Ssl Matrix Owner's Manual

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Matrix Owner’s Manual

www.solid-state-logic.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 • +44 (0)1865 842300

320 West 46th Street, 2nd Floor, New York, NY 10036, USA • +1 (1) 212 315 1111

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Via Timavo 34, 20124 Milano, Italy • +39 (0)39 2328 094

Visit SSL at URL: http://www.solid-state-logic.com

AWS 900, AWS 900+, 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

June 2008 – 1st Release: 82S6MT060A

July 2008 – Corrected network connections

November 2008 – Amended network & USB cable lengths

Introduction

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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 900+ 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

CCoonntteenntts

IInnttrroodduuccttiioon

CCoonntteenntts

AAbboouutt TThhiiss MMaannuuaal

WWhhaatt EEllssee YYoouu WWiillll nneeeed

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Audio Connections 3 Data Connections 4 Configuration of Data Connections 5 Connecting Matrix for use with Multiple Computers 8

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

III

VVI

CChhaapptteerr 22 –– GGeettttiinngg SSttaarrtteed

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The Master Channel 15 Focus Modes 15

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SSTTEEPP 33::HHeeaarriinngg yyoouurr SSiiggnnaal

SSTTEEPP 44::SSeennddiinngg ttoo tthhee AAuuxxiilliiaarryy SSeenndds

SSTTEEPP 55::GGlloobbaall CCoonnttrrooll ooff yyoouurr DDAAW

SSTTEEPP 66::CChhaannnneell CCoonnttrrooll ooff yyoouurr DDAAW

SSTTEEPP 77::SSeennddiinngg SSiiggnnaall ffrroomm tthhee CChhaannnneell DDiirreecctt OOuuttppuutt223

SSTTEEPP 88::SSeettttiinngg uupp AArrttiisstt aanndd CCoonnttrrooll RRoooomm HHeeaaddpphhoonneess224

SSTTEEPP 99::LLiisstteenniinngg BBaacckk ttoo tthhee DDAAW

SSTTEEPP 1100::SSeelleeccttiinngg aa TTiittlle

SSTTEEPP 1111::IInnsseerrttiinngg SSiiggnnaall PPrroocceessssiinngg iinnttoo tthhee CChhaannnneel

115

116

117

118

119

220

221

222

225

226

227

Matrix Owner’s Manual

Contents

CChhaapptteerr 33 –– AAnnaalloogguuee SSiiggnnaall FFlloow

IInnttrroodduuccttiioonn ttoo FFooccuuss MMooddees

OOppeerraattiinngg PPrriinncciippllees

The Master Channel Strip 30

he Digital Scribble Strip 31

T Total Recall LEDs 31

TThhee CChhaannnneell SSttrriip

Channel Inputs 32 Channel Outputs 32 Auxiliary Sends 34

TThhee CCeennttrree SSeeccttiioon

Master Bus Controls 36 Monitoring 38 Talkback 39 Metering 40

SSSSLL SSoofftt KKeeyys

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

229

332

336

441

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IInnttrroodduuccttiioonn ttoo tthhee MMaattrriixx RReemmootte

TThhee PPrroojjeeccttss TTaab

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

TThhee TToottaall RReeccaallll TTaab

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

TThhee IInnsseerrtt MMaattrriixx TTaabb

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

445

447

448

553

559

Matrix Owner’s Manual

III

Contents

CChhaapptteerr 55 –– DDAAWW CCoonnttrrool

IInnttrroodduuccttiioon

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SSoofftt KKeeyy OOvveerrvviieew

Matrix Console Layer Selection 63

he Digital Scribble Strip 65

T V-Pot Modes 66 SEL Key Modes 67

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

663

664

665

669

770

771

Matrix Owner’s Manual

Contents

CChhaapptteerr 66 –– DDAAWW aanndd CCCC CCoonnffiigguurraattiioon

Matrix Console Layer Selection 79

atrix Remote Layer Selection 79

AAssssiiggnniinngg DDAAWW LLaayyeerrs

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

SSoofftt KKeeyys

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

779

880

883

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CC Snapshots 92 The Digital Scribble Strip 92

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AAppppeennddiixx GG –– MMaaiinntteennaanncce

991

995

999

11003

11005

11007

11009

11113

Matrix Owner’s Manual

About This Manual

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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

b 3 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 bold, 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 will not work in all .pdf viewers. They do work in Acrobat Reader, which is available from

www.adobe.com.

WWhhaatt EEllssee YYoouu WWiillll nneeeed

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 (see Page 8).

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 25-way DConnectors.

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.

Matrix Owner’s Manual

Chapter 1 - Setup

CChhaapptteerr 11 ––

his chapter covers everything involved in setting up Matrix. If you have not already done so, please refer to the separate printed

T 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

tandard configuration:

Installation and Setup

Matrix Owner’s Manual

EVICE SEND 1-8

DEVICE RETURN 1-8

EVICE SEND 9-16

DEVICE RETURN 9-16

INE IN 1-8

DAW RETURN 1-8

CHANNEL OUT 1-8CHANNEL OUT 9-16

INE IN 9-16

DAW RETURN 9-16

PUSH

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

N - AES - OUT

IN - SPDIF - OUT

+18dB +

24dB

RIGHT LEFT

GAIN

T/HOLD

TB MICVU

Chapter 1 - Setup

MMaattrriixx RReeaarr PPaanneell CCoonnnneeccttiioonns

Audio Input/output

channels 9–16

Power Input

Audio Input/output

channels 1–8

Master Section I/O

0dBfs

switch

Meter

trim

Foot-

switch

Master

I/O

X-Rack

I/F

TB Mic

USB

Mini LS Master

trim

SD memory card

slot

Unused

Ethernet

I/O

Optical and AES

Digital I/O

Matrix Owner’s Manual

Chapter 1 - Setup

PPlluuggggiinngg UUpp YYoouurr MMaattrriix

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

AAuuddiioo CCoonnnneeccttiioonns

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

* Mini LS outputs are duplicated on the D25 and XLR connectors. Speaker outputs are at line level, requiring external amplification.

Record, Mix and Follow Monitor main outputs

Cue Stereo and Effects sends 1–4 outputs

(L,R)

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 176.4kHz. If no digital input is detected, the output sample rate will default to 44.1kHz. 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

Chapter 1 - Setup

iJack and Headphones

The iJack and headphone sockets are located to the right of

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

Headphones: Stereo 1/4" jack Headphone connection

the transport control panel

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

DDaattaa CCoonnnneeccttiioonns

Both Network and USB connections must be made between Matrix and the computer. For systems including multiple computers, see Page 8.

Network

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

to connect to a separate ‘Network’ port on the workstation computer.

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. This information can be routed to a Mac or PC and used to control a DAW via its supported keyboard shortcuts, supplementing the existing MIDI DAW control offered on Matrix.

Defining QWERTY Keyboard Nationality (Macintosh)

® Matrix emulates a UK keyboard. When Matrix is first connected to a Macintosh, 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.

MMiisscc

IP Network

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

Network connection

KKeeyybbIIDD

. Pressing this key will send

Ethernet 1

Ethernet 2

USB

Workstation Computer

USB connection

Network

USB

Matrix Console

Matrix Owner’s Manual

Foot Switch Inputs

Chapter 1 - Setup

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.

CCoonnffiigguurraattiioonn ooff DDaattaa CCoonnnneeccttiioonns

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 is used by the Matrix Remote application. Note that it may be necessary to use a separate Ethernet switch in place of the 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

IIPP

By default, Matrix uses a fixed IP address of

(see Page 44). The currently assigned address is shown in the scribble strip. If Matrix is connected to the computer via a network switch or router, it should be assigned a

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

192.168.1.2

DDHHCCPP

IP address, otherwise the

. A dynamic (DHCP) address, can be assigned via the

FFiixxeedd

option should be used.

SSL soft keys

Matrix Owner’s Manual

Chapter 1 - Setup

Alternative fixed IP addresses can be set using the console diagnostic port. You will need a PC or Mac running terminal emulator software. Connect the PC serial port to the rear of the console using a 9 way ‘D’ type extension cable (male to female) – see the

-Rack/Diag table in Appendix C for the pin out.

® Set the terminal as follows: Baud rate 19200

8 data bits No parity

o start bit

N 1 stop bit Flow control Xon/Xoff

<CR>

® Press the ‘Return’ key (

type the following:

ip <CR>

setip nnn nnn nnn nnn <CR>

setmask nnn nnn nnn nnn <CR>

setgate nnn nnn nnn nnn <CR>

usefixed <CR>

) and the terminal window should echo a ‘>’ if communication is established. To fix the IP address

where ‘

where ‘ this should match other devices local to the console.

where ‘

nnn...

’ is the IP address, e.g. ‘

nnn...

’ is the subnet mask, e.g. ‘

nnn...

’ is the gateway address e.g. ‘

10 1 1 1 10

255 255 255 0

10 1 1 1

’.

’. Note that

’

Direct Network Connection Configuration (Macintosh)

® Connect your Matrix to the computer using the network cable provided, and check that the IP address is set to

IIPP

the

® Open the Network control panel in System Preferences, and create a new Location (called Matrix in the examples

shown below). Note that Ethernet Port 1 can also be used.

® Next select the Ethernet port to which you have connected Matrix and configure as shown below:

SSL soft keys (See Page 44).

FFiixxeedd

Matrix Owner’s Manual

Chapter 1 - Setup

® If you have multiple network adaptors then select the Network Port Configuration pane in the Network control panel

and drag the Ethernet port connected to Matrix to the top of the list. This will ensure that data is transmitted out of the correct port. Note that currently OS X does not currently allow two ports to be used for IP traffic, so the connection to your main network will not be available while Matrix is connected.

® Finally, launch the Matrix Remote program and check it connects to your Matrix, as described on the following pages.

Matrix Owner’s Manual

Chapter 1 - Setup

CCoonnnneeccttiinngg MMaattrriixx ffoorr uussee wwiitthh MMuullttiippllee CCoommppuutteerrs

Network

To connect Matrix to multiple computers, you will need to connect the Matrix and all the computers via a network switch or router with sufficient bandwidth to cope with the volume of data which is transferred to and from Matrix. It is essential that you take note of the configuration issues described on Page 5.

Note that, when connected to a LAN via a router or switch, Matrix should normally be assigned a DHCP IP address. See Page 5 for details.

USB

A USB KVM switch will be necessary for switching the USB connection between computers, as detailed on Page 90. A hub can also be used to enable your QWERTY keyboard to be switched along with the Matrix console when you change DAW layers.

IP Network

Firewall (option)

Switch/Router

Network

USB

Network

USB

NetworkUSB

USB switch

USB hub

Matrix Console

Matrix Owner’s Manual

Chapter 1 - Setup

SSooffttwwaarree IInnssttaallllaattiioonn aanndd CCoonnffiigguurraattiioon

On the disk which came with Matrix you will find two programs to install. Install the program called Matrix Remote 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.

SSyysstteemm RReeqquuiirreemmeennttss:

Matrix Remote is a Java application. It will run under Java Version 5 or higher. PC users can download the latest version from

www.java.com

ipMIDI is compatible with Windows 2000 (maximum 9 MIDI ports), XP and Vista and Macintosh OSX 10.4 and OSX 10.5.

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.solid-state-logic.com/support/consoles/matrix/downloads.asp

SSooffttwwaarree IInnssttaallllaattiioonn ((MMaacciinnttoosshh)

)

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

® 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 18 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: </Library/Audio/MIDI Drivers/ipMIDIDriver.bundle>. You should empty the Trash after deleting the .bundle file before running the installer.

SSooffttwwaarree IInnssttaallllaattiioonn ((PPCC)

)

Matrix Remote

® Copy the Matrix Remote.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_1.5.1.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 18 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

Chapter 1 - Setup

MMaattrriixx RReemmoottee CCoonnffiigguurraattiioon

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

Status field:

Matrix Owner’s Manual

Chapter 1 - Setup

DDAAWW LLaayyeerr CCoonnffiigguurraattiioon

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.

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

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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Chapter 1 - Setup

iippMMIIDDII CCoonnffiigguurraattiioon

Matrix has 20 MIDI ports which are pre-assigned as follows:

Port Layer Assignment

1 21Receive 1-8 31Send 9-16 41Receive 9-16 52Send 1-8 6 2 Receive 1-8 72Send 9-16 82Receive 9-16

If you have not already done so, please install the ipMIDI software before continuing. This software enables your DAW to send and receive MIDI control data via the network connection, and must be configured to match the appropriate layer in the list above. This is done using the MIDI Controller configuration page of your DAW. Below are two examples using Pro Tools 7 and Logic Pro 8:

1 Send 1-8

Note: The above list is from the perspective of Matrix, and the send and receive ports will therefore be reversed from the point of view of the DAW. Port 18 is concerned with automation, not layer configuration. It is described on Page 45.

Port Layer Assignment

9 10 3 Receive 1-8 11 3 Send 9-16 12 3 Receive 9-16 13 4 Send 1-8 14 4 Receive 1-8 15 4 Send 9-16 16 4 Receive 9-16

3 Send 1-8

Port Layer Assignment

7 - Unassigned

1 18 - Automation Return 19 - Unassigned 20 - Unassigned

Pro Tools 7

® In the Setup menu, click on Peripherals and select the MIDI Controllers tab.

® Using 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. If Pro Tools has been assigned to Layer 1, the MIDI Controllers window should look like this:

Note that CC layers only use the first send MIDI port in their layer, and do not require either receive ports. All CC data is sent on MIDI Channel 1.

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Chapter 1 - Setup

Logic Pro 8

When a Logic profile is assigned 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 the Logic Pro Preferences/Control Surfaces Setup menu as shown below:

Matrix Faders 1- 8 are mapped to the Mackie Control ports along with the Master Fader and DAW Control function switches. Matrix Faders 9 -16 are mapped to the Mackie Control Extender ports. The actual ipMIDI ports used will depend on which layer (or layers) have Logic profile(s) assigned. (See Page 13 for a list of Matrix’s MIDI port assignments.)

It is essential that the layout shown above is followed. 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 Setup menu (as shown above), with the 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 8 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 Disable Handshake box in the DAW tab in Matrix Remote (located below the Edit Profiles button) for all the DAW layers assigned to a MCU Profile prior to opening the Logic application. This will prevent Logic automatically detecting multiple Mackie Control Units.

For other DAWs, please refer to the program’s manual for details about configuring MIDI controllers.

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

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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.

IImmppoorrttaanntt CCoonncceepptts

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

TThhee MMaasstteerr CChhaannnneel

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).

Getting Started

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.

FFooccuuss MMooddees

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

PPrreeppaarriinngg ffoorr tthhee ttuuttoorriiaal

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 Test.

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.

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

now assigned to channel 16.

ote: There is a second SEL button 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

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

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

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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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.

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:

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

® 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).

Routing to the Main Busses

® 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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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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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.

Sending to the Auxiliary Sends

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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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.

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.

® 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.

Global Control of your DAW

control surface

® 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.

documentation for more details.

