Solid State Logic MATRIX Operation Guide

Matrix
Owner’s Manual

www.solidstatelogic.com

The new standard in project studio integration

Matrix. This is SSL.

As research and development is a continual process, Solid State Logic reserves the right

to change the features and specifications described herein without notice or obligation

E&OE

Begbroke, Oxford, England, OX5 1RU • [phone]

320 West 46th Street, 2nd Floor, New York, NY 10036, USA • [phone]

3700 Wilshire Blvd, Suite 720, Los Angeles, CA 90010, USA • [phone]

3-55-14 Sendagaya, Shibuya-Ku, Tokyo 151-0051, Japan • [phone]

7 bis, rue de la Victoire, le Blanc Mesnil, Paris 93150, France • [phone]

Via Timavo 34, 20124 Milano, Italy • [phone]

Visit SSL at URL: www.solidstatelogic.com

© Solid State Logic

All Rights reserved under International and Pan-American Copyright Conventions

AWS 924

82S6MT060A June 2008 Initial Release

82BM0M01A August 2012 Updated ipMIDI, miscellaneous small typo’s

, AWS 948, Matrix, Solid State Logic and SSL are trademarks of Solid State Logic

All other product names and trademarks are the property of their respective owners

No part of this publication may be reproduced in any form or

by any means, whether mechanical or electronic, without the

written permission of Solid State Logic, Oxford, England

Document History

July 2008 Corrected network connections

November 2008 Amended network & USB cable lengths

Introduction

Matrix. Control your Creativity.

Welcome to Matrix. With the goal to bring the soul of analogue sound into the machinery of digital workflow, we designed
Matrix – a seamless way to work in both worlds simultaneously. With unparalleled creative control over your DAW and analogue
outboard, Matrix reconfigures your project studio around its most important element – you.

Matrix is a SuperAnalogue 16 channel, 40 line input mixing console with inbuilt signal router and multi-layer digital workstation

ontrol. It’s simply the most elegant way to be creative with your entire arsenal of analogue outboard and cutting-edge digital

c
equipment. Designed to be at the heart of your everyday creative process, Matrix is built to meticulous SSL hardware standards,
to withstand even the most intensive studio use. Fully equipped to partner your monitors, workstations and outboard gear,
Matrix lets you shape your project studio around the way you work.

The Matrix SuperAnalogue router manages the sends and returns of up to 16 outboard processor units, together with the
assignment of the console’s channel strip insert points. Using the Insert Matrix in the Matrix Remote software, any combination
of your outboard gear can be rapidly inserted into any of your console channels, essentially giving you the ability to run your
outboard as ‘analogue plug-ins’ within your DAW.

With HUI and MCU modes, the 17 motorised faders and channel controls provide complete hands-on control over your DAW
mixer, allowing you to enjoy mixing on a tactile, fully-featured control surface. Additionally, Matrix gives you access to transport
and navigation functions, plug-in and virtual instrument parameters, and essential DAW commands, allowing you to work quickly
and easily using just the console surface.

Alongside its integration of your analogue and digital equipment, Matrix is also a first-class SSL mixer, drawing on our 30 years
of innovative analogue console design. The essential functions of recording and mixing – routing, level measurement and
monitoring – are organised and arranged to make everything available at your fingertips to streamline the entire recording and
mixing process. Matrix analogue architecture provides 16 channels, featuring dual line inputs, balanced insert sends and returns
and a dedicated direct output. Channel level control utilises the same high resolution Digital Controlled Attenuator as fitted to
the AWS 924, AWS 948 and Duality large format consoles. In Matrix the channel DCAs can be remote controlled via MIDI,
enabling DAW tracks to provide full automation control of analogue levels. Dual stereo mix busses and four stereo returns with
full stereo mix bus routing bring the total available mix inputs to 40. Powerful monitoring is a central feature of Matrix with
independent Main and Mini monitor outputs, Artist Monitor output with independent EQ and source selection, and three external
monitor inputs with source summing.

In short, Matrix is the new standard in project studio integration.

Matrix Owner’s Manual

I

Contents

Contents

Introduction I

Contents II

About This Manual VI

What Else You Will need VI

Chapter 1 – Installation and Setup 1

Matrix Rear Panel Connections 2

Plugging Up Your Matrix 3

Audio Connections 3
Data Connections 4
Configuration of Data Connections 4
Matrix Network Connection Examples 5

Software Installation and Configuration 9

System Requirements: 9
Software Installation (Mac) 9
Software Installation (PC) 9
Matrix Remote Configuration 10
DAW Layer Configuration 11
ipMIDI Configuration 13

Chapter 2 – Getting Started 15

Important Concepts 15

The Master Channel 15
Focus Modes 15

Preparing for the tutorial 16

STEP 1: Bringing Signal into the Channel 17

STEP 2: Routing to the Main Busses 18

STEP 3: Hearing your Signal 19

STEP 4: Sending to the Auxiliary Sends 20

STEP 5: Global Control of your DAW 21

STEP 6: Channel Control of your DAW 22

STEP 7: Sending Signal from the Channel Direct Output 23

STEP 8: Setting up Artist and Control Room Headphones 24

STEP 9: Listening Back to the DAW 25

STEP 10: Selecting a Title 26

STEP 11: Inserting Signal Processing into the Channel 27

II

Matrix Owner’s Manual

Chapter 3 – Analogue Signal Flow 29

Introduction to Focus Modes 29

Operating Principles 29

The Master Channel Strip 30

he Digital Scribble Strip 31

T
Total Recall LEDs 31

The Channel Strip 32

Channel Inputs 32
Channel Outputs 32
Auxiliary Sends 34

The Centre Section 36

Master Bus Controls 36
Monitoring 38
Talkback 39
Metering 40

SSL Soft Keys 41

MON Soft Keys 42
METERS Soft Keys 43
AUTO Soft Keys 43
TR Soft Keys 44
IP Soft Keys 44
Misc Soft Keys 44

Contents

Matrix Automation 45

Chapter 4 – The Matrix Remote 47

Introduction to the Matrix Remote 47

The Projects Tab 48

Navigating the Projects List 49
Managing Projects 50
Managing Titles 51
Project and Title Notes 52
Track Sheets 52

