The main area of interest is the matrix patching. This is where we can patch any connected outboard equipment into the floating insert points, and also create chains for different purposes, such as analogue path for recording vocals, then save this to be called up as required. A simple drop down menu on each of the inserts lets you make your selection. This was as simple as it can be to operate, everything very clear and obvious with each area selected by its tab at the bottom of the screen. M atrix R emote Mixing is where the SSL Matrix will find most of its use I suspect, so with this in mind I fed the first DAW signals from the interface into the DAW returns and continued with the remaining signals into the Line Inputs to see how all SuperAnalogue paths worked together. The first channels I controlled through the main fader bank and the second set fed into the main output Mix bus through the Stereo Cue. No problems here at all. As I set up the routing for this example, the routing/control potential of the Matrix becomes very clear. The compact nature of the SSL Matrix is truly deceptive, this is a comprehensive and powerful product. Using the Matrix Remote, I programmed a few of the softkeys, and these worked with no glitches. I called up and controlled plug-in settings from the softkey section with ease, just as you would expect with any reasonable controller. I found that, after compiling a set of commands with the softkeys, I was virtually controlling all aspects of the session from the Matrix in no time. I was using the SSL Matrix with ProTools HD and the Digidesign i/o for the bulk of the testing period. I have seen the system used with Logic and the SSL Alpha Link interface, and can feedback that the system exhibited no issues. A basic recording test using a multi-track fed into the DAW returns and an analogue chain patched through the matrix software was quick to setup, and the SuperCue monitoring setup was latency free as expected. Having a dedicated artist feed already in place sped up the workflow a little, and that is one of the key things with the Matrix, these numerous small aids add up to a simplified and smoother workflow overall. I could quickly check the artist feed through the onboard headphone socket and volume control. The combination of channel direct outputs and the two record busses were ample for general recording purposes, and the SuperAnalogue path pleases as it always does. You just need a nice array of boutique preamps to help you on your way. System I ntegration in Use I have barely scratched the surface with this review. The more you use the SSL Matrix, the more you understand the power of the system. The ability to easily integrate your analogue rack units, simple switching of control from analogue to DAW, and between DAWs, I only needed about an hour to be running the SSL Matrix as if I had been with it for considerable time. The sound of the SuperAnalogue path lives up to expectations, and the Matrix Remote software keeps all your session information nice and tidy. The SSL Matrix is a product that has been designed for the way we work today and, at the centre of your production set up, you will not be disappointed. ∫ Conclusion I N F O R MAT I O N £GB£12,500.00 (exc.VAT) A Solid State Logic, 25 Spring Hill Road, Begbroke, Oxford, OX5 1RU T +44 (0) 1865 842300 F +44 (0) 1865 842118 W www.solidstatelogic.com Trinnov’s Optimizer: IS YOUR ROOM UNDER CONTROL? www.sound-link.co.uk 47 w w w. t r i n n o v. c o m UK Distribution: Sound-Link Marketing - tel: 01223 264 765 - trinnov@sound-link.co.uk AUDIO MEDIA SEPTEMBER 2008 http://www.solidstatelogic.com http://www.trinnov.com http://www.sound-link.co.uk
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