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

® 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

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

necessarily channel 16).

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

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

® 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.

Still on the Matrix console, press the CUT button in the channel controlling the Test track, located above

the channel fader. You will notice that the Test track will cut in the DAW. On Matrix, the channel CUT 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.

Notice that the SOLO LED below the monitoring section is flashing, indicating that there is a solo button selected in the DAW.

Channel Control of your DAW

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.

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Sending Signal from the Channel Direct Output

Now that we can hear the signal and can control the DAW, we will return to examining the channel. In Step 2 we lifted the channel fader, which defines the signal level with which the channel is feeding the main busses, so the channel is already sending signal.

® Press the Focus button again. It should now be lit, indicating that you have returned to Analogue Focus mode.

Turn channel 16’s pan pot, located a little way above the upper SEL key, at the top of the

graphic shown left, to pan the signal between the left and right speakers. The impact will be both audible and visible in the bus meters to the right of the VU’s.

® Operate the CUT and SOLO buttons below the digital scribble strip. Now that we are in Analogue Focus

mode, these buttons mute and solo the signal in the channel, and the buttons light to indicate that they are active.

Notice that when the SOLO button is pressed, both the SOLO symbol above the VU meters and the SOLO

CLEAR button in the top right of the main monitoring area are lit, indicating that there is a SOLO or AFL

button selected somewhere on the desk. You will have noticed that the analogue and DAW solo functions have separate centre section solo indicators.

® Leave the channel with neither the CUT nor SOLO lights lit.

® You can press the SOLO CLEAR button to cancel the solo.

See Page 42 for descriptions of more advanced configuration of the desk’s solo feature.

The channels also feed their own individual outputs, labelled CHANNEL OUT on the Matrix back panel, which you should have connected to the inputs of your DAW.

® Adjust the channel output gain using the CHOP (channel output) pot, located below the

CHIP pot. As you have left the Test track record-armed, you can use the input metering

in your DAW to meter the signal level you are sending.

Note that you can also meter the CHOP signal within the Matrix. See Page 43.

® Using the transport controls at the bottom of the centre section, record a few seconds of the audio coming

from CHANNEL OUT 16 onto the Test track. Once finished recording, leave the track record-armed.

Note that you may not have permission to record more than eight seconds of audio from the CD you are playing.

For information regarding how to alter the point within the channel from which you feed the channel outputs, see Page 32.

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Setting up Artist and Control Room Headphones

You can control the mix your musicians hear from the ARTIST MONITOR area, located to the right of the MAIN MONITOR area, shown below.

You can listen to the artist’s mix using the desk’s own headphone output:

® Plug your headphones into the desk’s headphone socket, located in the trim on the right-hand side of

he desk.

® In the HEADPHONE area below the ARTIST MONITOR area, press the FROM ARTIST button.

This routes the artist’s mix, rather than the main monitor mix, to the desk’s headphones and it will light to indicate that this routing has been selected.

® You can adjust the headphone level using the HEADPHONE pot next to the FROM ARTIST button.

We will use the stereo cue bus to create our artist’s headphone mix:

® In channel 16, press the CUE ST gain pot (the lower of the two CUE ST pots) to switch on the send. 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 CUE ST meter to the right of the VU’s as a reference, and pan the signal using the

upper pot.

® In the ARTIST MONITOR area, press the CUE button (the fourth one down on the left-hand side). This selects the CUE

ST output as the send to the artist’s headphones. You will see the other source options available, shown above and below

the CUE button.

® Adjust the artist’s headphone level using the grey gain pot in the lower right-hand corner of the ARTIST MONITOR area.

® Press the button marked EQ, towards the top right, which inserts a 2-band EQ into the artist’s send.

® Adjust the EQ using the HF and LF pots, located above and below the EQ button.

® Press the MONO button to sum the send to mono. Press it again to restore the send to stereo.

You can talk to your musicians using the talkback mic. You can adjust the level of the talkback mic using the TB pot, located above the MAIN MONITOR area (shown right). The talkback mic itself is just below the pot.

® Holding down the ARTIST button, located in the bottom right-hand corner of the centre

section, routes the talkback mic to the artist’s headphones.

Note that you will not hear the talkback mic on the desk headphone output, even though FROM

ARTIST is pressed, as the pick off point is pre level and TB injection.

Note that the main monitoring automatically dims when the talkback button is selected.

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In this step, we will examine the options available for listening to the DAW return.

irst, we need to bring the DAW return into the channel:

® If the Master Channel is no longer assigned to Channel 16, reassign it using the upper SEL button.

® Press the INPUT FLIP button at the top of the Master Channel to switch the channel’s input from

the LINE IN to the DAW RETURN. The button will switch colour from green to red, indicating the

ew input selection, and the LED indication to the right of the CHIP pot will switch from INPUT

n to DAW. The CD signal will also disappear for now.

® In the DAW, loop the audio you have recorded, activate the record punch-in facility and press Play.

The signal you recorded in Step 7 should now appear in Channel 16, and therefore in the monitors.

Next we are going to examine a more advanced way of listening to the DAW which you will find helpful when recording:

® Press the INPUT FLIP button again to return to monitoring the LINE IN.

® Press the DAW MONITOR button beneath it. This enables the TRK button,

located below the channel strip’s pan pot (shown left). Both the Master Channel’s DAW MONITOR button and the channel strip’s TRK button light up to indicate that DAW Monitor mode is active.

Listening Back to the DAW

® Now press Channel 16’s TRK button a few times and you will hear the channel’s monitoring source flipping

between the DAW and the CD. The colour of the TRK button also indicates which monitoring source is selected: green for DAW return and yellow for channel output.

® Now press the AUTO MON button above the DAW MONITOR button. This allows the Play button to control the TRK

button.

® Press Stop and Play a few times. You will notice that when in Play, you can only hear the DAW and when in stop the CD

player comes back.

We will now create an artist’s headphone mix using the SuperCue function which employs the CUE ST to create an advanced drop-in monitoring function: when the transport is in Play, the SuperCue sums the channel send and the DAW return. It then mutes the DAW return when in Record for a drop-in, so that the artist does not hear their own signal delayed by the DAW latency.

® In the CUE ST area of the Master Channel, press the S-CUE button (at the bottom of the above-right graphic) to activate

If you listen to the artist’s headphone send using the engineer’s headphones, you should now hear both the audio coming from the CD player and the looped audio coming from the DAW.

® Press Record to punch in, and you will notice that the DAW return has been muted.

® You will be relieved to know that you can now stop the DAW playback!

the SuperCue monitoring function for Channel 16. It will light green to indicate that it is active.

Note that for the DAW MONITOR and SuperCue functions to switch between corresponding DAW sends and returns, each DAW track output must be set to send to the Matrix channel which is feeding its input. For more details of the DAW

MONITOR and SuperCue functions, see Pages 33 and 34.

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SSTTEEPP 1100:

For the final two steps in this tutorial (This tutorial goes up to eleven...), we will introduce the Projects system which allows you to manage the way in which Matrix is configured for a particular recording, using the Matrix Remote. There are six tabs in the Remote, the first of which (Projects) will be examined in this step, and the fourth of which (Insert Matrix) will be examined

n Step 11. For the Total Recall, Channels and About tabs along with more detail on the Projects and Insert Matrix tabs,

i see Chapter 4, and for the DAW tab see Chapter 6.

Selecting a Title

A Project is simply a folder of recordings which are grouped together on whichever basis you choose, and a Title is a specific recording within that Project. For example, the Titles might refer to different tracks within an album, and the Project might refer to the album as a whole. All settings created within the Total Recall, Channels and Insert Matrix tabs are specific to their Title and therefore different Titles within a Project can have completely different settings. It is therefore essential that whenever you change any of the settings in and of these tabs, you make sure you are editing the correct Title.

The left half of the Projects tab contains the main Projects folder. Matrix comes with one Project, which in turn contains one Title:

® Double-click on the main Projects folder to expand it.

® Double-click on Project 1 to expand the Project.

® Highlight the Title 1 folder which appears and press the Open Title button at the bottom of the screen. This makes Title

1 the Current Title - in other words it becomes the Title under which any configuration within the Total Recall, Channels

and Insert Matrix tabs is stored.

You will notice that Project 1 and Title 1 are listed as the Current Project and Current Title at the top and bottom of the window as well as in the Notes section of the tab, as shown above.

You are now ready to start configuring Matrix for Title 1.

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Inserting Signal Processing into the Channel

Most mixing desks have signal processing available in the channel. You will probably be aware by now that Matrix

doesn’t, as the outboard and DAW signal processing with which Matrix is designed to work would make inchannel processing an unnecessary and costly expense. You can, however, insert your outboard signal processing

nto the channel using the Insert Matrix in the Matrix Remote:

® Press channel 16’s INSERT button, located between the CHIP and CHOP pots, shown left. Depending

on your setup, the monitoring may now fall silent.

On your computer, run the Matrix Remote and select the Insert Matrix tab which is the fourth tab from the left. The middle of the Insert Matrix tab is made up of 16 buttons, referring to channels 1-16 on the desk. By default, Channel 16 has insert 16 assigned to it.

® Press the Channel 16 button and a drop-down menu will appear.

® Select Devices from the menu, and a second drop-down will appear.

® Select Device 1.

The processed signal should now appear on the monitors.

® Press INSERT in the Matrix channel again in order to remove the insert. The unprocessed signal should now return to the

monitors.

For more information regarding the Insert Matrix, including how to name Devices and chain them together, see Page 59.

Congratulations on completing the Tutorial. You should now be ready to explore some of the more advanced functions of Matrix. The rest of this manual will fill in the detail wherever you need it.

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Chapter 3 - Analogue Signal Flow

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n this chapter we will be examining the analogue side of Matrix, focusing on its extensive routing capabilities and

I examining the unique Matrix automation facility. We will also cover the SSL soft keys, which affect both analogue and DAW control domains.

IInnttrroodduuccttiioonn ttoo FFooccuuss MMooddees

atrix combines two distinct modes of operation in one control surface, providing control of both the analogue

M 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 called Analogue Focus and DAW Focus.

It is possible to lock the meters to either the analogue channel or DAW track signals regardless of the console’s Focus mode. This is done via the Meter menu in the SSL soft keys. See Page 43 for more details.

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 (shown right). Pressing this button swaps between Focus modes. It is lit to indicate Analogue Focus, and unlit to indicate DAW Focus.

Analogue Signal Flow

In this chapter, we will be concentrating on Analogue Focus mode, so the Focus button should be lit.

See Page 64 for more on Focus modes.

OOppeerraattiinngg PPrriinncciippllees

The Matrix control surface is divided into two parts: the 16 channel strips make up the left hand side of the console while the ‘Centre Section’ (which houses all the out-of-channel controls, along with the Master Channel (see next page), makes up the right hand side of the console.

The Matrix channel strip (shown left) is split into two sections: the top section, from the channel metering down to the digital scribble strip, controls most of the analogue side of the desk (signal routing and source selection etc), and we will therefore focus our attention there. The lower section of the channel strip, from below the digital scribble strip down, is more focused on DAW control. However, this section includes the CUT and SOLO buttons as well as the fader, all of which function in both analogue and DAW Focus modes.

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In addition to the controls within the physical channel strip, there is another section on Matrix which is used to access channel strip functions. This is the Master Channel strip which appears in the top left-hand corner of the desk’s centre section (shown right). While each line input has a dedicated channel strip, all 16 channels share the Master Channel, its controls accessing the channel strip to which it is assigned.

To assign the Master Channel to a particular channel strip, press the SEL button located at the bottom end of the analogue section of the channel strip in question, just above the numeric display.

Note that the DAW Control section of the fader strip also has a SEL button just above

To assign the Master Channel to multiple channel strips, hold the left-most SEL button

of the main part of your intended selection and then press its right-most SEL button. This assigns both selected channels plus all the channels in between. Pressing the ALL key will select all 16 channels, enabling you to perform global routing or source selection.

When multiple channels are assigned to the Master Channel, the LEDs on the Master Channel will assume the status of the lowest selected channel. Any switching then performed will apply that setting in all selected channels to correspond to the status to which the lowest channel has been switched. For example, if Channels 1 to 5 are assigned to the Master Channel and Channel 1’s CUE ST source is set to INPUT, switching the Master Channel CUE ST source from channel input to POST fader will set all five channels’ CUE ST source to POST fader, regardless of what their status was before the switching.

the scribble strip which cannot be used for selection to the Master Channel. Use of this

SEL button is described on Page 67.

If the SET button above the ALL button in the Master Channel is activated while an array of channels is selected, any switching action on any of the physical channel strips (as opposed to the Master Channel) such as muting a send, will be replicated across all selected channels, even if the channel strip used to trigger the switch is not part of the selected array. Any switching then performed will unify that setting on all selected channels to correspond to the status to which the operated channel has been switched. The SET button will light up to indicate that it is active.

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The digital scribble strip that runs across the centre of the desk consists of two display rows. By default, the top row contains labels associated with the channel faders, and is therefore Focus mode dependent: In Analogue Focus mode it displays the channel names defined in the Channels tab of the Matrix Remote (switching to a momentary display of the fader value in dB when a fader is moved), whereas in DAW Focus mode the top row normally displays the DAW track names.

Similarly, the bottom row of the scribble strip is associated with the V-Pot located beneath the scribble strip (see Page 64). When Matrix is assigned to a layer controlling a DAW, the bottom row of the scribble strip displays either the name or the value of the parameter controlled by the V-Pot. When controlling Pro Tools, the scribble strip only displays the name of the V-Pot. For

AWs controlled via the MCU protocol, please refer to their control surface documentation for full details of their scribble strip

D displays and messages.

See Page 92 for a description of the scribble strip in CC layers.

TToottaall RReeccaallll LLEEDDs

Most of the pots on the Matrix control surface have LEDs positioned immediately to their right. These are Total Recall LEDs and are used for manually resetting the desk controls to a saved snapshot. You will find a full description of their function on Page 53, but for now, all you need to note is that any pot with a Total Recall LED can have its position saved and recalled using the desk’s Total Recall function.

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Each channel on Matrix has two line inputs: The first input would normally be sourced from the

output of a mic preamp, DI box or instrument and is labelled on the back of the desk as ‘LINE

N’. The second input would normally be fed from the output of the DAW and labelled as ‘DAW

Return’.

input that is referred to wherever the INPUT label appears on the desk. To swap inputs to the DAW return,

press the INPUT FLIP button at the top of the Master Channel. The LEDs to the right of the gain pot indicate

which input is selected, as does the colour of the INPUT FLIP button (Green for INPUT, red for DAW). Once you have selected your input, it then has a ±20dB gain trim, indented in the centre at unity gain with a Total Recall LED, and phase reverse (ø) button.

The post-gain channel signal is always available to the Insert Matrix. Pressing the INSERT button brings the return from the Insert Matrix back into the channel, effectively dropping into the signal chain whatever processing is assigned to it from the Insert Matrix (see Page 59).