The Total Recall Tab 53

Taking a TR Snapshot 53
Naming a TR Snapshot 53
Deleting a TR Snapshot 53
Recalling a TR Snapshot 54

The Insert Matrix Tab 59

Naming Devices 59
Device Chains 60
Assigning Devices and Chains to Channel Inserts 62

Matrix Owner’s Manual

III

Contents

Chapter 5 – DAW Control 63

Introduction 63

Layers 63

Matrix Console Layer Selection 63

Focus Modes 64

DAW Track Control 65

he Digital Scribble Strip 65

T
V-Pot Modes 66
SEL Key Modes 67

Transport Controls 69

Session Counter 69

Utility Buttons 70

Navigation Controls 70

Default Profile Soft Key Assignments 71

Soft Key Overview 71

Pro Tools Default Profile 71
Nuendo Default Profile 76
CC (Continuous Controller) Default Profile 78

IV

Matrix Owner’s Manual

Chapter 6 – DAW and CC Configuration 79

Matrix Console Layer Selection 79

atrix Remote Layer Selection 79

M

Assigning DAW Layers 80

Selecting Profiles 80
Creating Profiles 81
Deleting Profiles 81
Renaming Profiles 81

acking Up a Profile 82

B
Restoring a Profile 82
Disable Handshake 82
Selecting the Transport Master 82

Soft Keys 83

DAW Control Protocols, USB Commands and Menus 83
Soft Key Sets 83
Programming Soft Keys 84
Assigning DAW Protocol Functions 85
Assigning QWERTY Keystrokes 86
Creating Soft Key Menus 87
Renaming Soft Key Assignments 88
Assigning Modified Functions to Soft Keys 88
Removing and Replacing Soft Key Assignments 88
Editing Transport and Utility Button Assignments 89

Contents

Configuring CC Layers 91

CC Snapshots 92
The Digital Scribble Strip 92

Appendices 95

Appendix A – DAW Protocol Lists 95

Appendix B – Technical Specifications 99

Appendix C – Audio Connectors and Pinouts 103

Appendix D – Environmental Specification 105

Appendix E – Software Updates 107

Appendix F – Matrix Support 109

Appendix G – Maintenance 113

Matrix Owner’s Manual

V

About This Manual

About This Manual

Whether you are an experienced studio engineer or an artist who is relatively new to the recording process, this manual will take
you through the full breadth of Matrix functions. Chapter 1 guides you through the process of connecting up and integrating Matrix
into your studio. Chapter 2 is a tutorial which provides an overview of the essential operating principles of Matrix, introducing

oth its analogue and DAW control capabilities, a proportion of which will be familiar to users with studio experience. Chapter 3

b
then examines the analogue mixing capabilities of the console in more detail. Chapter 4 focuses on the Matrix Remote software
which controls a number of aspects of Matrix, including its relationship with outboard equipment. Chapter 5 introduces the
operational use of Matrix for DAW control, working alongside the control surface documentation in your DAW’s manual. The
Remote is also used to configure and customise Matrix’s control of DAWs, and this is the focus of Chapter 6.

A few simple conventions have been followed in this manual: Labelling on the console control surface or in software is in
retaining the capitalisation of the label itself. Back panel labelling is represented in plain type, also following the capitalisation of
the labels.

Notes are used for clarification and occasionally for advanced descriptions. They are inset and italicized, and have a blue
line below and above.

If you click on any page and chapter references within the manual, your .pdf viewer will jump to that location. Internet references
are also hyperlinked in this way.

Note that these hyperlinks may not work in all .pdf viewers. They do work in Acrobat Reader, which is available from

www.adobe.com

.

bold,

What Else You Will need

In order to make full use of your Matrix, you will require the following, in addition to the Matrix box contents:

• A computer on which to run the Matrix Remote software. This can be the same computer as you use for your DAW
software.

• A Network Switch or Router. If you are running a setup with more than one computer, a network switch or router and
additional network cabling will be needed (refer to the Network Connection Examples from Page 5 onwards).

• A USB KVM switch and/or hub. If you are planning to connect Matrix to more than one computer, you will need a USB
switch. If you are only using one computer, the KVM switch will not be necessary. Depending on the complexity of your
current studio setup, the hub may not be essential. You may well find, however, that you no longer have enough USB
sockets on your computer. Note that the Matrix USB socket is Type B.

• Multicore cabling. To fully connect your Matrix, you will need up to seventeen 8-channel looms terminating in male 25­way D-Connectors.

• A Stand. There is a wide range of commercially available mixer stands which are suitable for Matrix. SSL are happy to
recommend the Studiospares Z-Frame keyboard/mixer stand, and the Quik Lok ZM-2034 Mixer Stand. Alternatively, you
can build Matrix into your desk surface using the dimensions listed in Appendix B.

• Digital cabling. Depending on your setup, you may need suitable cables to connect up the AES or S/PDIF digital I/O.

• Foot switches. You can also plug up to two momentary foot switches into Matrix.

VI

Matrix Owner’s Manual

Chapter 1 - Setup

Chapter 1 –

This chapter covers everything involved in setting up Matrix. If you have not already done so, please refer to the separate printed
Installation Guide for safety information and instructions on positioning and connecting the Matrix Power supply.

There are a number of ways in which Matrix can be set up to fit into your studio environment. The diagram below outlines the
standard configuration:

Installation and Setup

Matrix Owner’s Manual

1

DEVICE SEND 1-8

DEVICE RETURN 1-8

DEVICE SEND 9-16

DEVICE RETURN 9-16

LINE IN 1-8

DAW RETURN 1-8

CHANNEL OUT 1-8CHANNEL OUT 9-16

LINE IN 9-16

DAW RETURN 9-16

P

USH

REC, MIX, CUE INS RTN

EXT 1,2 (L,R)

MON L/R, ARTIST OUT

REC, MIX, FOLLOW MON OUT

REC, MIX, CUE INS SENDCUE ST, FX OUT 1-4

FX RETURNS 1-4

GPIOUSBX-RACK / DIAGSW2SW1 NETWORKSD CARD

RIGHT - MINI - LEFT

IN - AES - OUT

IN - SPDIF - OUT

+18dB
+24dB

RIGHT
LEFT

GAIN

T/HOLD

TB MICVU

Chapter 1 - Setup

Matrix Rear Panel Connections

Power Input

Audio Input/output

channels 9–16

0dBfs

switch

Foot-

switch

X-Rack

I/F

USB

Audio Input/output

channels 1–8

SD memory card

slot

Unused

Ethernet

Master Section I/O

2

Matrix Owner’s Manual

Meter

trim

Master

I/O

TB Mic

trim

Mini LS Master

I/O

Digital I/O

Optical and AES

Chapter 1 - Setup

Plugging Up Your Matrix

All audio and data connections to the Matrix console – with the exception of the iJack and headphone sockets – are made to the
rear panel.

