ProAudio Review - November 2008 - (Page 20)

www.proaudioreview.com ta l k i ng automatically. The USB cable is there for keyboard commands; the host computer sees Matrix as a standard computer keyboard. The Ethernet handles all MIDI and browser communication. I accessed the DAW tab in the Remote software and selected the default Pro Tools profile. Matrix can actually control four different DAWs at once. I know composers who play virtual instruments on one PC, write in Logic or DP on another, and record in Pro Tools. Matrix can be the bridge between those worlds. After a required restart (power cycle), I was relieved to discover the console powers up in exactly its previous state. Matrix Remote software can run on the same PC as the DAW or a separate computer. If one is already using the Ethernet port for something else, like Internet or network access, Matrix can be connected via network switch or router. Matrix Remote manages “projects” which contain data on Total Recall, channel names, analog equipment insert matrix, and DAW settings. Upon opening the Remote, the user is presented with a digital track sheet for recording project info, including the names of the key players, such as you. As you move from session to session in your DAW, simply open the corresponding project folder you’ve created in the Remote software. All Remote data is stored on a removable SD card on Matrix’s rear panel. I powered up the rock-solid, Mac desktop-inspired, modern industrial metal power supply. Once online, Matrix’s many lights and displays were appropriately dazzling. Each button I pressed as I began the step-by-step tutorial imparted a crisp solidity. The first concept to understand about the console is its two focus modes: Analog and DAW. In Analog Focus, the faders and displays focus on analog signals while in DAW Focus the focus is on functions associated with DAWs. They are swapped with one touch of a large aquamarine button. Analog Focus Any channel input can be either line or DAW. Signals can be routed to the mix or record bus or channel output. I plugged my computer’s analog output into a pair of Matrix’s line inputs via one of the 17 8-channel D-Sub connectors and heard sound for the first time. Just playing records from iTunes revealed the Matrix has a sound: clear and punchy. With a line input boost of 15dB, Matrix thickened the thin Mac output. I’m relieved to hear how great Matrix’s control room monitor output sounds; those who don’t already have a great monitor controller won’t be suffering without one. The monitor section is one area where the Matrix feels like a big SSL, offering large and small speaker outputs, two external analog inputs (one for iPod), two digital ins, dim, cut, AFL, mono, and my new favorite button ever: the left speaker phase flip. Press it with the mono button engaged to reveal only the stereo information. If you want to be freaked out, listen to some mp3s in this mode and observe the aliasing artifacts. (sum) allows any or all monitor inputs to be heard simultaneously. Brilliant! Matrix executes zero latency record monitoring perfectly, better than any DAW monitoring system I’ve encountered. It auto-input switches in 20 ProAudioReview | November 2008 http://www.proaudioreview.com http://www.thatcorp.com http://www.thatcorp.com

Table of Contents Feed for the Digital Edition of ProAudio Review - November 2008

ProAudio Review - November 2008 Contents Technically Speaking First Look 2008 PAR Excellence Awards New Studio Products Studio Sense Review: Solid State Logic Matrix Review: Arsenal Audio by API R24, V14, and R20 Mini-Review Review, Second Opinion, and Benchtest Review: A-Designs HM2EQ HAMMER Review: Sontronics Sigma Phantom Powered Ribbon Microphone Analog In The Studio: Nostalgia Ain’t What It Used To Be New Live Products Worship Audio Review: Community VERIS Series Loudspeakers Installation Profile Single Slice

ProAudio Review - November 2008

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