Note that if you press the INSERT button when nothing has been routed to that channel from the Insert Matrix, the channel strip will be silent beyond the insert point.

CChhaannnneell OOuuttppuutts

The Channel Input (CHIP) is sourced from the line in by default, and it is this

Direct Channel Outputs

The individual Channel Outputs (CHOP), are designed to be used to feed the inputs of a DAW, and appear on

the desk’s rear panel as CHANNEL OUT. The CHOP has a gain trim with an indent in the centre at unity gain,

and a Total Recall LED. It can be fed from three different places: line-in pre-gain (INPUT), pre-fader (post-insert)

or POST-fader, as selected by the SRC button in the CHOP section of the Master Channel. Pre-fader is the

default setting.

The line-out’s source is indicated by the LEDs to the right of the gain pot and by the colour of the SRC button:

SSiiggnnaall SSoouurrcce

Pre-fader, post-insert (default) No LED Unlit From the line-in, pre-gain INPUT is lit Red Post-fader POST is lit Yellow

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REC and MIX Busses

In addition to the CHOP, the channel’s main fader can feed the record and/or mix bus. These are selected using the REC and MIX bus buttons at the bottom of the Master

hannel which light up to indicate the presence of routing. This routing is also indicated

C by the lighting of the REC and MIX symbols at the bottom of the meter section above the channel (shown left). You will notice that throughout the desk, references to the

REC bus are red, references to the MIX bus are yellow, and references to the MON

bus are green.

The signal level being sent to the record and mix busses is controlled by the fader at the bottom of the channel. The channel’s feed to the record and mix busses is panned using the pan pot towards the bottom of the routing section of the channel strip (shown below), which includes a Total Recall LED. The pot is indented in the middle, where the signal is feeding both the left and right busses equally.

DAW Monitor Mode

Both the Master Channel’s DAW MONITOR button and the channel strip’s TRK button light up to indicate that DAW Monitor mode is active. The colour of the TRK button also indicates which monitoring source is selected: green for DAW return and yellow for channel out.

When the DAW MONITOR mode is active, full zero latency drop in and Record monitoring is available via the AUTO MON button above it. AUTO MON allows the desk to take control of the TRK buttons, automatically switching the monitoring source on any channels in DAW MONITOR mode depending on the status of the DAW transport and track record tally:

- When the transport is idle the monitoring source for these channels will be the channel output.

- When the transport is in Play the monitoring source will be the DAW return.

- When the DAW (and the DAW track associated with the channel) is in record, the monitor source flips back to the channel output in conjunction with the SuperCue monitor function (see Page 34).

When INPUT has been selected as the channel source, pressing the

DAW MONITOR button in the Master Channel (shown right) enables the TRK

button, located below the channel strip’s pan pot (shown left) and configures the channel for recording following the classic in-line style of previous generation SSL consoles. The signal received from the input is routed through any processing applied via the Insert Matrix and then to the DAW via the channel output.

Note that for the DAW MONITOR function to switch between corresponding DAW sends and returns, each DAW track output must be sending to the Matrix channel which is feeding its input.

With DAW MONITOR mode active, pressing TRK switches the monitoring source for that channel between the CHANNEL OUT (post-gain) output (the DAW send) and the DAW RTN input (pre-gain).

Note also that in order to use DAW MONITOR mode, the channel input must be set to INPUT, and the CHOP source must not be post-fader.

Cut and Solo

Above the fader, there is a CUT switch which immediately mutes the channel’s output, and a SOLO button which mutes all other channels, leaving that channel as the only signal reaching the monitors.

See Pages 42 and 44 for details of the different solo and cut modes available on Matrix.

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AAuuxxiilliiaarryy SSeenndds

Matrix has six aux sends: one stereo cue and four mono effects (FX) sends.

Stereo Cue Send

The send to the stereo cue bus has a gain trim and pan pot, both of which have Total

ecall LEDs. Pressing the gain pot switches the send on and off. The ON LED below the

R pot will light to indicate that it is on. The pan pot is indented in the middle, where the signal is feeding both the left and right busses equally.

he stereo cue bus can be fed from four places: line-in pre-input-selection, pre-fader (post-insert), post-fader

T or via SuperCue. The first three of these are selected by the SRC button in the CUE ST section of the Master Channel, with pre-fader being the default setting.

The source is indicated by the LEDs between the pan and gain pots, and by the colour of the SRC button:

SSiiggnnaall SSoouurrcce

Pre-fader, post-insert, (default setting) No LED Unlit From the line-in, pre-gain INPUT is lit Red Post-fader POST is lit Yellow SuperCue monitoring (see below) S-CUE S-CUE is Green*

SSuuppeerrCCuue

When CUE is selected as the source in the ARTIST MONITOR area of the centre section (see Page 39), SuperCue can be used to control the artist’s headphone feed to provide full zero latency drop in and record monitoring for the artist. It works in conjunction with the transport controls, summing the channel send and the DAW return when in Play, and automatically muting the DAW return when in Record for a drop-in. The S-CUE button in the Master Channel overrides the source selection made by the SRC button.

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Note that for the SuperCue function to switch between corresponding DAW sends and returns, each DAW track output must be sending to the Matrix channel which is feeding its input.

* Note that you can still cycle through the SRC options when in SuperCue. However, the source selection indicated by the SRC button will not become active until the S-CUE button has been deselected. You will notice that if you cycle through source options while in SuperCue mode, the SRC button colour changes but the LED indication in the channel does not.

3322--TTrraacckk MMiixxddoowwn

When Matrix is being used for mixdown, and the channel is therefore being fed from the DAW return the main channel input (‘LINE IN’) can be used to create an extra input channel, allowing for 32-track mixdowns on one Matrix. This is done by selecting INPUT as the source of the stereo cue, as described above, and then pressing TO MIX within the CUE ST area of the desk’s centre section. FX sends can then be fed from the CUE bus, enabling external processing to be assigned to the INPUT signal rather than DAW return signal, as described below.

Note that when using the CUE ST bus this way, the DAW returns should be fed by those signals requiring routing to the Insert Matrix.

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FX Sends

Matrix has four mono FX sends. Only two FX busses can be fed at any one time by a particular channel, using the two gain pots (which have Total Recall LEDs). By default,

he sends to FX busses 1 and 2 are active. Pressing the FX3 button in the Master

t Channel switches the FX1/3 signal feed from the FX1 bus to the FX3 bus, and this routing is indicated by the FX3 LED to the right of the gain pot being lit. Similarly, pressing the FX4 button in the Master Channel switches the FX2/4 signal feed from the FX2 bus to the FX4 bus, and this routing is indicated by the FX4 LED to the right of

he gain pot being lit.

Pressing the gain pot switches the send on and off. The ON LED below the pot will light to indicate that it is on.

The FX sends are fed post-fader by default, but have two alternative sources: the pre-fader (post-insert) signal and the CUE bus.

Tip: Signal processing can be added to stereo cue sends when they are being used as additional mixdown channels (see previous page) by sourcing the FX busses from the CUE bus.

Tip: When using SuperCue (see previous page), you can avoid sudden loss of the FX sends signal processing in the

ARTIST MONITOR during drop-ins by sourcing the FX busses from the CUE bus.

The source is selected using the SRC button in the FX1/3 and FX2/4 sections of the Master Channel, and is indicated by the LEDs above and to the right of the send gain pot, as well as by the colour of the SRC button:

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Post-fader (default setting) No LED Unlit Pre-fader PRE is lit Green Stereo Cue Send CUE is lit Red

When an FX3 or FX4 bus is pressed, the source selection and gain for that signal feed remain unchanged.

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MMaasstteerr BBuuss CCoonnttrroolls

The master controls for the mix, record, cue and FX busses are found in the top right corner of the Matrix centre section. Each bus has its own gain pot with a Total Recall LED. The gain pots trim the signal by ±24dB and are indented in the centre at unity

ain.

The Mix Bus

The MIX bus has its own dedicated insert circuit which is separate from the channel routing in the Insert Matrix. The INSERT button below the gain trim routes the bus through the MIX INS SEND and RTN connections. By default, the return from the insert will then feed the main bus output. However, the summing

ΣΣ

) button below the INSERT button sums the insert return and the original bus feed together.

(

Note that pressing the INSERT button without anything connected to the MIX INS SEND and RTN will

leave the mix bus silent, unless the

Note also that if the MIX INS SEND and RTN connections are not required for signal processing, pressing

the

button enables the return connections to be used as a direct stereo input to the bus.

button is selected.

The Record Bus

The REC bus has its own dedicated insert circuit which is isolated from the channel routing in the Insert Matrix. The INSERT button below the gain trim routes the bus through the REC INS SEND and RTN connections. By default, the return from the insert will then feed the main bus output. However, the summing (ΣΣ) button below the INSERT button sums the insert return and the original bus feed together.

Note that pressing the INSERT button without anything connected to the REC INS SEND and RTN will leave the record bus silent, unless the

Note also that if the REC INS SEND and RTN connections are not required for signal processing, pressing

the

button enables the return connections to be used as a direct stereo input to the bus.

The REC bus can be routed to the MIX bus by pressing the TO MIX button below the ΣΣbutton.

The Cue ST Bus

The CUE ST bus has its own dedicated insert circuit which is isolated from the channel routing in the Insert Matrix. The INSERT button below the gain trim routes the bus through the CUE INS SEND and RTN connections. By default, the return from the insert will then feed the main bus output. However, the summing button (ΣΣ) below the INSERT button sums the insert return and the original bus feed.

Note that pressing the INSERT button without anything connected to the CUE INS SEND and RTN will

leave the cue bus silent, unless the

Note also that if the CUE INS SEND and RTN connections are not required for signal processing, pressing

the

button enables the return connections to be used as a direct stereo input to the bus.

The bus can be routed to the MIX bus by pressing the TO MIX button below the

When using the desk for 32-track mixdown (see Page 34), the CUE ST bus must be routed to the MIX bus.

The send signal can be auditioned on the main monitoring by pressing the AFL button below the TO MIX button. There is an LED to the right of the button which lights to indicate that AFL is on. (See Page 38 for more on AFLs.)

button is selected.

ΣΣ

button.

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Digital I/O

Matrix has one stereo digital output which feeds both AES/EBU and S/PDIF connections on the desk’s rear panel. This output is controlled by the Digital I/O area of the centre section, located immediately below the

IX bus master. If a digital input is connected, then Matrix will lock its internal clock to it. The LED in the top

right corner of the Digital I/O area, labelled ADC LOCK, lights to indicate that the desk is locked to the incoming signal.

he digital output can be sourced from the MIX bus, REC bus, or from the monitor signal (pre-monitor level). The SOURCE

T button cycles through these options, and LEDs to the right of the button indicate which source is selected. If there is an incoming digital signal, the output will replicate its sample rate. If no digital input is detected, the output sample rate will default to 44.1kHz.

See Page 44 for a description of digital input selection.

The FX SEND Busses

Each of the four FX signals can be auditioned on the main monitoring by pressing the AFL button below the gain pot. There is an LED to the right of the button which lights to indicate that AFL is on. (See Page 38 for more on AFLs.)

Stereo Returns

The outputs of the devices connected to the four line-level Stereo Returns, labelled ST RET 1 to ST RET 4. These are located below the REC, CUE ST and

FX bus master controls.

FX sends would normally be brought back into Matrix using the

The top three buttons allow you to route the signal to the MIX, REC and CUE ST busses. An LED to the right of each button lights to indicate the presence of this routing.

The signal can be summed to mono by pressing the MONO button below the three routing buttons. An LED to the right of the button lights to indicate that the signal has been reduced to mono.

Below the MONO button is a pot which functions as a balance pot for stereo signals and a pan pot for mono signals, and at the bottom of each ST RET area there is a gain trim. Both of these pots have Total Recall LEDs.

The signal can be auditioned on the main monitors by pressing the AFL button below the gain pot. There is an LED to the right of the button which lights to indicate that AFL is on. (See Page 38 for more on AFLs.)

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Control Room Monitors

The MAIN MONITOR area of the Matrix centre section is located to the right of the Master Channel. The blue pot towards the bottom left of the area is the volume control for the main monitors, and beneath it are two buttons. The left button, labelled DIM, immediately reduces the volume of the monitoring. The amount of

ain reduction introduced by the DIM button ranges from -3dB to -30dB and is

g controlled by the DIM pot, which is the middle of the three grey pots above the main volume control. The button to the right of the DIM button, labelled CUT, mutes the monitoring. Both the DIM and CUT buttons light up to indicate that they are active.

In the right half of the monitoring area are 10 buttons, which will be described in ascending order:

Pressing MINI swaps the monitoring output from the main monitors to the near-field monitors. The mini’s have an independent volume control which is the bottom of the three grey pots, immediately above the main monitor volume control. To return to hearing the main monitors, press the MINI button again. Pressing MONO sends a left-right summed signal to both speakers. Pressing and holding øL inverts the phase of the left-hand monitor signal. You can monitor the stereo difference (L-R) signal by pressing øL when the MONO button has been selected.

The next five buttons above the øL button form the source selector for the monitor bus. These include the MIX and REC busses along with three external inputs described below: DIGITAL, EXT2 and EXT1. Each buttons lights when active.

Note that while the other buttons light yellow, the REC bus lights red in keeping with its colour coding.

Normally these buttons cancel each other (in other words, if you select one source, the previously selected source is automatically deselected). However, the summing button (ΣΣ), located immediately above the five source selector buttons, removes the intercancelling feature and instead sums all selected inputs, enabling multiple sources to be monitored simultaneously. Deselecting the ΣΣbutton cancels all monitoring sources and returns the monitoring to intercancelling mode.

The top button in the monitoring area, labelled SOLO CLEAR, clears any SOLO or AFL buttons that are active on the desk, restoring the monitoring source selection in the buttons beneath it. The SOLO CLEAR button lights to indicate that there is a channel or bus in solo or AFL mode somewhere on the desk, as does the SOLO light located above the VU meters.

Note that the small light marked SOLO beneath the MAIN MONITOR area displays the solo status of the DAW, not the analogue channels.

External Monitoring Inputs

Matrix allows up to three external audio sources to feed the monitoring - two analogue and one digital. On the console, these are labeled DIGITAL, EXT1 and EXT2. and their connections are described in Chapter 1. If an MP3 player or iPod is connected to the iJack socket in the consoles right-hand trim, this signal will replace the EXT1 signal.

After Fade Listen (AFL)

The pot labelled AFL located at the top of the monitoring area sets the main monitoring volume for the stereo AFL function. Pressing any AFL button on the centre section will replace the current feed to the monitors with the post-level signal (and in the case of the Matrix channels, post level and pan) associated with that AFL button. Pressing multiple AFLs will sum the selected signals together. AFLs can be cancelled by pressing the SOLO CLEAR button or by deselecting any active AFL buttons. Centre section AFLs are unaffected by the solo monitoring soft key options detailed on Page 42.