Audio Connections

Line Level audio input and output connections are made using high quality 25-pin D-type female connectors – the only exceptions
being the Mini LS monitor outputs which are available via 3-pin XLR male connectors. All connections are balanced, and all cable
screens are connected to the Matrix chassis. 0VU meter level corresponds to +4dBu output level.

All D-connectors are wired

according to the TASCAM DB25 specification

. See Appendix C for connector pinouts.

Channel Connections

The connectors to access Matrix’s channels are arranged in two groups each of five connectors. The first group provides access
to channels 1-8 and the second group to channels 9-16.

Line Inputs D25 female Line level inputs to the channels – from mic amps, keyboards etc.
Device Send D25 female
Device Return D25 female
DAW Return D25 female Inputs from workstation (DAW – Digital Audio Workstation)
Channel Out D25 female

Insert Matrix
Insert Matrix

Outputs to workstation

sends to effects units
returns from effects units

Master Section Connections

The Master Section connectors are allocated as follows:

Ext 1, 2 (L, R) D25 female External to Monitor inputs 1 and 2 (L, R)
Mon L/R, Artist Out D25 female Main LS, Mini LS* and Foldback†sends (L, R)
Rec, Mix, Follow Mon Out D25 female
Rec, Mix, Cue Ins Send D25 female Record, Mix and Cue insert sends (L, R)
Rec, Mix, Cue Ins Rtn D25 female Record, Mix and Cue insert returns (L, R)
Cue St, FX Out 1-4 D25 female
FX Returns 1-4 D25 female Stereo Effects returns 1-4
Mini XLR 3-pin male Mini LS* outputs L and R

Record, Mix and Follow Monitor main outputs

Cue Stereo and Effects sends 1-4 outputs

(L, R)

* Mini LS outputs are duplicated on the D25 and XLR connectors. Speaker outputs are at line level, requiring external amplification.
† Artist Out (Foldback Sends) should be used for Artist headphone feeds, not the Cue Sends.

Digital I/O

Digital signals are available as either AES3 balanced on digital XLR connectors or as S/PDIF signals on standard optical connectors.
The digital XLR connections should be wired using 110Ω cable.

AES In XLR 3-pin female AES/EBU monitor input
AES Out XLR 3-pin male AES/EBU bus output
S/PDIF In TOSLink Optical digital monitor input
S/PDIF Out TOSLink Optical digital bus output

Note that both outputs are always active. If there is an incoming digital signal, the output will replicate its sample rate, up
to a maximum of 192kHz. If no digital input is detected, the output sample rate will default to 48kHz. See Page 37 for
more details.

See Page 44 for a description of digital input source selection via the OptDAC soft key.

Matrix Owner’s Manual

3

Chapter 1 - Setup

iJack and Headphones

he iJack and headphone sockets are located to the right of the transport control panel.

T

Jack: Stereo 3.5mm jack Allows the connection of an external line level signal source (such as an

i

iPod or MP3 player) to be switched directly to the Matrix’s monitors.

Headphones: Stereo 1/4" jack Headphone connection

Data Connections

Both Network and USB connections must be made between Matrix and the computer.

Network

‰ A standard RJ45 connector for Matrix–Workstation network data. A 3m crossover cable is provided which should be used

to make a direct connection to the ‘Network’ port on the workstation computer – see the various setup examples on Pages
5 though 7 for an illustration of this and other connection methods.

USB

‰ Use the 3m USB-A to USB-B cable provided to connect the Matrix to a free USB port on your workstation computer. This

connection carries USB keyboard commands generated from the console soft keys and is used to control the DAW via its
supported keyboard shortcuts, supplementing the existing MIDI DAW control offered on Matrix.

Defining QWERTY Keyboard Nationality (Mac)

‰ Matrix emulates a UK keyboard. When Matrix is first connected to a Mac, a dialogue will be displayed which asks you to

identify the new keyboard. In order to identify the keyboard type, the Mac then requires the key to right of the left Shift
key to be pressed. In the SSL
the required keystroke to the Mac to correctly identify Matrix as a UK keyboard.

Misc

soft key set (see Page 44), there is a key labelled

KeybID

. Pressing this key will send

Foot Switch Inputs

Sw1 & Sw2

Mono 1/4" jack

Foot switch trigger inputs

X-Rack Interface

D9 female serial data port to facilitate connection to an SSL X-Rack for the transfer of Total Recall information. A suitable 2m
cable is supplied with each X-Rack chassis.

Note: Also included on this connector is a second serial data port for diagnostic and service use.

Configuration of Data Connections

Network Wiring

To ensure the fastest possible communication between your workstation computer and Matrix, and to simplify the wiring between
Matrix and computer, Matrix communicates with your workstation over Ethernet using the ipMIDI driver to emulate a multiport
MIDI interface. To ensure minimum latency ipMIDI uses multicast UDP rather than TCP/IP. This means that:

• The network connection should be as short as possible and should only use routers that can support high data transfer
rates. Problems have been experienced with some domestic routers, particularly when used with Pro Tools. Typical
symptoms of a slow network connection are:

– The Matrix fails to synchronise all controls when first connecting with the DAW.
– Channel controls and scribble strips on channels 9-16 fail to update reliably when using the

Channel keys.