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Artist’s Monitoring

Matrix has an additional output for the artist’s headphones, which is controlled by the ARTIST MONITOR area of the centre section, to the right of the MAIN MONITOR controls. The six buttons on the left hand side select the signal which is feeding

he artist’s monitoring. The sources available are (from bottom to top) the MIX bus, the control room monitor output (MON),

t the CUE bus, the desk’s DIGITAL external monitor input (see Page 44), and the first of the two analogue external monitor inputs (EXT1). Each button lights to indicate which is active.

Note that while the other buttons light yellow, the MON bus lights green in keeping with its colour coding.

Normally these buttons cancel each other. However, the summing button ( buttons, removes the intercancelling feature and instead sums all selected inputs, enabling multiple sources to be monitored simultaneously. Deselecting the ΣΣbutton cancels all monitoring sources and returns the artist’s monitor to intercancelling mode.

The ARTIST MONITOR has available a 2-band EQ with high-pass and low-pass shelving controls and Total Recall LEDs. This is located in the top right of the ARTIST MONITOR area, and can be switched into the circuit by pressing the EQ button located in between the HF and LF pots. Both EQ pots are indented in the centre.

The pot in the bottom right is a gain control for the artist monitor output. The MONO button above it reduces the feed to mono.

) located immediately above the five source selector

Engineer’s Headphones

There is an engineer’s headphone output located in the trim on the right hand side of Matrix, close to the large navigation wheel. It is controlled by the area above the transport counter, consisting of a HEADPHONE gain pot and a FROM ARTIST button which switches the headphone feed from the control room monitor mix to the artist’s monitor mix (see above). The button lights to indicate that the feed has been switched to the artist’s mix.

While the FROM ARTIST button is not selected, the headphone signal follows the source selection in the MAIN MONITOR area, along with the øL and MONO buttons, but is not affected by the DIM, CUT, MINI or level controls.

Conversely, when FROM ARTIST is selected, the engineer’s headphone signal follows the ARTIST MONITOR source selection, EQ insert and MONO button, but is not affected by the level control.

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The engineer can talk to the artist by pressing and holding the ARTIST button located to the left of the large navigation wheel in the centre section. This sends the signal from the desk’s inbuilt talkback microphone to the artist’s monitor feed.

The talkback microphone is located above the MAIN MONITOR area of the centre section (shown right). Its level is set by the TB gain trim immediately above it. When it is pressed, the

DIM function is automatically activated in the main monitoring.

Note that the talkback function can also be assigned one of the two rear panel foot switch inputs via the DAW tab in the Matrix Remote. See Page 90 for more details.

Note also that the talkback does not feed the engineer’s headphone signal, even when the FROM ARTIST button has been selected.

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LEFT

RIGHT

REC

MON SOLO

MIX

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Chapter 3 - Analogue Signal Flow

MMeetteerriinng

At the top of Matrix is a penthouse where you will find the metering for all of the channels and busses:

Channel Meters

Each channel has a pair of 12-segment meters. In DAW Focus mode, the second meter allows stereo DAW channels to be metered in the channel strip, for those HUI protocol DAWs which support this. In Analogue Focus mode, the right-hand meter is blank and the left-hand meter displays the signal level of the channel.

The SEL, REC and EDIT symbols above each meter display DAW track status and are described in Chapter 5. The AUTO lights below each meter area are used for automation and DAW Automation status (HUI protocol DAWs only) in DAW Focus.

Normally the channel meters follow the desk Focus mode. However, via the

channel meters can be locked to the Analogue Channel or DAW metering regardless of the current Focus mode (see Page 43).

The AUTO indicators in Analogue Focus mode are described on Pages 45 and 56.

Total Recall in Analogue Focus mode, and for

MMeetteerr

menu in the SSL soft key set, the

The REC and MIX symbols at the bottom of the meter area are concerned with bus routing and are described on Page 33.

See Chapter 5 for more on DAW protocols.

Bus Meters

The MIX, REC, MON, CUE ST, and FX 1-4 busses all have their own 12-segment meters located at the right-hand end of the penthouse, displaying their post-fader signal level. The stereo busses all have separate meters for left and right.

VU Meters

There is also a pair of VU meters located in the left-hand side of the centre section penthouse. Their source is selected in the MAIN VU SELECT area of the centre section, below the right-hand VU meter. The three sources available are the MIX, REC and MON busses, and the selected source will be indicated by its button being lit, and also by the appropriate symbol above the meters being lit. The top button in the MAIN VU

SELECT area, labelled -10dB, attenuates the signal feeding the meters by 10dB to avoid pinning the needles

to the end stop with over normalised DAW mixes.

The VU meters are unaffected by solo mode, and will keep metering the selected source even when the

SOLO symbol above them is lit.

See Page 43 for details of metering options.

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Chapter 3 - Analogue Signal Flow

SSSSLL SSoofftt KKeeyys

Soft keys are buttons which can have different functions assigned to them, depending on which soft key set is active.

here are a number of Matrix settings which are accessed

T via the SSL set of soft keys. The soft key area of the desk is located below the counter display in the centre section, and comprises 16 buttons above and below the digital scribble strip which runs across the whole desk.

The scribble strip in between the button rows indicates what functions are currently assigned to them: the upper row of the display refers to the row of buttons above it, and the lower display to the row of buttons below it.

There are six sets of soft keys, comprised of five user-definable sets and the SSL set. The soft key set which is currently assigned to the soft key area is selected using the SOFT KEY SETS buttons, located on the right-hand side of the centre section, below the main soft key area (shown left). The SSL set is selected by pressing the

SSL button, below the USER1-4 buttons. It will light to indicate

that it is selected. To exit the SSL soft keys and return to the previously selected User set, press the SSL soft key button again.

Note that the SSL button overrides the USER buttons. However, the previously selected USER set indication is retained along the top row of SOFT KEY SETS buttons as a reminder of which set will reactivate when the SSL set is deactivated.

The SSL soft keys are arranged in menus, with the top row of soft keys acting as menu selectors and the bottom row accessing functions within the currently selected menu. There are six menus of SSL soft keys, labelled and

When no soft key menus are active, the soft key display indicates the Current Project and Title (see Page 48).

For a description of the user-definable soft keys, see Page 83.

MMiisscc

. The settings configured within these menus are detailed over the following pages.

MMoonn, MMeetteerrss, AAuuttoo, TTRR,IIPP

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MMOONN SSoofftt KKeeyys

MMoonn

The

menu in the SSL soft keys is used to configure the solo monitoring:

SIP and AFL

By default, SOLO buttons are destructive, muting all channels not solo enabled. This means that channel sends (both CHOP’s

nd aux sends) sourced from the input or pre-fader signal remain unaffected by solos, but are affected when sourced post fader,

a along with the feeds to the MIX and REC busses. This is known as Solo-In-Place (SIP), which is the default channel solo mode. However, if the mute is received.

Pressing the separate stereo mix bus, leaving the existing bus feeds and post fader sends unaffected by the SOLO button, with only the main monitoring being affected.

IInnppCCuu

AAFFLL

Note that in AFL mode, the CUT buttons do not light when a SOLO buton is selected, indicating that the soloing is not affecting other channels’ outputs.

option in the

button switches the solo buttons to be non-destructive, by routing the post channel, post pan signal to a

MMiisscc

soft key menu is enabled (see Page 44), pre fader sends will also mute when a solo

Mom and Alt

By default, solo buttons ‘latch’, meaning that when one channel is in solo, pressing a second SOLO button adds that channel to the first rather than cancelling the original channel.

Pressing order to remain in solo mode. More than one button can be held down simultaneously.

MMoomm

(‘momentary’) causes the SOLO buttons to deactivate when released. They therefore need to be held down in

Pressing second SOLO button cancels the first SOLO. More than one channel can still be put in solo mode by simultaneously pressing multiple SOLO buttons.

When in

AAlltt

prevents the SOLO buttons from latching, introducing an intercancellation between SOLO buttons: pressing a

AAlltt

Note that these options affect the channel strip solo buttons, not the centre section AFLs which are always in latch mode.

Also note that in order for the fader or CUT and SOLO buttons to affect the analogue signal, Matrix must be in Analogue Focus mode (or in DAW Focus mode with IN-LINE active and the relevant channel swapped - see Page 66).

MMoonn

mode, press the currently selected mode button to return to default (latch) mode.

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Chapter 3 - Analogue Signal Flow

MMEETTEERRSS SSoofftt KKeeyys

MMeetteerrss

The

the eight lower buttons in the soft key area are in three groups: buttons 1 and 2 prevent the meters from following the console’s Focus mode by locking them to either the analogue or DAW signals, buttons 3 and 4 provide peak hold options, and buttons 5 to 8 provide meter source options for analogue metering. All buttons cancel out other selections made within that group, and

an be returned to their default state by pressing the currently selected option:

menu in the SSL soft keys is used to configure the analogue channel meters. Once this menu has been selected,

Note that additional meter options are available in the SSL Misc menu. See Page 44 for details.

Note that when metering DAW tracks, the metering is configured and controlled by the DAW, not the SSL soft keys. The DAW control surface documentation will provide details on how to clear overload indicators and how to enable peak hold options.

Focus Options

By default, the meters follow the console’s Focus mode, displaying the analogue channel levels in Analogue Focus mode, and the levels in the DAW tracks in DAW Focus mode. Pressing and pressing

DDAAWW

causes the meters to stay with the DAW track levels, regardless of the console’s Focus mode.

AAnnaalloogg

causes the meters to stay with the analogue channel levels,

Peak Hold Options:

Peak Hold is where the top segment lit by any momentary peak levels remains lit once the level drops. By default, the meters do not have a peak hold. Pressing can be reset by cancelling the

PPeeaakk

HHoolldd

introduces a 3 second peak hold, and pressing

button.

HHoolldd

introduces an infinite peak hold which

Meter Source Options:

There are four source options for the channel meters:

RReettuurrnn

AAUUTTOO SSoofftt KKeeyys

The

DAW or other external MIDI controller. By creating additional MIDI tracks in the workstation the analogue channels can be automated using faders in the DAW layer as MIDI controllers for the matrix channels and writing volume automation data into the DAW project. These soft keys are channel-specific, affecting the channel(s) selected using the upper SEL key.

Selecting

Selecting volume messages to trim the channel level set by the console faders in Analogue Focus mode.

(DAW return pre-gain), and

AAuuttoo

soft keys enable the analogue channel levels to be controlled via MIDI Volume (CC7) messages received from a

NNoonnee

AAbbss

TTrriimm

Note that these soft keys do not remain lit once they are released. Their status is indicated by the AUTO LEDs in the channel meters. See Page 45 for more details.

disables external MIDI control, giving full control of the fader level to the desk faders.

disables the physical faders, giving full control of the fader level from received MIDI volume data.

enables simultaneous control from both the MIDI data and the physical faders, allowing the received MIDI

PPoosstt

(post fader).

CCHHIIPP

(channel input post-gain),

CCHHOOPP

(channel output), DAW

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TTRR SSoofftt KKeeyys

TTRR

The

EEnnaabbllee

TTaakkeeTTRR

SSeettSSeell

SSeettAAllll

CCuurr::

soft keys allow Matrix’s Total Recall functions to be controlled from the console:

otal Recall is described on Page 53.

enables TR for restoring snapshots.

takes a TR snapshot.

sets a TR snapshot to any channels selected using the upper SEL key.

sets a TR to the whole console.

displays the TR number which is currently selected in the Total Recall tab of the Matrix Remote.

IIPP SSoofftt KKeeyys

IIPP

The

The IP address information is shown after the subnet mask set to 255.255.255.0.

soft keys allow you to switch the console’s IP address between

See Page 5 for a description of how to change the fixed IP address.

See Page 4 for details of configuring the console’s Ethernet connectivity.

DDHHCCPP

FFiixxeedd

button. By default, Matrix uses a fixed IP address of 192.168.1.2. with the

and

DDHHCCPP

MMiisscc SSoofftt KKeeyys

MMiisscc

The

IInnppCCuu

any pre-fader feeds from the channel unaffected. Pressing muting any feeds from the channel that are not sourced from the INPUT.

OOppttDDAACC

selects the S/PDIF input, and the button lights to indicate that this input has been selected.

soft keys cover miscellaneous Matrix settings:

configures the channel CUT buttons. By default, pressing the channel CUT button mutes the channel output, leaving

switches between the two digital inputs. By default, the AES (XLR) input is selected. Pressing the

IInnppCCuu

causes the CUT buttons to mute the channel after the input,

Fader Options:

MMsstt++1100

left of the fader. Pressing of the fader.

00ddBB

rescales the master fader. By default, the master fader reaches 0dB at the top, following the scaling labelled on the

and

MMsstt++1100

OOffff

move the analogue faders on any channels selected using the upper SEL key to 0dB and -∞∞respectively.

switches the meter’s scaling to reach +10dB at the top, following the labelling on the right

Meter Signal Scale Option:

The default scale for all of the LED meters is meters is 0dBfs corresponds to an analogue level of +24dBu. The provides an alternative scaling of +18dBu.

USB Keyboard Identifier:

KKeeyybbIIDD

The details.

key is used to identify the nationality of keyboard being emulated by the Matrix USB soft keys. See Page 86 for

OOppttDDAACC

++1188ddBB

button

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MMaattrriixx AAuuttoommaattiioon

Note that the following description of the MIDI automation system presumes some knowledge of the Matrix Transport and Utility buttons, described in Chapter 5.

Although Matrix does not include a stand-alone analogue automation system, the 16 analogue channels can be remote controlled via MIDI Volume messages (CC7). Creating 16 additional MIDI tracks in the current DAW project integrates full level control of the 16 analogue channels receiving the stereo stems and mono mix elements that Matrix is summing for the final mix master. All the DAW automation tools can then be used to create the level rides that are required to create the final mix in the analogue

omain. The faders of these MIDI tracks can be used to input level data in real time and control the analogue channels.

The MIDI volume data received from the workstation can control the Matrix channel strips in two modes, accessed via the SSL soft keys (see Page 43):

AAbbss

- In absolute (

TTrriimm

- In fashion to a VCA-style master fader;

Tip: Pressing the MF Focus button while in Analogue Focus mode (described on Page 64) will allow you to trim one channel of automation via the master fader, while retaining access to the channel faders.

- A third mode,

This unique capability allows final mix rides to be run post the analogue signal processing inserted in the channels receiving the DAW outputs. As all automation data is part of the workstation project and the associated DAW timeline, it can easily be set to move with edits in the timeline, allowing automation to stay with its associated audio even if the session timeline is completely re-arranged.

) mode the volume data replaces the levels set by the Matrix faders in Analogue Focus mode;

mode the MIDI data adds or subtracts from the level set by the desk faders in Analogue Focus mode in a similar

NNoonnee

, mode returns full level control to the Matrix faders.

These automation modes are channel-specific. The automation mode soft keys affect whichever channels are currently selected using the upper SEL keys. Note that these soft keys only have momentary indication: once you have selected a channel’s automation mode, the soft keys do not remain lit. The mode of each channel is continuously displayed in the red and green AUTO LEDs in the channel meters: in is lit, in

The automation is recorded as MIDI Volume changes on 16 DAW MIDI tracks. Which should be configured as follows:

- The MIDI track outputs should be assigned to ipMIDI port 18, channels 1-16 (with MIDI Channel 1 corresponding to Matrix Channel 1, MIDI Channel 2 corresponding to Matrix Channel 2 etc).

- They will need to be in an appropriate automation write mode (such as Touch in Pro Tools).

- It will be helpful to have their track views showing volume data.

- You may want to name them appropriately, for example: Auto1 to Auto16.

With the console in DAW Focus mode, use the BANK and CHANNEL keys (see Page 70) to scroll the Matrix control surface to the 16 MIDI tracks. If the 16 channels are contiguous they will be able to all be on the Matrix control surface simultaneously, in the channel corresponding to the analogue signal they are affecting.

Tip: create a view (Logic) or memory key (Pro Tools) to select a layout containing only the 16 MIDI faders used to control Matrix.

AAbbss

mode the red LED is lit, and in

TTrriimm

mode the green LED is lit.

NNoonnee

mode neither LED

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When the DAW is in Play, any fader movements on the console channels will be recorded in the MIDI tracks. The consequent level changes will then be replicated when the automated tracks are replayed.

ote that for the automation to be replayed, the 16 MIDI channels must be in an automation mode that outputs

N automation (such as Read in Pro Tools or Logic).

You will notice that the MIDI automation affects the analogue signals in the Matrix channels without moving the channel faders.

ote that, while in DAW Focus mode, you cannot normally view the channel signal level in the meters. The Meters menu

N the SSL soft key menu provides the option of locking the meters to the analogue channel levels regardless of the current desk Focus mode, enabling the analogue channel signal level to be viewed while writing automation. See Page 43 for more details.

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Chapter 4 - Matrix Remote

CChhaappttee rr 44 ––

n this chapter, we will examine how the Matrix configuration and session information can be controlled and managed in the Matrix

I Remote.

For details of installing the Matrix Remote software, see Chapter 1.

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There are six tabs in the Remote window:

- Projects is where you select the current Project and Title, and where you administrate the data related to specific Projects and Titles, including the data held within the Total Recall, Channels and Insert Matrix tabs.

- Total Recall manages the storing and recalling of console settings.

- Channels allows you to label the console’s analogue channels.

- Insert Matrix controls the routing of channel inserts.

- DAW configures the protocol used to link Matrix with your DAW, along with its soft key assignments.

- About displays the Matrix console and Remote software versions currently installed, and contains useful short cuts to the SSL website for product support, FAQs, registration and downloads.

The Matrix Remote

This chapter deals with those tabs which are concerned with session-specific data, namely the Projects, Total Recall, Channels and Insert Matrix tabs. The DAW tab is related to the basic configuration of Matrix rather than to specific sessions, and is examined in Chapter 5. The About tab requires no further explanation.

Note that the Matrix configuration data controlled from the Remote is stored on the SD card in the back of the Matrix console (see Page 2), not on the computer hosting the Remote.

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TThhee PPrroojjeeccttss TTaab

The Projects tab is the left-most tab in the Matrix Remote:

There are three functions performed within the Projects tab. Firstly, it is where you create and manage all your Matrix Projects and Titles. Secondly, it is where you select the song Title which is loaded into the Remote and which is referred to in the Total

Recall, Channels and Insert Matrix tabs (the ‘Current Title’). Thirdly, it is where you store session notes.

In the Matrix Remote, a ‘Project’ is simply a folder of recordings which are grouped together on whichever basis you choose, and a ‘Title’ is a specific recording within that Project. For example, Titles might refer to different tracks within an album, and a Project might refer to the album as a whole. All settings created within the Total Recall, Channels and Insert Matrix tabs are specific to their Title and therefore different Titles within a Project can have completely different settings.

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Folder contents are listed in order of creation, with the newest folder or file at the bottom of its parent folder. Double-clicking on a folder expands it to reveal the sub-folders within it, as does clicking on the sign in front of the folder. Similarly, doubleclicking on an expanded folder collapses it again, as does clicking on the sign. The folder architecture is as follows:

- The main Projects folder contains the folders for all the Projects;

- The individual Project folders contain all their Title folders;

- The Title folders contain (along with the unseen channel name file) the Insert Matrix and Total Recall folders.

- The Insert Matrix folder contains two files: Matrix data (the routing matrix you have created) and the Insert names (the insert names you have created) (see Page 59). The Total Recall folder contains all your TR snapshots (see Page 53):

Title folders can be moved into other Project folders by dragging them onto the name of the Project to which you wish to move them. Press OK in the Confirm Copy pop-up which appears and a copy of the Title will appear in the new folder which will then be automatically renamed ‘Title n’ where ‘n’ is the lowest unused Title number in the new folder. Similarly, all Total

Recall files can be dragged and dropped into the Total Recall folders of other Titles, in which case they are automatically

renamed ‘TR n’ where ‘n’ is the lowest unused TR number in the Total Recall folder.

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MMaannaaggiinngg PPrroojjeecctts

Creating a Project

To create a new Project, select the main Projects folder and press the New Project button in the bottom left-hand corner of the window. Alternatively, right click (Mac: ctrl+click) on the main Projects folder and select New Project. A new Project will be created in the main Projects folder with the name ‘Project n’ where ‘n’ is a number reflecting the Project’s position in the window. It will contain one Title within it which will retain the Insert Matrix settings from the currently loaded Title. You can

ow rename the Project as described below.

Backing Up a Project

To back up a Project or export it for use in another Matrix Remote, right-click (Mac: ctrl+click) on the Project you wish to back up and select Backup Project. In the pop-up which appears, edit the name and destination of the file if necessary, and press

Save. Your Project will be exported as a ZIP file.

Restoring a Project

To restore a Project from back-up or import a Project created in another Matrix Remote, right-click (Mac: ctrl+click) on the main

Projects folder and select Restore Project. In the pop-up which appears, locate the Project zip file you wish to restore and

press Open. The restored Project will appear in the main Projects folder, with its filename appended with ‘(Restored)’ to distinguish it from any parent Project of the same name. You can now rename the Project as described below.

Renaming a Project

To name a Project, select the Project which you wish to rename, and make one of its Titles the Current Title. You can now edit Project name and other details in the Notes area in the right hand side of the window. Once you have finished, press Save Notes (located below the Title area) to save your changes.

Pressing Undo will bring up a pop-up warning that you will lose unsaved changes if you continue. Click Yes to revert the text to its last saved state.

To name a Project without making it current, select the appropriate Project folder and press the Rename button at the bottom of the window. Alternatively, right click (Mac: ctrl+click) on the folder and select Rename from the drop-down menu. This will produce the New Name pop-up. Type the Project name, and click OK.

Note that Matrix will allow different Projects to have identical names. Be aware that if you choose to do this, the only distinction between folders may be the order in which they appear in the screen, which always reflects the order in which they were created.

Deleting a Project

To delete a Project, select the appropriate Project folder and press the Delete button at the bottom of the window. Alternatively, right click (Mac: ctrl+click) on the folder and select Delete from the drop-down menu. Click OK in the Confirm Delete popup to delete the Project.

Please be aware that this action cannot be undone.

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MMaannaaggiinngg TTiittllees

Creating a Title

To create a new Title, select the Project folder in which you want to put the Title and press the New Title button in the bottom left-hand corner of the window. Alternatively, right click (Mac: ctrl+click) on the Project folder and select New Title. A new Title will be created within the selected Project folder. This new Title will retain the Insert Matrix settings from the currently loaded Title. You can now rename the Title as described below.

Opening a Current Title

When Matrix is turned on, it will automatically open the last loaded Title. To load a different Title onto Matrix (and therefore into the rest of the Remote), highlight the required Title folder and press the Open Title button located at the bottom of the screen. Alternatively, right-click (Mac: ctrl+click) on the Title folder and choose Open Title from the drop-down menu which appears.

The Current Title and its Project is displayed in the right hand side of the Projects tab, as well as in the top and bottom of the Remote. It is also displayed in the soft key area of the console, when the SSL set is selected without any menus active.

Once the Title is loaded, the Matrix console will assume the channel names and insert routing within the Title. You can now also edit session notes, and recall the Title’s Total Recall snapshots, as described in the rest of this chapter.

Note: Loading a song into the Remote does not automatically recall a Total Recall snapshot onto the Matrix control surface. See Page 54 for details of how to recall a snapshot.

Renaming a Title

To name a Title, select the Title which you wish to rename, and make it the Current Title. You can now edit Title name and other details in the Notes area in the right hand side of the window. Once you have finished, press Save Notes (located below the

Title area) to save your changes.

Pressing Undo will bring up a pop-up warning that you will lose unsaved changes if you continue. Click Yes to revert the text to its last saved state.

To name a Title without making it current, select the appropriate Title folder and press the Rename button at the bottom of the window. Alternatively, right click (Mac: ctrl+click) on the folder and select Rename from the drop-down menu. This will produce the New Name pop-up. Type the Title name, and click OK.

Note that Matrix will allow different Titles to have identical names. If you choose to do this, Titles can be distinguished by the order in which they appear in the screen, which always reflects the order in which they were created.

Copying a Title

To duplicate a Title, highlight the Title folder and press the Copy Title button located at the bottom of the screen. Alternatively, right-click (Mac: ctrl+click) on the Title folder and choose Copy from the drop-down menu which appears. A copy of the Title, including the Title Notes (see next page), Insert Matrix and Total Recall folders, as well as the unseen channel names folder, will appear at the bottom of the same Project folder, named ‘Title n’ where ‘n’ is the lowest unused Title number in the folder.

To copy a Title to a different Project, drag the Title into the destination Project folder and click OK in the Confirm Copy pop- up. The copied Title will be named ‘Title n’ where ‘n’ is the lowest unused Title number in the destination folder.

Deleting a Title

To delete a Title, select the appropriate Title folder and press the Delete Title button at the bottom of the window. Alternatively, left click (Mac: ctrl+click) on the folder and select Delete from the drop-down menu. Click OK in the Confirm

Delete pop-up to delete the Title.

Please be aware that this action cannot be undone.

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PPrroojjeecctt aanndd TTiittllee NNoottees

The Notes area on the right-hand side of the Projects tab allows you to record your own data related to a particular session, including personnel and any other information you might wish to link to that session. The top half records information related to the Project as a whole, whereas the bottom half records information related specifically to the Title currently loaded from that Project.

Any information typed here will be automatically saved as part of the Project and Title files. Renaming Projects and Titles overwrites any names you gave them using the Rename button. If you leave the Project and Title name boxes blank, the Remote will create its own names. The default naming system for a Project is simply ‘Project n’ where ‘n’ is the lowest number not used

n this way. Similarly, Titles are simply named ‘Title n’ where ‘n’ is the lowest unused number within that Project folder.

When you have made your changes in the Notes area, press Save Notes to save your changes.

Pressing Undo will bring up a pop-up warning that you will lose unsaved changes if you continue. Click Yes to revert the text to its last saved state.

Note that any editing of Project notes will affect the Project notes section of every Title within that Project. When a Title is moved between Project folders, the Project notes automatically change to reflect its host Project.

TTrraacckk SShheeeetts

A session track sheet, can be created and exported in the Projects tab. The track sheet includes the Project and Title Notes, Channel names and insert assignments, and a list of Insert Matrix devices and chains:

Press the Track Sheet button at the bottom of tab to create the track sheet. In the track sheet, pressing OK closes it and pressing Save brings up a dialogue box inviting you to define the name and location of the file. The file is exported as an .html file which can be opened and edited in most word processor and internet browser programs:

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Chapter 4 - Matrix Remote

TThhee TToottaall RReeccaallll TTaab

The Total Recall tab is the second tab from the left in the Matrix Remote:

This tab controls the Matrix Total Recall function, which allows you to store and recall Matrix settings used in the Current Title. All of the settings on the desk which you are likely to need to remember are stored as part of the Total Recall snapshot, as listed on Page 56.

Note that the settings of any X-Racks which are connected to Matrix are also included in the Total Recall function. For X-Racks running software version 1.2/4 or below, up to 4 X-Racks can be included. For X-Racks running software version

1.3/0 or above, up to 6 X-Racks can be included. See your X-Rack manual for details of X-Rack Total Recall.

A number of the TR functions described over the following pages can be accessed directly from the Matrix console using the TR menu in the SSL soft keys. See Page 44 for more details.

TTaakkiinngg aa TTRR SSnnaappsshhoot

To take a snapshot of the desk’s settings, press the Take TR Snap button located to the right of the window. The snapshot will then appear in the current Title’s snapshot list in the centre of the Total Recall window, as well as in the Total Recall folder in the Projects tab.

It is also possible to take a snapshot directly from the Matrix front panel via the

NNaammiinngg aa TTRR SSnnaappsshhoot

Snapshots are named ‘TR n’ where ‘n’ is the lowest unused TR number within that Title However, you can edit this name by right clicking (Mac: ctrl+click) on the required snapshot and selecting Rename from the drop-down menu. Type the name in the

New Name pop-up which appears, and press OK. Note that the snapshot number will be retained at the front of the snapshot

name.

TTRR

set of SSL soft keys – see

Page 44.

DDeelleettiinngg aa TTRR SSnnaappsshhoot

To delete a snapshot, right click (Mac: ctrl+click) on the required TR and select Delete from the drop-down menu. Press OK in the warning pop-up which appears.

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RReeccaalllliinngg aa TTRR SSnnaappsshhoot

Enabling Total Recall

In order to recall a snapshot of the desk’s settings, Total Recall must be Enabled. This is done by pressing the Display TR button located at the top of the button list in the right of the tab, or by pressing

current status of the Total Recall is shown above the Display TR button, by either a green TR Disabled sign or a red TR

Enabled sign. In addition, the TR box in the bottom right-hand corner of the Remote window goes red to indicate when TR is

nabled (as shown below).

The console also provides indication that TR is enabled via the red and green AUTO lights at the bottom of the channel meters: for any channel with no changes required, both lights will be on. For any channels which contain settings which do not correspond with the selected snapshot, the green light will be on and the red light will flash.

Note that AUTO lights are also used for automation. See Pages 45 and 68 for details.

Once TR has been enabled, the Display TR button becomes the Disable TR button.

Important Note: When Total Recall is enabled, a number of LEDs on Matrix perform a different function from that

performed during normal operation. Additionally, due to the quantity of information which has to be detected, the processing speed and sound quality of Matrix is significantly reduced when Total Recall is enabled. It is therefore important to disable Total Recall when you have finished resetting a snapshot.

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in the

TTR

soft key menu (See Page 44). The

Selecting a TR Snapshot

There are three groups of settings within a TR Snapshot, listed on Page 56: Group 1 consists of switches and faders which can be reset automatically. Group 2 consists of switches which require manual resetting. Group 3 consists of pots which require manual resetting.