• Because ipMIDI uses multicast UDP packets, messages between one computer and Matrix will be received by all other
computers on the network, potentially causing problems in installations with more than one Matrix. The UDP packets can
be blocked by using a firewall router and connecting the main network to the WAN connector. The firewall can then be
configured to allow all traffic apart from UDP ports 21928 through 21947 which are used by ipMIDI and port 50081 which

4

Matrix Owner’s Manual

Chapter 1 - Setup

is used by the Matrix Remote application. Note that it may be necessary to use a separate Ethernet switch in place of an
integrated firewall router switch, as some of these can not support the high data transfer rate required. The NetGear FS108

an eight port switch) has been used successfully at SSL Begbroke.

(

Most systems can be easily configured with a direct connection between Matrix and the controlling computer.

Assigning the Matrix IP Address

y default, Matrix uses a fixed IP address of 192.168.1.2which works well if Matrix is connected directly to your DAW.

B
Alternatively, Matrix can be set to use a dynamically assigned (DHCP) address if your installation precludes a simple direct

IP

connection. Switching between the two methods is achieved via the
computer via a network switch or router (with a DHCP server enabled), it should be set for
option should be used. Note that the currently assigned address will be shown in the scribble strip.

‰ Once you have altered the IP mode, you need to turn Matrix off and on for the changes to take effect.

‰ An alternative fixed IP addresses can be set using the console diagnostic port. A custom serial cable (not supplied) will be

required to achieve this – please refer either to the Matrix support pages on the SSL Website or SSL Technical Support for
guidance on this.

SSL soft keys (see Page 44). If Matrix is connected to the

DHCP

, otherwise the

Fixed

Matrix Network Connection Examples

1 Direct Connection (no Internet Required)

This is the simplest way to setup Matrix with your computer.

Network connection

Workstation Computer

‰ Ensure that Matrix is set to use a fixed IP address: Use the

Fixed

is selected (see Page 44).

SSL

Matrix Console

soft key on the console, go to the IPmenu and check that

‰ Please note that many Macs with multiple Ethernet ports can only use one of those ports at any one time!

‰ Note also that if your workstation computer is a Mac, you should ensure that your Mac

Airport is switched off. We strongly recommend this as Airport is known to cause conflicts
with ipMIDI data. If you wish to use the internet, we suggest you configure Matrix with a
Router/Switch (see example 2).

Matrix Owner’s Manual

5

Chapter 1 - Setup

Network Connection Configuration (Mac)

On the Mac, go to System Preferencesand click on the Networkicon.

‰

‰ Fill in the

ith the numbers shown opposite.

w

IP Address and Subnet Mask boxes

Network Connection Configuration (Windows)

‰ Go to Network and go into Local Area Connection Properties.

‰ Open up the option Internet Protocol Version 4 (TCP/IPv4).

‰ Select Use the following IP address and then fill in the IP Address

and Subnet mask boxes as shown opposite.

6

Matrix Owner’s Manual

Chapter 1 - Setup

2 Router (and Switch) Connection using DHCP (allows access to Internet)

his connection method allows you to connect multiple devices to your home network and access the Internet at the same time.

T

The basic principle behind this method is that your Internet router acts as a DHCP server, dynamically assigning IP addresses to
all the devices on your network. The simplest configuration would be as follows:

nternet connection

I

ADSL)

(

Network connections

Router

Matrix Console

Workstation Computer

If you have more devices that you need to connect on your network, adding an Ethernet switch will allow more things to be
connected:

Internet connection

(ADSL)

Router

Network connections

Matrix Console

Ethernet switch

Home server

Laptop

Workstation Computer

Matrix Owner’s Manual

7

Chapter 1 - Setup

Network Connection Configuration (Mac)

On the Mac, go to System Preferencesand click on the Networkicon.

‰

‰ Set

‰

Configure IPv4 to Using DHCP as shown

ere:

h

Ensure that Matrix is set to use DHCP: Use the

SSL

soft key on the console, go to the IPmenu

and make sure that

DHCP

is selected (see Page 44).

Network Connection Configuration (Windows)

‰ Go to Network and go into Local Area Connection Properties.

‰ Open up the option Internet Protocol Version 4 (TCP/IPv4).

‰ Choose the option Obtain an IP address automatically as

illustrated here:

‰ Ensure that Matrix is set to use DHCP: Use the

console, go to the IPmenu and make sure that
Page 44).

SSL

soft key on the

DHCP

is selected (see

3 Connection in a facility that has multiple SSL consoles

If you are in a studio that has multiple SSL consoles, we recommend that you purchase one of our ‘LAN integration network
switches’ from the SSL webstore. Due to the nature of UDP, if you have two SSL consoles on the same network with a normal
router/switch setup, then you may find that the console in one room will start to control another. Our managed switch blocks
UDP data on two of the ports, solving the problem and allows uplinking in a multi-room facility. Please visit the following link for
more details and a picture example: store.solidstatelogic.com/catalog/36

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Matrix Owner’s Manual

Chapter 1 - Setup

Software Installation and Configuration

On the disk which came with Matrix you will find two programs to install. Install the program called MatrixRemote on the
computer from which you intend to control Matrix, and install the program called ipMIDI on any computers which have a DAW
installed which you intend to use with Matrix.

System Requirements

• Matrix Remote is a Java application and will run under Java Version 5 or higher. PC users can download the latest version
from www.java.com

• ipMIDI is compatible with Mac OS X 10.5, 10.6 and 10.7, Windows 2000, XP, Vista and 7

Check the SSL website for the latest versions of the ipMIDI virtual MIDI interface driver and the Matrix Remote application.
These can be found at www.solidstatelogic.com/support/consoles/matrix/downloads.asp

Software Installation (Mac)

Matrix Remote

‰ Mount the MatrixRemote.dmg disk image and open it. Drag the enclosed Matrix Remote application to the Applications

folder, then to the Dock or any other convenient location.

ipMIDI

There are two versions of ipMIDI for Mac; V1.5 is suitable for OS X 10.5 whilst V1.6 runs on OS X 10.6 and 10.7. Please
choose the correct version for your Mac.

‰ Mount the ipMIDI.dmg disk image and open it. Double click on the ipMIDI.pkg file to run the installation program. Note

that you will be asked to log out and in again once you have completed the installation. Once you have logged back in open

Audio MIDI Setup and double click on the ipMIDI icon. Set the number of MIDI ports to 9 in the resulting pop-up.