To select a TR snapshot, press the Display TR button to enable Total Recall, highlight the snapshot which you want to recall from the snapshot list in the centre of the Total Recall window, and press Select TR Snap. The console LEDs will now indicate whether or not they correspond to the selected snapshot: LEDs are unlit to indicate where the snapshot and console match, and lit to indicate where the they do not. If all you want to do is recall a specific selection of settings without setting the snapshot to the whole desk or even a whole channel, this can now be done manually as described below.

Note that selecting a snapshot does not change any settings until a TR snapshot is ‘set’ (see next page). In the instance of a selective reset, those settings which would normally be reset automatically by ‘setting’ a snapshot (Group 1) can also be reset manually. In this case Group 1 controls function exactly as if they were part of Group 2. The exception to this is the faders which have no TR indication.

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Setting a TR Snapshot

Once Total Recall has been enabled and a snapshot has been selected, ‘Setting’ the snapshot will reset all the automatically resettable switches and faders (Group 1 on the following page).

Note that the console will still indicate those settings which require manual resetting (Groups 2 and 3) as was activated by the initial selection of the snapshot.

There are two options for Setting a TR snapshot:

Pressing Set TR to All Chans resets all the automatic resets for the whole desk.

Pressing Set TR to Chan brings up the following pop-up which allows you to recall all the settings within the snapshot related to specific channels without resetting the whole desk:

Select the channels which you want to reset, and press the OK button. All the automatic resets within those channels will now be reset.

Note that all functions concerned with Setting the currently selected TR Snapshot can be accessed directly from the Matrix front panel via the TR set of SSL soft keys – see Page 44.

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Completing a Total Recall

Once the automatic resets have been set, the remaining switches and pots need to be manually reset in order for the snapshot recall to be complete. Below is a list of all the controls included within each TR group: automatic resets, manually reset switches

nd manually reset pots. The list is followed by an explanation of the resetting process for each group:

GGrrpp 11:: AAuuttoo RReesseetts

- Channel Strip input selection, CHOP and Aux SRC buttons, Aux ON switches, REC and CUE bus routing,

nd TRK and CUT switches;

- All Bus Send INSERT and

- All faders.

ΣΣ

switches;

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- Channel Strip PHASE and INSERT switches;

- REC and CUE bus master TO MIX

witches;

- All ST RET switches except AFL;

- Artist Monitor EQ and MONO switches.

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- All Channel Strip pots apart from the V-Pot;

- All Bus Send Level pots; All ST RET pan/balance and level

pots;

- Artist Monitor EQ pots and level control.

Group 1: Settings which Reset Automatically

When a snapshot has been selected and Display TR is active (see previous pages), the LEDs associated with any switches in the wrong position will light to indicate that they do not match the selected snapshot: for switches with two LEDs associated with them, such as SRC selectors, both LEDs will light. This TR indication can be used to manually reset a selection of settings without engaging a broader automatic reset. To do this, simply press the switch associated with any lit LED until there are no more LEDs lit.

Note that the faders have no TR indication and can therefore only be reset automatically.

When a snapshot is set, the desk automatically resets all of these settings, including the switches in the centre of the channel pots and those controlled from the Master Channel. However, if during the recall process one of these switches is pressed accidentally, their associated LEDs will light to indicate that their status no longer corresponds with the selected snapshot. Once none of these LEDs are lit, the Total Recall is complete for this group of switches.

Group 2: Switches Requiring Manual Resetting

Any switches which are mechanically latched require the operator to correct them manually. When a snapshot has been selected (see previous pages), if they are in a position other than that recorded in the snapshot, their ON LEDs light to indicate that they need switching. To complete the reset for this group, simply press the switch associated with any lit LED until there are no more LEDs lit. Once none of these LEDs are lit, the Total Recall is complete for this group of switches.

Group 3: Pots Requiring Manual Resetting

All the pots on Matrix controlling analogue signals require the operator to correct them manually. When a snapshot has been selected (see previous pages), if they are in a position other than that recorded in the snapshot, their Total Recall LEDs will light to indicate that the operator needs to move them manually. The Total Recall LED is the one immediately to the pot’s right, linked by a thin white line. The LED lights green to indicate that the pot needs to be turned clockwise, or red to indicate that it needs to be turned anti-clockwise. To complete the reset for this group, simply correct the position of any pot which has a lit LED until there are no more LEDs lit. Once no Total Recall LEDs are lit, the Total Recall is complete for this group of settings.

Note that the red AUTO LEDs below each channel meter will flash until all of that channel’s controls are matched.

Once you have taken the snapshot, don’t forget to disable Total Recall by pressing the Disable TR button before continuing the session.

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Copying and Swapping Data Between Channels

It is possible to copy the settings of one channel onto another channel, or to swap the settings of two channels with each other. To perform either of these functions, press the Copy/Swap TR Data button to produce the following pop-up:

To copy a channel’s settings to another channel, select the channel you want to copy in the left-hand Source TR column, select the channel to which you want to copy these settings in the right-hand Destination TR column, and press Copy.

To swap a channel’s settings with another channel, select one of the channels in the Source TR column and the other in the

Destination TR column, and press Swap.

Once you have made all of the copies and swaps you need to make, press OK to close the pop-up.

Manually reset switches and pots will now need to be reset. Automatically reset switches and faders can now be reset using either the Set TR to All Chans or Set TR to Chan buttons.

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TThhee CChhaannnneellss TTaab

The Channels tab is the third tab from the left in the Matrix Remote. In this tab you can label the analogue channels on the Matrix control surface. Once again, this data is specific to the currently loaded Title. The main part of the window consists of a representation of a scribble strip:

To insert a channel name, simply click the scribble strip on the channel you wish to name, delete the current text and type the new name in. As you type, the name will appear in the Remote scribble strip, as well as in the digital scribble strip on the Matrix control surface located above the V-Pots. Once you have finished typing, your channel names are saved automatically.

Note that channel names can be a maximum of six characters long.

Note also that in DAW Focus mode, the channel names will be generated by the names of the DAW tracks which they are controlling. However, when a CC layer is active, the CC numbers can be labelled in the scribble strip, as described on Page 92.

See Page 64 for an explanation of Focus modes.

To blank all of the channel names, press the Clear All button underneath the scribble strip in the tab, and click Yes in the warning pop-up that appears

To reset all the channel names to the default naming ( the scribble strip in the tab, and click Yes in the warning pop-up that appears.

Chan1, Chan2

etc), press the Reset Channel Names button underneath

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The Insert Matrix tab of is the fourth tab in the Matrix Remote. This allows you to route external signal processing to your channel insert points.

See Chapter 1 for details of connecting up your external signal processing to the Insert Matrix sends and returns.

Note that the Insert Matrix only routes Devices within the channel insert points, and is isolated from the bus insert points.

NNaammiinngg DDeevviiccees

The Devices column on the right-hand side of the Insert Matrix tab lists the 16 insert circuits available to you, with the default labelling, Insert 1 to Insert 16. You can rename the Devices inside the Remote by right-clicking (Mac: ctrl+click) on the Device’s insert number and pressing Rename in the drop-down which appears. Type the name you wish to give that unit in the New

Name pop-up appears and press OK.

The Device number which preceed the name refers to the DEVICE SEND and RTN input and output to which the Device is connected.

Note that Matrix allows you to name different Devices with exactly the same name, in which case the Devices can be distinguished using the Device number.

Note also that if you attempt to save a blank Device name, the Remote will return the Device to its default name, ‘Insert

n’ where ‘n’ is the Device number

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DDeevviiccee CChhaaiinns

A Chain allows you to insert up to six outboard processing units into one channel. The Chain column on the left-hand side of the Insert Matrix tab lists any Chains you have created.

Creating Chains

o create a Chain, press New in the Chain Setup area at the bottom of the tab (shown below), type in the name of the Chain

T in the New Chain Name pop-up which appears and press OK. The name you have given the Chain will then appear in the Chain

Name box in the centre of the Chain Setup area:

You can now select what outboard Devices you would like to include in this Chain, using the six boxes labelled Device 1 to

Device 6. The processing order goes from left to right. Press one of the boxes and select the Chain’s first Device from the drop-

down list which appears. The Devices fill the left-most available box, regardless of which box you select. To add another Device to the end of the processing order, select a blank box, and select the Device from the drop-down as you did before. A Device box can be returned to blank by selecting None from the Devices menu, causing any Devices to the right of it to move one box to the left.

As the Insert Matrix cannot send more than one signal to a Device, any Devices which have already been assigned to a channel, either on their own or as part of another Chain, will be absent from the drop-down list.

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When a new Device is selected for a box which is already occupied by another Device, the

Replace Devices check box to the top right of the Chain Setup area defines whether that

ew Device is added alongside the Device already occupying the box, or whether it replaces it:

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If a new Device is selected for an occupied box while the Replace Devices box is unchecked, then a new selection is added to that point in the Chain, and the Device previously in that box or any box to its right is moved to the right. In other words, to add another Device into the middle or beginning of a Chain without losing any other Devices, make sure that the Replace

evices box is unchecked. You can only insert a Device in this way if the right-most Device box in that Chain is empty.

RReeppllaacciinngg::

If a new Device is selected in for an occupied box while the Replace Devices box is checked, the new Device replaces the previous selection. In other words, if you want to swap an unassigned Device with a Device in the Chain, make sure the Replace

Devices box is checked.

Once you have inserted all the elements you wish to include, press the Save button, found to the left of the Chain Setup area. The new Chain will now appear in the left-hand column of the tab. The Remote will not let you save a Chain without any Devices inserted. Hovering over the Chain name with the mouse will bring up a quick list of Devices assigned to that Chain.

When a Chain is assigned to a channel, it becomes greyed-out in the Chains list and has the channel to which it is assigned added to the end of its name, indicating that it is not available to other channels. If any Devices within a Chain become assigned to another channel before the Chain itself has been assigned, the Chain is no longer usable. The Chain’s name will therefore also be greyed out in the Chain list and the phrase Insert(s) in use is added to the Chain name.

To cancel changes to a Chain, press the Cancel Chain button. A pop-up will appear asking you if you want to save any unsaved changes before leaving the Chain editor; Press Yes to save changes or No to exit the Chain editor without saving your changes.

Editing Chains

To edit a Chain, double-click on the Chain name. Alternatively. right-click (Mac: ctrl+click) on the Chain name in the left-hand menu, and select Edit. The Chain will re-appear in the Chain Setup area. Device selections can now be edited or deleted.

The Chain name can be edited by re-typing it in the Chain Name box in which it appears and then pressing Update Name. Any edits then need to be saved by pressing Save again.

Note that pressing Save without pressing Update Name will result in any name change not being saved.

Note also that you cannot edit a Chain while it is in use.

Deleting Chains

To delete a Chain, right-click (Mac: ctrl+click) on the Chain name in the left-hand menu, select Delete, and press OK in the warning pop-up which appears.

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AAssssiiggnniinngg DDeevviicceess aanndd CChhaaiinnss ttoo CChhaannnneell IInnsseerrtts

In the centre of the Insert Matrix tab are 16 buttons referring to the 16 Matrix channels, labelled with the names given to them in the Channels tab. The current insert status of each channel is indicated in the centre of each button. To route a Device or Chain to a channel’s insert point, press the down arrow in the relevant channel’s button, select Devices or Chains from the drop-down menu which appears, and then select the specific Device or Chain you wish to insert:

Devices or Chains which have been used will not appear in the drop-down list. Selecting a new Device or Chain will automatically remove any old assignments from that channel insert.

Assigned Devices and Chains will also be greyed-out from the lists on either side of the Insert Matrix tab and will have the channel to which they are assigned added onto the end of their name.

Assign All

By default, all the channels are routed to their corresponding insert point, emulating typical patch-bay normalling: Insert 1 is routed to Channel 1, Insert 2 to Channel 2 and so on. To return to this default routing at any time, select Assign All from any of the channel drop-down menus and press OK in the warning pop-up which appears.

Clearing Devices and Chains

Individual Device assignments can be removed by pressing a channel’s down arrow and selecting None from the drop-down menu.

In order to reset the whole Insert Matrix, select Clear All from any of the channel drop-down menus and press OK in the warning pop-up which appears.

Note that once you have configured the external signal processing for a Matrix channel, you have to drop the Devices into the channel path by pressing the channel’s INSERT button below the CHIP pot on the Matrix console.

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DAW Control

IInnttrroodduuccttiioon

A wide range of DAW packages, along with associated MIDI devices such as soft synths and certain hardware instruments, can be controlled directly from Matrix’s front panel, allowing you to run sessions with significantly less reliance on a mouse and

eyboard.

k primarily used by Pro Tools, and MCU which is supported by Logic and Cubase/Nuendo amongst others. A wide range of commands are included within these protocols, including transport control, channel and plug-in parameters, and various global commands. Other MIDI devices can be controlled using standard Continuous Controller (CC) MIDI messages, which are generated by the Matrix channel faders, encoders and switches when the ‘CC’ protocol is selected. Each DAW layer also supports up to 5 sets of programmable Soft Keys (see Chapter 6). These can be programmed with either DAW specific MIDI commands or keyboard shortcuts. The combination of these two control protocols provides a powerful and practical method to achieve tactile control of a workstation or editor.

This chapter describes how the Matrix console employs these control protocols, introducing the front panel controls elements of the interface which are not standard to the protocols. For descriptions of the specific functions contained within these protocols and the standard controls associated with them, please refer to the MIDI Controller section of your DAW’s operation manual.

his control data is received via networked MIDI connections, using one of two standard MIDI control surface protocols: HUI

For DAW software other than Pro Tools, Logic, and Cubase/Nuendo please refer to their operational documentation to confirm which protocol they support.

and covering any

This chapter presumes that the appropriate default Profiles have been assigned to the DAW layers, as described in the layer configuration section of Chapter 1.

LLaayyeerrs

Matrix can connect to up to four DAW’s or software MIDI devices, one from each of four virtual ‘layers’. Each layer can be assigned to use a particular ‘Profile’. Selecting a Profile will assign the layer to use one of the three control protocols and load a set of Soft Key assignments, which can be customised to suit your operational needs. This is covered in more detail in Chapter 6. Control operations performed on the Matrix control surface will then affect whichever program is assigned to the currently selected layer.

MMaattrriixx CCoonnssoollee LLaayyeerr SSeelleeccttiioon

The layers are assigned and configured in the Matrix Remote’s DAW tab, as described in Chapters 1 and 6. However, selecting a layer in the Remote does not select that layer on the Matrix console. The layer which is being controlled from the Matrix console is selected using the DAW LAYER SELECT buttons, located in the Matrix centre section, below the digital scribble strip (shown right). The selected button lights to indicate that it is active. Layer 1 is active when none of the buttons is lit. If you wish to use Layer 1 and another layer is selected, press the lit button to return to Layer 1.

Note that the DAWs or MIDI devices do not have to be on the same computer.

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In order to provide the analogue routing and DAW control capabilities of Matrix 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 meter the analogue signal in Analogue Focus mode but replicate the DAW track metering in DAW Focus mode.