Note that if you are upgrading an older copy of ipMIDI you must uninstall it before running the installer. To uninstall ipMIDI
simply delete: ‘
the ‘

.plugin

/Library/Audio/MIDI Drivers/ipMIDIDriver.plugin

’ file before running the installer.

’. You should empty the Trash after deleting

Software Installation (PC)

Matrix Remote

‰ Copy the MatrixRemote.exe file to the Program Files folder (or any other convenient location) then create a shortcut

to it on your desktop and/or task bar. Double clicking on this will launch the Matrix Remote program.

ipMIDI

‰ Run the setupipmidi_1.9.exe application (note that the last part of the name may change depending on the version you

are installing) by double clicking on it. Note that you will have to restart the computer at the end of the setup process. Once
the computer has restarted right click on the ipMIDI icon in the task bar and set the number of MIDI ports to 9 in the
resulting pop-up.

Note that if you are upgrading an older copy of ipMIDI you must uninstall (using Add/Remove programs) it before
running the installer.

Matrix Owner’s Manual

9

Chapter 1 - Setup

Matrix Remote Configuration

‰ Having completed the set-up guidelines described above, run the Matrix Remote software.

In the bottom left-hand corner of the Remote window there is a Find ( ) button, along with indication regarding the current
status of the connection to Matrix:

When the Matrix Remote first opens, it searches for a Matrix console to control. If it finds one, it will automatically link to that
console. This will be indicated by the Status to the right of the button displaying a green ‘Matrix Connected - Matrix

SN XXXX’ message, where SN XXXX is the ID of the Matrix console found.

If the Remote cannot find any Matrix consoles, its status will display the message ‘No Matrix Found, click on Find.’

‰ If this happens, check your connections and press to bring up the

Find Matrix pop-up.

‰ If the Remote still cannot find any Matrix consoles, the list in the pop-up

will be empty. In this case, recheck the connections and press the Find

Matrix button in the top right of the pop-up, and the Remote will rescan

for consoles.

‰ Once the Remote has found the console, it will appear in the pop-up.

Highlight the Matrix ID and then click on Select.

Once a connection has been made to Matrix, the green ‘

Status field:

Matrix Connected - Matrix SN XXXX’ message will appear in the

10

Matrix Owner’s Manual

Chapter 1 - Setup

DAW Layer Configuration

Matrix can connect to up to four DAWs and software MIDI devices, though only one program can be controlled from the Matrix
control surface at one time. In order to cater for setups which include multiple programs, each can be assigned its own Matrix
‘layer’. Control operations performed on the Matrix control surface will then affect whichever program is assigned to the currently
selected layer.

Layers are programmed in the DAW tab in the Matrix Remote:

Matrix Remote Layer Selection

The layer being configured in Matrix Remote is selected via the DAW tab’s Layer
radio buttons, located in the middle of the tab towards the top. All other functions
in this tab, with the exception of the Transport Master selection, are specific to
the selected layer.

‰ First, decide which DAW or MIDI device will be assigned to which layer.

Note that you can always review your layer assignments; This need not be a permanent configuration.

‰ Next, assign an appropriate Profile to each of the layers to be used. A Profile defines which control protocol (HUI, MCU or

CC - See Chapters 5 and 6 for more details) is used to control the DAW or MIDI device, and also includes up to five sets
of soft keys for a specific DAW program. There are four pre-loaded default Profiles on Matrix:

- A HUI Profile configured for Pro Tools

- An MCU Profile configured for Logic

- An MCU Profile configured for Nuendo/Cubase

- A CC (MIDI Continuous Controller) Profile for MIDI devices.

Matrix Owner’s Manual

11

Chapter 1 - Setup

Eventually you will personalise your Profiles. As part of the personalisation process, Profiles for other DAW packages can be
created using the Pro Tools default Profile for HUI DAWs, and the Logic default Profiles for MCU DAWs (see Chapter 6).

owever, for now, the important thing is to make sure you assign each DAW layer the right protocol. If you are running a DAW

H
other than those listed above, please refer to its manual to establish which control protocol it uses.

‰ Using the

layer you are planning to assign to your first DAW.

‰ In the Profile Setup area found in the top left corner of the DAW tab, select the correct

default Profile from the Selected Profile drop-down list.

‰ If the new Profile you select uses a different protocol than that which was previously

selected, a pop-up will appear asking you to reboot Matrix. Press OK. If you have more
layers to set up, you can select the Profiles on all of them before rebooting. Once you have
selected all the Profiles required for now, switch the console off and on again.

Layer buttons, located in the middle of the DAW tab towards the top, select the

Note that once the protocol has been changed, the soft key assignments are locked out until the reboot is performed.

Please refer to Chapter 6 for more on DAW layers.

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Matrix Owner’s Manual

Chapter 1 - Setup

ipMIDI Configuration

The ipMIDI driver enables your DAW to send and receive MIDI control data via the network connection, and must be configured
to match the requirements of Matrix before it can be used.

Mac

Once the driver has been installed and you have logged back in, use the Finder to navigate to the Utilities folder (in

Applications). Double-click Audio MIDI Setup, select MIDI Devices and double-click on the ipMIDI icon. Set the number

of MIDI ports to 9 in the resulting pop-up.

Windows

Once the computer has restarted after installing the driver, right-click on the ipMIDI icon in the Task Bar, select ipMidi -

MIDI over Ethernet and set the number of MIDI ports to 9 in the resulting pop-up.

MIDI Port Mapping

MIDI control for the four Matrix Layers is split across the
nine ipMIDI ports which means that your DAW must be
configured to match the table here.

Note that CC (‘Continuous Controller’) Layers only use
the first MIDI port in their layer. All CC data is sent on
MIDI Channel 1.

Matrix DAW Layer Matrix Channels ipMIDI port

1

2

3

4

Automation

1 to 8 1

9 to 16 2

1 to 8 3

9 to 16 4

1 to 8 5

9 to 16 6

1 to 8 7

9 to 16 8

1 to 16 9

MIDI Port 9 is concerned with automation, not layer configuration. Use of this port is described fully on Page 45.