Note that it is possible to lock the meters to either the analogue channel or DAW track signals regardless of the console’s Focus mode. This is done via the Meter menu in the SSL soft keys. See Page 43 for more details.

Matrix’s mode is selected and indicated by the large light-blue 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 switches between Focus modes. It is lit to indicate Analogue Focus, and unlit to indicate DAW Focus.

Normally the console master fader controls the main mix level in Analogue Focus or the main output level in DAW Focus if the active DAW layer uses the MCU Protocol (the HUI protocol does not support a master fader). The MF FOCUS button, located above and to the right of the main fader (shown right), allows one channel fader from the opposite Focus mode to appear in place of the master fader:

When in DAW Focus mode with MF FOCUS selected, pressing the upper (analogue) SEL button in any channel assigns the master fader, along with its CUT and SOLO buttons, to that analogue channel.

When in Analogue Focus mode with MF FOCUS selected, the master fader controls whichever DAW track is currently selected in the DAW. The master fader can therefore be assigned to a different DAW track using the lower (DAW) SEL buttons. The

BANK and CHANNEL keys can be used to access DAW channels outside the current set of channels assigned to the 16 fader

strips. See Page 70 for details.

Pressing the IN-LINE button, located in the V-POTS MODES area of the centre section, allows both DAW and analogue faders to be active in the same Focus mode by reassigning control of the faders from the currently inactive mode to the V-Pots below the digital scribble strip. See Page 66 for details.

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A number of the parameters within the tracks of your DAW can be controlled using the lower section of the Matrix channel strip. The Matrix controls which can be used in this way include:

- The blue shaft encoder located below the digital scribble strip, called the V-Pot,

- The momentary switch in the centre of the blue pot, called the V-Sel,

- The CUT, SOLO and SEL buttons located beneath the blue pot,

- The channel fader.

The functions of the V-Pot, V-Sel button and SEL button are defined by the protocol-specific assignment soft keys. Additional options and modes are available via V-POT MODE and SEL KEY buttons described on Pages 66 and 67.

When in DAW Focus mode, the channel CUT button mutes the DAW track which that channel is currently controlling, and the channel SOLO button solos the DAW track which that channel is currently controlling. The CUT and SOLO buttons light when pressed to show that they are active, just as in Analogue Focus mode. The presence of a solo button within the DAW tracks is indicated by the CUT buttons on all unsoloed tracks flashing, and by the SOLO LED to the to the left of the 2-digit Mode display also flashing.

Please note that there are two SEL buttons in the Matrix channel. The other SEL button is located further up the channel strip, above the digital scribble strip, and is concerned with the desk’s analogue routing, not DAW control.

Note that in DAW mode, the channel SOLO mode is defined by the DAW, and that the analogue and DAW solo functions have separate centre section solo indicators.

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The bottom row of the scribble strip is associated with the V-Pot located beneath the scribble strip. When Matrix is assigned to a layer controlling a DAW, the bottom row of the scribble strip displays either the name or the value of the parameter controlled by the V-Pot. When controlling Pro Tools, the scribble strip only displays the name of the V-Pot. For DAWs controlled via the MCU protocol, please refer to their control surface documentation for full details of their scribble strip displays and messages.

In order to cater for variations in the ways MCU DAWs return channel data, there is a Flip Scribble Strips box in the DAW tab of the Remote, located to the right of the Edit Profiles button. This switches the two rows of the scribble strip, allowing Nuendo labelling to follow the Logic format. Flip Scribble Strips is enabled for the Nuendo default Profile and disabled for the Logic default Profile. For other MCU DAWs, the labelling format described in their control surface documentation will enable you to ascertain whether or not to activate this function.

See Page 92 for a description of the scribble strip in CC layers.

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The channel V-Pots can function in a number of different ways, as controlled by the V-Pot mode keys mapped to the soft keys in the DAW Profile assigned to the current layer. Each of the default Profile contains a full set of V-Pot mode keys mapped to the default soft key set. These master keys allow the V-Pots to control a variety of workstation console functions including panning, sends and plug-in parameters. When using the MCU protocol, the 2-digit Mode display next to the timeline counter provides

dditional user feedback on V-Pot modes.

V-Pot mode functionality will be fully described in the control surface documentation supplied with the DAW.

Each V-Pot is surrounded by a circular 11 segment parameter value indicator with a red LED immediately underneath the V-Pot to indicate default value settings or the state of the integral V-Pot switch. Full information will be found the DAW control surface documentation.

As well as the modes defined by the DAW protocol, Matrix offers additional V-Pot functionality via the four console V-POT MODES keys, located above the Utility and Navigation areas of the Matrix centre section. Each of these buttons lights to indicate when they are active, with normal operation indicated when no lights are on.

Flip Mode

The FLIP button sends the MCU Flip command or the HUI Shift command, allowing certain function on the V-Pots to be controlled by the faders. In Pro Tools, the FLIP function allows send levels to be controlled from the channel faders with the channel V-Pot, CUT and SOLO buttons controlling additional send functions, including panning on stereo sends and the send mute function. The send slot being controlled is displayed in the top row of the digital scribble strip.

When controlling a DAW via the MCU protocol, the FLIP function interchanges or duplicates most V-Pot parameters on to the faders including plug-ins and Instruments – full details will be found in your DAW control surface documentation.

IN-Line Mode

IN-LINE assigns the V-Pot to control either the analogue channel output level or the DAW track level depending on the current

console Focus mode, replacing the current function assigned to the V-Pot: In DAW Focus mode, the channel fader controls the DAW track level and the V-Pot the analogue channel level, whereas in Analogue Focus mode, the channel fader controls the analogue channel level and the V-Pot controls the DAW track level.

With IN-LINE mode enabled, the top row of the digital scribble strip contains the fader labels and the bottom row the V-Pot labels. With neither V-SOLO nor V-MUTE active, the V-Sel button swaps the function of the fader and V-Pot within that channel. This swap is indicated by the Track and Channel labels reversing position.

The last two V-POT MODE keys determine the function of the V-Sel switches when IN-LINE is active. The channel CUT and

SOLO buttons are always linked to the channel fader, whether it is in Analogue or DAW Focus mode. If V-SOLO is selected,

the V-Sel switch becomes the solo button for the signal, which is being controlled by the V-Pot. Similarly, if V-MUTE is selected, the V-Sel switch becomes the mute switch for the signal which is being controlled by the V-Pot. In either mode, the red LED beneath the V-Pot lights to indicate that the V-SOLO or V-MUTE function has been activated.

V-MUTE and V-SOLO intercancel. A second press on the active mode swich returns the V-Sel switches to channel swap

function.

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The Matrix offers additional the Matrix centre section, located above the Utility keys. Each of the SEL KEY buttons lights to indicate when it is active. There are four SEL KEY modes:

In Default mode, active when no other mode is selected, the channel DAW SEL buttons select the corresponding track within the DAW. The SEL symbols at the top of the channel meters light to indicate which track (or tracks) have been selected.

DAW control

functionality via the SEL KEY area of

Rec Arm Mode

In REC ARM mode, each SEL button arms and disarms the corresponding DAW track’s record ready function. The REC symbols at the top of the channel meters flash to indicate which tracks are record-armed.

Plug-in Mode (Pro Tools Only)

PLUG-IN mode allows you to control the parameters of your Pro Tools track’s plug-ins from the Matrix front panel. In this

mode, the V-Pots, V-Sels and the digital scribble strip no longer control DAW track function, but emulate the dedicated HUI plugin controller. This consists of four encoders with integral switches, a two-line 40-character parameter display, plus additional switches to assign and control the plug-ins within a Pro Tools channel strip.

Note that the alignment of some of the labels in the digital scribble strip is approximate.

Full details of HUI plug in control can be found in the Pro Tools MIDI Control Surfaces guide. The following description provides a brief overview of the functionality.

With PLUG-IN mode enabled, the channel DAW SEL keys can select and indicate the channel currently selected to the plugin editor.

Note that due to changes in recent Pro Tools software (V7.0 and above) selecting a channel via the SEL keys only works for tracks assigned to faders 1 to 8. It is often easier to select the plug-in by clicking on send slot in the mixer page. This will automatically assign the plug in to the Editor and open the plug-in window on screen.

The track selected to the PLUG-IN controller is displayed in the top half of the digital scribble strip above channels 9-16. The

Edit symbol in the top right hand corner of the channel’s meter area (shown above left) also lights to indicate that one of its sends

is being edited.

V-Sel 16 switches between

IInnsseerrtt

plug-in to be controlled.

IInnsseerrtt MMoodde

V-Pot 16 scrolls between the

of the scribble strip. In the

IInnsseerrtt 55

Channel 15’s V-Sel button switches is on. In Pot indicating how far through the list you have scrolled. Once the desired plug-in has been located, it can be assigned to the track insert by pressing the associated V-Sel button.

AAssssiiggnn

mode is used to select which insert ( 1- 5) is being configured, and

page, Insert 5 is accessed via V-Sel 9. The selected insert label will flash to indicate that it has been selected.

mode, the V-Pot for each insert scrolls through a full list of available plug-ins, with the LEDs around the V-

IInnsseerrtt

IInnsseerrttss 11--44

PPaarraamm

and

AAssssiiggnn

mode, and the red LED below the V-pot lights to indicate

PPaarraamm

page and the

page, Inserts 1-4 can be accessed by pressing V-Sels 9, 11, 12 and 14. In the

mode on and off, and the red LED below the pot flashes when

IInnsseerrtt 55

page. The current page is indicated in the top row

allows the parameters of the selected

PPaarraamm

AAssssiiggnn

mode.

mode

Matrix Owner’s Manual

Chapter 5 - DAW Control

PPaarraamm MMoodde

Param mode, activated either by pressing V-Sel 16 or by pressing any of the inserts which are currently assigned, brings the parameters of the plug-in on the currently selected track insert into the plug-in editor. The plug-in parameters are accessed using V-Sels and V-Pots 9, 10, 11 and 12. The upper row of the scribble strip displays any parameter switch options controlled by the

-Sels, and the lower row on the scribble strip displays the parameters controlled by the V-Pots. In

scrolls between the pages of plug-in parameters. When a new page is accessed, the current page is displayed momentarily (along with the number of parameter pages) in the top row of the scribble strip, in Channels 9 and 10.

V-Sel 7 and 8 are always assigned to the

BByyppaassss

CCoommppaarree

and

PPaarraamm

functions of the plug-in.

ode, V-Pot 16

Auto Set Mode

AUTO SET mode allows you to change the automation status of the DAW

V-Pots have no function and the V-Sels no longer control their corresponding DAW track.

For MCU DAWs, AUTO SET assigns the four Logic MCU automation commands to V-Sel switches 1-4, repeating them on VSels 9-12. These modes are labelled on the bottom row of the scribble strip directly above the V-Pot. The Automation Mode on the currently selected channel will be indicated by all the indicator LEDs illuminating around the V-Pot whose V-Sel switch corresponds to the active automation state. To change mode, simply operate the V-Sel switch for the new mode. Selecting the OFF state from an active mode requires the READ switch to be selected twice. Use the appropriate global modifier key in conjunction with the V-Sel switch to toggle the automation state of all tracks.

Note the above explanation refers to changing automation modes in Logic. AUTO SET may not be fully supported by other MCU controlled DAWs. Please consult the relevant documentation to determine if automation control supports the same controller codes as Logic.

tracks via the console V-Sel switches

. In this mode, the

In Pro Tools, AUTO SET functions as follows:

When AUTO SET is pressed, the bottom row of the digital scribble strip for Channels 1-6 and 9-14 displays the Pro Tools automation modes, while the top row of the digital scribble strip displays the currently active Pro Tools track names. When a channel’s DAW SEL key is pressed, the track name in the scribble strip is replaced by a display of that track’s current automation mode. The track’s automation mode can now be altered by pressing the V-Sel buttons below each of the automation mode labels.

You will notice that the red AUTO LED above that channel strip indicates the automation status of the DAW track in that channel: the LED flashes when any of the write modes are selected and stays lit when a track is actively writing automation data. The green AUTO LED indicates if the trim state has been selected for any of the write modes (Pro Tools HD only).

Either set of V-Sel buttons (i.e. those found in Channels 1-6 or 9-14) can be used to set the automation mode on any active DAW track. The automation mode on a range of tracks can be set together by selecting multiple SEL keys. This is done by holding the left-most DAW SEL key and pressing the right-most SEL key within the desired selection. In AUTO SET mode, the channel faders retain their control of the DAW track faders and the mode can safely be left enabled in order to change state whilst Pro Tools is in Play.

Note that in Pro Tools, automation of send level and pan functions can be accessed by pressing AUTO SET while in

FLIP mode (see Page 66).

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ARTIST

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Chapter 5 - DAW Control

TTrraannssppoorrtt CCoonnttrroolls

Your DAW’s transport can be controlled from the five dedicated transport buttons on Matrix control surface, located at the bottom of the centre section:

equivalent function in the default Profiles for other DAWs, as detailed in the function map in Appendix A. The function assignments of these buttons can be edited via the Transport/Utility page of the Soft Key Set area in the DAW tab, described on Page 89.

You will find definitions of these transport functions in your DAW’s

PREVIOUS, NEXT, and LAST CUE which function as follows:

Note that these functions are Pro Tools specific.

- PREVIOUS, located to the left of the top row, takes the cursor to the timeline marker numbered one lower than that which was last selected using the PREVIOUS and NEXT buttons.

- NEXT, located to the right of PREVIOUS, takes the cursor to the timeline marker numbered one higher than that which was last selected using the PREVIOUS and NEXT buttons.

- LAST CUE, the middle button in the top row, returns the cursor to the marker last selected using the NEXT button.

The large buttons at the bottom of the transport area, with the exception of the button marked ARTIST, operate the rewind, fast forward, stop, play and record, functions in the same way as the DAW’s own on screen transport keys.

Above these large buttons are two rows of five smaller buttons which control more advanced transport functions such as marker navigation and nudging. These are labelled for use with the Pro Tools Profile, and are mapped to the nearest

control surface documentation

, with the exception of

For example, if the marker previously selected using these buttons was Marker 4, PREVIOUS would move the cursor to Marker 3, NEXT to Marker 5, and LAST CUE back to Marker 4. On session startup, pressing any of these buttons will take the cursor to Marker 1.

These additional transport functions appear in the HUI MIDI CMDS list in the DAW tab as Next Marker, Prev Marker, and Last Marker respectively.

The internal Matrix marker counter can be reset using the Reset Marker soft key found in the HUI MIDI CMDS list in the

DAW tab (see Page 85).

SSeessssiioonn CCoouunntteer

The counter for the DAW timeline is shown in the numeric display above the digital scribble strip in the centre section.

The two digit mode display to the left is used only by MCU DAW’s that support it. The larger counter to the right displays whichever counter format is selected in the DAW, The format is indicated using the LEDs to the right of the counter.