Setting which ipMIDI ports the DAW should use is performed using the MIDI controller configuration page of your DAW. Below
and overleaf are two examples using Pro Tools and Logic Pro.

Pro Tools

‰ In the Setup menu, click on Peripherals and

select the MIDI Controllers tab.

‰ For MIDI controllers 1 and 2, select ‘HUI’ as the

MIDI controller ‘Type’ and assign the MIDI ports
for this layer’s DAW to the two MIDI controllers,
as listed in the table above.

As an example, if Pro Tools has been assigned to
Layer 1 (so using ipMIDI ports 1 & 2), the

Controllers tab should look as opposite.

Please note, if using Pro Tools on Windows, ensure you are running Pro Tools as an Administrator. Not doing this can
result in one way HUI communication!

MIDI

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Chapter 1 - Setup

Logic Pro

he DAW protocol used by Logic Pro is the Mackie Control Unit (MCU) protocol. Therefore when a Logic Profile is assigned

T
to a Matrix DAW layer, in order for Matrix to control Logic, a Mackie Control together with a Mackie Control Extender must
be added to Logic Pro. Click on

oth the Mackie Control and Mackie Control

B
Extender provide just eight faders. Therefore Matrix
faders 1-8 are mapped to the Mackie Control ports
along with the master fader and DAW Control
function switches whilst faders 9-16 are mapped to
the Mackie Control Extender ports. The actual
ipMIDI ports used will depend on which layer (or
layers) have a Logic Profile assigned. (Refer to the
previous page for a list of Matrix’s MIDI port
assignments.)

The screenshot opposite gives an example of Logic
having been setup on DAW 2 layer. The Mackie
Control has its Input and Output ports set to 3 and
the Mackie Control Extender has its Input and Output
ports set to 4.

Preferences then Control Surfaces Setup to access the menu shown below.

It is recommended that you delete any Mackie
controllers automatically created on set-up, and
recreate them manually. Note that if the physical
arrangement is reversed, then the Matrix faders will
not map correctly to the on-screen faders in Logic.

If Logic is the only DAW connected to Matrix, then
provided that there is only one DAW Layer set up
with an MCU based Profile, Logic should automatically
detect the two virtual controllers which will be shown in the Logic
appropriate Matrix ipMIDI ports assigned. If Logic fails to detect the control surfaces, then the controllers can be added manually
via the New, Install menu and the appropriate MIDI Out port and Input assigned. Full details can be found in the online Logic
Pro Control Surfaces Support Guide in the Logic Help menu.

If Matrix is set up with multiple MCU profiles in the DAW layers, then the automatic detection option must be disabled and the
controllers added and configured manually. Check the
below the Edit Profiles button) for all the DAW layers assigned to a MCU Profile prior to starting the Logic application. This
will prevent Logic automatically detecting multiple Mackie Control Units.

For other DAWs, please refer to the relevant User Guide for details about configuring MIDI controllers.

See Chapter 6 for a description of the Remote’s DAW tab.

Disable Handshake box in the DAW tab in Matrix Remote (located

Control Surfaces Setup menu (as shown above), with the

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Chapter 2 –

The aim of this chapter is to familiarise you with the basics of operating your Matrix. We will restrict ourselves to simple
operations and leave more complex elements to the following chapters. You may find it helpful to complete the whole tutorial
before exploring the references to more detailed parts of the manual.

Getting Started

Important Concepts

Before we get going, there are a couple of important operating principles which need to be explained:

The Master Channel

While many of the channel’s controls are located in the physical channel strip, a number
are instead found in the Master Channel (shown right) located in the top left-hand
corner of the desk’s centre section. The Master Channel gives you access to additional
channel strip controls for whichever channel strip is assigned to it using the upper SEL
button, located above the numeric display, in the middle of the channel (shown left).

Note: There is a second SEL button in the channel, located a little lower on the channel
strip, just above the fader. This button is associated with DAW control, not assigning
the Master Channel. The DAW SEL button is examined on Page 67.

Multiple channel strips can be assigned to the Master Channel. See Page 30 for details.

Focus Modes

Matrix combines two distinct modes of operation in one control surface, providing control of both the
analogue signals and the DAW functions associated with the modern recording environment. In order
to accomplish this within a compact space, the console can operate in two ‘Focus’ modes, focusing on
either the analogue or DAW control functions. These modes are simply called Analogue Focus and DAW
Focus.

Focus modes primarily affect the channel faders and their CUT and SOLO buttons which control the
analogue signal when in Analogue Focus mode, but send control messages to the DAW when in DAW
Focus mode. Focus modes also affect the channel meters which normally meter the analogue signal in
Analogue Focus mode but replicate the DAW track metering in DAW Focus mode.

Matrix’s mode is selected and indicated by the large Focus button, located directly underneath the Master
Channel, on the left of the centre section (at the bottom of the graphic on the right). Pressing this button
swaps between Focus modes. It is lit to indicate Analogue Focus, and unlit to indicate DAW Focus.

Note: It is important to distinguish between DAW Focus mode (where the desk’s channels control the
tracks within the DAW) and DAW input selection within Analogue Focus mode (where the desk’s channels
control the analogue signal returning from the DAW).

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Chapter 2 - Getting Started

Preparing for the tutorial

This tutorial assumes that you have followed the instructions in Chapter 1 (Installation and Setup), and have therefore installed
and configured the Matrix Remote and ipMIDI software, set up at least one DAW layer, and made at least the following
connections:

- One channel input (‘line in’), output (‘channel out’) and DAW return (the tutorial refers to Channel 16, but any will do).

One insert (‘device’) send and return (the tutorial refers to Insert 1, but any will do).

-

One FX send with stereo return (the tutorial refers to FX3, but any will do).

-

- Your main monitors and engineer’s headphones.

You will also need to create a session in your DAW with at least one audio track with its input and output assigned to the
channel you are using for this tutorial. Name this channel

Each step of this tutorial also presumes that your Matrix is in the state it would be if all the previous steps had been accurately
followed, and that no other buttons have been pressed in the process. If the desk doesn’t respond in the way described, please
review the previous steps as well as these preparatory instructions.

For the purposes of this tutorial, we suggest you find a fairly constant audio source, such as a CD player, for the channel input.
The tutorial will presume that you are using channel 16, simply because it is close to the centre section. If your setup requires
you to use a different channel, then that will work equally well. We also suggest that you create some obvious signal processing
for both the insert (an EQ with extreme settings, for example), and the FX send (a huge reverb, for example). Once again, we
will presume you have connected up DEVICE SEND and RETURN 1 and FX 3 (returning on Stereo Return 3), but if your setup
requires you to use different connections, then that will work equally well.

Test.

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Chapter 2 - Getting Started

STEP 1:

In this step, we will simply learn how to bring signal into the channel from the D-connectors on the Matrix back panel.

First, ensure that the desk is in Analogue Focus mode, not DAW Focus mode, by checking that the Focus

‰

button (shown right) is lit.

Press the upper

‰

now assigned to channel 16.

ote: There is a second SELbutton in the channel, located a little lower on the channel strip, just above the fader. This

N
button is associated with DAW control, not assigning the Master Channel. The DAW SEL button is examined on Page 67.

‰ Find the INPUT FLIP button at the top of the Master Channel. This button determines which of the two channel inputs is

feeding the channel: the main (line-in) input, or the DAW return. Make sure the button is lit green, indicating that the main
input is selected. If it is red, indicating that the DAW return is selected, press it to select the main input.

In the channel strip, the LEDs to the right of the grey gain pot labelled CHIP (at the top of the channel) also
indicate the input selection: INPUT or DAW.

‰ Use the gain pot to adjust the gain of the input. Your CD signal should now be shown in the meter above

‰ Lift the channel fader to 0dB and check that neither the SOLO nor CUT buttons above the fader are lit.

ey on Channel 16. It will light to indicate that it is selected. The Master Channel is

SELk

the channel strip, and you can use this to adjust its level.

We will examine these controls in Step 7.

Bringing Signal into the Channel

Note: You won’t hear your signal until Step 3.

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Chapter 2 - Getting Started

STEP 2:

Having brought signal into the channel, we will now learn how to bring it out again. We will cover more of the channel output
options in Steps 4 and 7.

‰ Press the REC button in the BUS area towards the bottom of the Master Channel.

This routes the signal to the record bus. The button will light red to indicate that
this routing is active. Your CD signal should now be shown in the REC meter, to
the right of the VU’s above the centre section.

‰ Adjust the level of the record bus using the grey gain pot in the main REC bus controls, located in the top-

right of the centre section (shown left).

There are two ways to route the signal to both record and mix busses:

Firstly we will route just this channel to both busses:

‰ Press the MIX button, below the REC button in the Master Channel. It will light yellow to indicate that this routing is active.

Your CD signal should now be shown in the MIX meter, to the right of the VU’s above the centre section.

Secondly, we will route the whole record bus to the mix bus:

Routing to the Main Busses

‰ So as not to double the routing, deselect the mix bus routing from the channel by pressing MIX again.

‰ In the REC area of the centre section, press the TO MIX button. The LED next to it will light to indicate that this routing

is active.

The mix bus level is adjusted in two places:

‰ Lift the master fader, to the right of the channel faders, to 0dB.

‰ Turn the gain pot in the main MIX bus controls, located to the left of the REC bus controls. In order to

distinguish the mix bus from the record bus in the following step, leave the mix bus level about 20dB lower
than the record bus level.

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Chapter 2 - Getting Started

STEP 3:

Hearing your Signal

In this step we will set some basic monitoring using the MAIN MONITORING area of the centre section, to the right of the
Master Channel.

‰ Check that the large blue pot marked MONITOR LEVEL is not turned up too high and that you

have switched on your main monitors!

‰ Press the REC button, to the right of the large pot. It will light red to indicate that you have

selected the record bus for monitoring. Your CD signal should now be shown in the MON meter,
to the right of the VU’s above the centre section.

‰ Turn the monitor volume up using the

MONITOR LEVEL pot until you can hear your CD.

‰ If you can’t hear anything, check that the DIM and CUT buttons beneath the monitor volume are

unlit, indicating that the mix is neither dimmed nor cut.

‰ If you still can’t hear anything, press the SOLO CLEAR button in the top right of the monitoring

area. This clears any solos that might have been activated.

‰ If there’s still no sound, check your connections and go back to Step 1!

‰ Still in the MAIN MONITORING area, press the MIX button, located below the REC button in the monitoring section.

The REC button’s light will go out and the MIX button will light yellow to indicate that you have switched to monitoring
the mix bus. Because you have set the mix bus level lower than the record bus, this action should cause the monitoring
volume to drop. You may want to increase the mix bus gain now, so that you can hear the mix bus clearly for the rest of the
tutorial.

‰ Press the DIM button below the main volume. This makes the monitoring immediately quieter, and the button lights to

indicate that it is active.

‰ Adjust the middle of the three smaller grey pots, marked DIM to define how much difference this button makes.

‰ Press the DIM button again to cancel it.

‰ Now press the CUT button. This makes the monitoring immediately silent, and the button lights to indicate that it is active.

Press the CUT button again to cancel it.

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Chapter 2 - Getting Started

STEP 4:

Sending to the Auxiliary Sends

Matrix has six auxiliary sends, the first two forming the Stereo Cue (CUE ST) send (which you will probably use for monitoring
for musicians) and the remaining four labelled FX 1-4 (which you will probably use for feeding global effects such as reverb units).

‰ Check that the gain pots for the overall bus levels, located in the top right corner of the centre section (FX1

is shown right), are all set to 0dB, with the white line pointing towards the meters. This will allow you to
see what happens in the meters when you turn the pots in the channel.

The first two pots beneath the CHOP are the pan and gain trim for the CUE ST, which we
will cover in Step 8. The stereo cue functions similarly to the FX sends which we will
concentrate on here: The two pots below the stereo cue are the gain trim for the FX busses. FX1 and 3 share
a pot, as do FX 2 and 4.

‰ Press the upper gain pot, labelled FX1/3, to switch on FX1. The LED below it and to the right will light to

indicate that it is on.

‰ Use the pot to adjust the gain, using the FX1 meter to the right of the VU’s as a reference.

‰ In the Master Channel, press the button marked FX3. This swaps the FX1/3 gain pot from controlling the

FX1 send level to controlling the FX3 send level. The FX3 button will light to indicate that this swap has

been made, as will the FX3 LED to the right of the FX1/3 pot. Notice that the FX1 meter has gone blank
and the FX3 meter now reflects the CD player. The settings you created for the FX1 send transfer
automatically to the FX3 send.

FX busses 2 and 4 work in exactly the same way as FX busses 1 and 3, using the next gain pot down.

Once you have sent signal to the aux busses, you need to set the overall output level of the bus. Each aux bus
has its own control area, and you have already looked there to check that they are turned up sufficiently. For
this tutorial, we will use FX3, as well as ST RET 3 (Stereo Return 3, shown right).

‰ In the FX3 area in the very corner of the centre section, turn the gain pot to adjust the output signal level.

‰ Press the AFL button in the FX3 area to listen to the FX3 bus send. Press it again to return to normal

monitoring.

‰ In the ST RET 3 area, located below FX sends 1 and 2, press MIX to send the returning signal to the mix

bus. You should now hear the processing you created added to the clean CD signal in the monitoring.

‰ Press the AFL button below the ST RET 3 gain trim to listen to the signal on its own.

‰ Adjust the level of the return using the gain trim, and the left-right balance using the pot above the gain trim.

‰ Press the

MONO button above the balance control. This reduces the stereo return to mono. The balance

pot will now be a pan pot. Press the MONO button again to restore the return to stereo again.

‰ Press the AFL button again to return to normal monitoring.

For more information on auxiliary sends, including altering the point in the channel which feeds them, see Page 35.

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Chapter 2 - Getting Started

STEP 5:

In this step in the tutorial we are going to concentrate on global control of the DAW, leaving in-channel controls to Step 6.

ote that the DAW control elements of Matrix function within the protocol of the DAW being controlled, as described in

N
Chapter 1. Please refer to your DAW

‰ Find the DAW LAYER SELECT buttons, located in the centre section, below

he digital scribble strip, and select the layer on which you have configured

t
your DAW. The selected button lights to indicate that it is active. Layer 1 is
active when none of the buttons are lit. If you wish to use Layer 1 and another
layer is selected, press the lit button to return to Layer 1.

‰ Find the main Matrix transport controls, located at the bottom of the centre

section. Above the main transport controls you will find two rows of five
buttons. These give you access to some of the more complex DAW controls.
If you operate any of the transport controls you will notice that they now
control the transport of your DAW.

Note that the DAW track names that appear in the Matrix channels refer to the tracks within the DAW that the Matrix
channel is controlling, not an analogue signal being fed from the DAW return. The control of a DAW track may appear
in a different Matrix channel from the analogue signal fed out from that DAW track, whose channel is fixed.

Note: The ARTIST button is concerned with talkback, not transport control,
so you can ignore it for now.

‰ Press the Focus button, located immediately below the Master Channel in the centre section. It should

now be unlit, indicating that you are now in DAW Focus mode. The console is now focussed on controlling
the signals inside the DAW rather than the analogue signals coming through the desk. You will notice that
any channel names you have created in the DAW now appear in the digital scribble strip that runs through
the middle of the desk, possibly in a shortened form.

Global Control of your DAW

ontrol surface

c

documentation for more details.

‰ Above and to the left of the transport controls, you will find the BANK and

CHANNEL keys. These buttons scroll the DAW tracks through the Matrix

channels. BANK scrolls the tracks 16 at a time, whereas CHANNEL scrolls
them one at a time. These buttons allow the 16 Matrix channels to control more than 16 DAW tracks. Make sure that you
leave the DAW track which is being fed from Channel Out 16 (which you named Test) in one of the channel strips (not
necessarily channel 16).

‰ To the right of the transport controls is a large black wheel with nine buttons above it. Ensure that

the cursor key
flashing, press it until it is unlit. Also ensure that no Wheel Mode switches are lit. If one is, press
the lit button to deselect it.

Refer to your DAW control surface documentation to determine the default function of the Scroll Wheel

‰

and Cursor keys. Note that when controlling Pro Tools the Jog Wheel will scroll the timeline forwards and
backwards – this is not a normal Pro Tools function

In this tutorial we are only skimming the surface of the control capabilities of Matrix. See Chapters 5
and 6 for more details of more advanced DAW control functions.

MODE button (towards the top, surrounded by arrow keys) is unlit. If it is lit or

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STEP 6:

In this step we will turn our attention to control of the DAW track.

Still on the Matrix console, press the CUTbutton in the channel controlling the Testtrack, located above

‰

the channel fader. You will notice that the
button will light. Press the CUT button again to deactivate it.

‰ Press the SOLO button in the channel controlling the Test track, located below the CUT button. You will

notice that the Test track will solo in the DAW. On Matrix, the channel SOLO button will light and the

CUT buttons in all the other channels will flash.

Channel Control of your DAW

Test track will cut in the DAW. On Matrix, the channel CUT

Notice that the
selected in the DAW.

‰ Press the SOLO button again to deactivate it.

‰ Move the fader at the bottom of the Matrix channel. You will notice that the DAW’s Test track fader is moving.

‰ Find the SEL KEY area of the centre section, located below the DAW LAYER

SELECT buttons. These buttons define the function of the lower SEL key

which is concerned with DAW control.

Note that the SEL KEY modes have nothing to do with the upper, analogue SEL key.

‰ Ensure that all the SEL KEY buttons are unlit, indicating that the lower SEL keys are in default mode. If any buttons are lit,

press them to return to default mode.

In default mode, the lower SEL keys function as DAW track selectors:

‰ Press the SEL key in the channel controlling the Test track. You will notice that you have selected the Test track in the

DAW.

‰ Press the left hand SEL KEY button marked REC ARM and press the SEL key in the channel controlling the Test track

again. You will notice that this time you have record-armed the Test track in the DAW. Leave the track record-readied.

See Chapter 5 for details of other in-channel DAW control functions.

SOLO LED below the monitoring section is flashing, indicating that there is a solo button

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