Matrix Owner’s Manual

Chapter 5 - DAW Control

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62 8 11

RIGHT

ON SOLO

SolidStateLogic Matrix

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Note that when using Logic, the tracks in the session may not appear on Matrix in the order that they are displayed in

he ARRANGE WINDOW unless the ARRANGE Channel Strip View mode is selected in the Logic control surface

t set up menu.

Note that the DAW analogue inputs to Matrix are fixed. Cycling through the DAW tracks will therefore result in any physical alignment of the tracks in the DAW and the analogue returns to Matrix to be lost.

The Modifier keys (SHIFT, CTRL, OPT/ALL and are protocol-specific and are shown on the front panel with their default HUI labels. In addition to these buttons there are two further utility buttons, SAVE and UNDO, located to the right of the main session counter. These simply replicate the DAW Save and Undo functions.

The functions assigned to these keys in the Pro Tools, Logic and Nuendo/Cubase default Profiles are listed in the function map in Appendix A and can be changed using the DAW Profile tab in the Matrix Remote.

Note that some of these keys will not function with some DAWs.

Above the transport controls, there are another two rows of five buttons:

he BANK cursors cycle through the tracks in the DAW session 16 at a time. The

CHANNEL cursors cycle through the tracks in the DAW session one at a time.

/ALT) as well as the ESC and ENTER keys

⌘

NNaavviiggaattiioonn CCoonnttrroolls

Matrix’s navigation controls can be used to navigate around the DAW transport monitoring functions such as Scrub and Shuttle (HUI only) wheel in the bottom right hand corner of the console with four mode buttons above it, and the five buttons above them known as Cursor keys, comprising four directional keys and a central MODE selector.

The navigation wheel performs a number of different functions, depending on which mode has been selected using the four mode buttons above the wheel.

For DAW’s controlled via the MCU protocol, the default mode of operation for the wheel is to scroll the timeline through the session. JOG mode selects the MCU SCRUB mode to audibly monitor tracks by ‘scrubbing’ them in the timeline. TRACKS re-assigns the wheel to scroll the Matrix faders through all the tracks in the session. It is provided as an alternative to the utility

BANK and CHANNEL keys (see above). SHUTTLE and NUDGE are not supported.

When controlling Pro Tools, with no Mode selected, the Wheel will also scroll through the session timeline with a resolution and speed derived from the Timeline display format in use. Selecting NUDGE allows timeline control using the current ‘nudge’ value and can also be used to nudge a selected clip(s). JOG and SHUTTLE engage the corresponding Pro Tools functions as detailed in the Pro Tools Control Surfaces manual. However please note that a number of Pro Tools functions are disabled when either JOG or SHUTTLE are active. To exit a mode, either deselect the function or press the transport Stop key. TRACKS re-assigns the wheel to scroll the Matrix faders through all the tracks in the session. It is provided as an alternative to the utility

BANK and CHANNEL keys.

session and to enable additional

. They consist of the large navigation

The Cursor keys perform a number of DAW specific operations in conjunction with the MODE key located in the centre of the Cursor key group. Note that MODE function is a single level control in the MCU protocol and has two levels of operation in the HUI protocol, indicated by the MODE button being lit steady-state or flashing.

Matrix Owner’s Manual

Chapter 5 - DAW Control

DDeeffaauulltt PPrrooffiillee SSoofftt KKeeyy AAssssiiggnnmmeenntts

Soft Key Overview

n the main control section of the console is a two row LCD display with 8 switches above and below. All of these 16 ‘Soft Keys’

I can be programmed to send ‘Menu’ keys for the lower row of switches, Up to 5 sets of Soft Keys can be stored with each Profile. The default Profile for each protocol includes a suggested set of keys for the top, or Default, set. The remaining four sets are empty. The assignments for the default layer is described below for each of the default Profiles. Chapter 6 describes how to customise the Soft Key assignments to suit your own needs.

PPrroo TToooollss DDeeffaauulltt PPrrooffiille

either DAW specific MIDI commands or keyboard shortcuts. The top row can also be programmed to act as

Main Soft Key Page

The top row of the main soft keys page contains 5 menu selections to access additional commands: V-Pot modes ( Automation Enable ( are HUI commands, with the exception of function. The HUI functions are between the four Edit modes: Shuffle, Spot, Slip and Grid.

AutoEn

), I/O assignment (

EdTools

I/O

), Editing (

LnkT/E

which cycles the through the various Pro Tools Edit tools, and

Edit

) and a set of miscellaneous functions (

which is the keyboard short cut to enable/disable the Link Edit/Timeline

Misc

). The additional keys

EdMode

V-Pot

which toggles

The lower row of the main soft key page contains eight HUI functions:

Edit, Mix, Trans, MemLoc

- Edit

- Trans

- MemLoc

- PlugIn

Dfault

AutoS

activates the Suspend Automation function.

RecRdy

Enable function on all armed tracks. If no tracks are currently armed, the

and

opens or closes the Transport window.

opens or closes the Memory Locations window.

opens or closes the floating window for the currently selected plug-in.

in conjunction with the channel DAW SEL or V-Sel switch, returns the faders and V-Pots to their default settings.

is a multifunction key which flashes if any tracks have been Record enabled. Operating the key will then cancel the Record

and

Plugin

Mix

bring the named window to the foreground.

are window switches, which control Pro Tools on-screen displays:

RecRdy

key will record enable all tracks in the session.

Matrix Owner’s Manual

Chapter 5 - DAW Control

The V Pot Menu

The first six keys, strip label above the V-Pot will display the selected function. If pan pot of any stereo tracks controlled from the Matrix channel strips to the V-Pot. This is indicated by in the lower scribble strip row above the V-Pots.

Mute

and

Assign

for the Send to controlling the Send mute function. list of the available Pro Tools I/O and busses. These labels replace the track name in the upper row of the scribble strip. Routes are made via the V-Sel switch.

Further information will found in the Pro Tools MIDI Control Surfaces guide which can be down loaded from the Digidesign website.

Pan

and

Send A – E

are used when a Send is assigned to the V-Pots.

, determine whether the V-Pots are controlling the pan function or a Send level. The scribble

Assign

initiates Send routing. When active, the V-Pot will scroll through a

Pan

is enabled, a second operation will assign the right channel

PPAANNRR

Mute

flips the V-Sel switch from controlling the Pre/Post source

being displayed

The AutoEn Menu

These switches globally enable automation for the fader ( (

Plugin

). These correspond to the same Automation Enable functions that can be viewed in Pro Tools Automation Enable

Window.

Fader

), mute (

Mute

), pan send (

Pan

), send mute (

SMute

) and plug-in

The I/O Menu

Assign

the current track input or output label replaces the track label in the upper scribble strip, depending on whether is selected. The V-Pots will scroll through all available sources or destinations and a new route can be confirmed via the V-Sel switch.

in conjunction with

Matrix Owner’s Manual

Input

Output

uses the V-Pots to control track input and output routing. When

Assign

Input

is active,

Output

The Edit Menu

Chapter 5 - DAW Control

MarkIn

Out marks.

The remaining five functions are the standard Pro Tools Edit commands (

and

MkOut

mark In and Out edit points during playback.

In>Out

sends the keyboard short cut to play between the In and

Seper

is the Separate function).

The Misc Menu

Auto

displays the current track automation mode in the upper row of the scribble strip, replacing the track names.

Mon

displays the track Input Monitor mode in the upper row of the scribble strip, replacing the track names.

Group

displays the track Group Status in the upper row of the scribble strip, replacing the track names with the Group ID letter. A lowercase letter indicates the channel is a member of one group; an uppercase letter indicates the channel is a member of multiple groups, with the topmost group ID displayed.

Create Create

name and ID. Alternatively enter a new name/ID via a standard USB keyboard.

opens the New Group Dialogue on screen. Select the tracks to be grouped via the DAW SEL keys prior to using the function. Then press the ENTER key in the Transport/Utility area of the centre section to accept the default group

Suspnd

enabled, the switch tally flashes.

ClrPk

Fixed

to control a plug-in. Default mode is Velocity sensitive.

Status

temporarily suspends all Mix groups. Pressing this switch again returns to the previous Group status. When

is the HUI F1 function key and clears the Matrix and on-screen meter clip indicators.

is the HUI F5 function key and toggles the V-Pot encoders between Fixed and Velocity sensitive modes when they are used

brings the Session Setup menu on Screen.

Suspnd

Transport/Utility Keys

All the standard HUI utility and additional transport functions are assigned to their respective front panel keys. PREVIOUS,

NEXT and LAST CUE are SSL derived function keys that are used to recall Pro Tools memory locations, and are described on

Page 69.

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Chapter 5 - DAW Control

LLooggiicc DDeeffaauulltt PPrrooffiille

Main Soft Key Page

Mixer

is a keyboard shortcut that activates the Mixer tab in the Arrange window.

AView

is a keyboard shortcut to display track automation in the Arrange window.

TkZoom

Func

Marker

will be found in the on line Logic Pro 8 Control Surfaces Support manual in the Logic Help Menu.

SMPTE

Delete

is a keyboard shortcut that selects the track Auto Zoom function in the Arrange Window.

is a Menu key which assigns the lower soft key row to the eight Logic Function keys, F1 to F8.

and

Nudge

activate V-Pot controlled menus for setting and locating to Markers and to nudging selected clips – full details

toggles the Matrix timeline display between Bar/Beats and a HH:MM:SS:FF timecode readout.

sends a standard Keyboard Delete command.

VV--PPoott MMooddees

A set of six bottom-row keys determine what Logic Mixer parameters are controlled via the V-Pots. The keys toggle through two options for V-Pot control:

Normally the first operation of a V-Pot mode soft key assigns a single parameter to the V-Pots (mixer view), which applies to all 16 tracks controlled from the Matrix Channel strips. Additional parameters can be selected using the Up and Down cursor keys above the jog wheel.

A second operation of the switch selects a ‘channel strip’ mode with a number of parameters for a specific function for the currently selected track controlled via the V-Pots. Both upper and lower scribble strips will display parameter information, replacing the track names, and the appropriate parameter window will be brought to the foreground on screen. A subsequent operation of the V-Pot mode soft key will cancel the ‘channel strip’ mode, close any on screen pop up, and return to the initial single parameter ‘mixer view’.

If a V-Pot mode soft key is held down instead of being released, then a further option menu is displayed. The V-Sel switches are used to select one of the displayed options.

The 2-digit Mode indicator to left of the centre section timeline display provides additional information on the current V-Pot target.

Track

selects the logic Channel View. Most channel strip functions can be accessed and controlled from the V-Pots via the option

menu displayed when

PanSur

assigns the V-Pots the panning parameters, including surround panning if required.

Track

is held down.

Send

allocates V-Pot control to the mixer sends. The cursor keys function as send number up/down keys. Alternatively, if you

are using the Channel View option, the first eight sends of the selected track are controlled via the V-Pots.

Matrix Owner’s Manual

Chapter 5 - DAW Control

allows direct V-Pot control of a Channel or Linear Phase EQ inserted in a track. If no Channel or Linear Phase EQ is present

on the currently selected channel strip, a Channel EQ is inserted automatically when you enter EQ Channel view. The EQ option

ode offers additional control options including the ability to simultaneously control gain and frequency of the eight EQ bands

m via the Matrix faders and V-Pots.

Plugin

Instr

parameters edited in this mode.

gives V-Pot control of any plug-ins inserted in the tracks.

provides V-Pot control of the Instruments assigned to Logic Instrument tracks. Instruments can be assigned and their

M/VALtoggles the lower Scribble strip labels between displaying the function name or value currently assigned to the V-Pots.

The above is very simple overview of some of the capabilities of the Logic V-Pot mode keys; The Logic Pro 8 Control Surfaces Support manual provides a wealth of information on additional control options available via the above six function keys.

Transport/Utility Keys

The Logic Default Profile Transport/Utility soft keys are mapped as follows:

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TTrraannssppoorrt

RTZ END LOOP ONLINE PUNCH PREVIOUS NEXT LAST CUE NUDGE NUDGE +

LLooggiicc FFuunnccttiioon

Stop Stop

Cycle

Drop USB USB

USB USB

UUttiilliitty

SHIFT OPT/ALL CTRL

/ALT

⌘

ESC

ENTER

SAVE UNDO

FOOT 1 FOOT 2

Shift Option Control

Alt

USB Enter

Save Undo

Play Foot Switch Record Foot Switch

Matrix Owner’s Manual

Chapter 5 - DAW Control

NNuueennddoo DDeeffaauulltt PPrrooffiille

Main Soft Key Page

Read

and

Write

control the automation status of the currently selected track in the Nuendo Mixer. Global automation status can

be changed by using the SHIFT key in conjunction with the

Prject

, and

Mixer

open and close their respective on screen windows.

Insert, EQ, FxSend

Mixer track to the V-Pots. The The fifth parameter function, Pots. The scribble strip labels between parameter names and values.

SMPTE

SolDef

PageDn

switches the Timeline counter between Bar/Beats and the current Nuendo Timecode format.

cancels all active Solo selections on the Nuendo Mixer channels.

, and

and

Instrm

PageUp

are intercancelling function keys which assign the chosen parameter group for the selected

PageDn

Pan

soft keys flip the V-Pots between the front and rear panning modes.

and

PageUp

, selects the pan function for the 16 tracks controlled from the Matrix Channel strips to the V-

soft keys navigate through the available parameter pages in the selected group.

Read

and

Write

keys.

Edit

opens the Channel Settings window.

Nm/Val

toggles the V-Pot

Add

places a Marker at the current timeline position in the Project.

Matrix Owner’s Manual

Chapter 5 - DAW Control

Transport/Utility Keys

The Nuendo Default Profile Transport/Utility soft keys are mapped as follows. Equivalent Nuendo MCU functions are used where applicable. Otherwise keyboard shortcuts are used to provide equivalent operational alternatives.

KKeeyy TTyyppe

TTrraannssppoorrt

UUttiilliitty

RTZ END LOOP ONLINE PUNCH PREVIOUS NEXT LAST CUE NUDGE NUDGE +

SHIFT OPT/ALL CTRL

/ALT

⌘

ESC ENTER

SAVE UNDO

NNuueennddoo//CCuubbaasse

USB

Cycle USB Punch Previous Next

USB USB

Shift

USB

USB USB

Save Undo

FOOT 1 FOOT 2

Further useful information will be found in the Mackie Control and Nuendo manual from Steinberg.

Play Foot Switch Record Foot Switch

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Chapter 5 - DAW Control

CCCC ((CCoonnttiinnuuoouuss CCoonnttrroolllleerr)) DDeeffaauulltt PPrrooffiille

Snap

takes a snapshot of the current values of the Matrix faders, V-Pots and switches.

Rest

resets the Matrix faders, V-Pots and switches to the values saved in the last snapshot and sends these as MIDI data to the

Workstation.

Refrsh

sends the current positions and state of Matrix faders, V-Pots and switches as MIDI data to the Workstation.

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Auto T

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Chapter 6 - DAW and CC Configuration

CChhaappttee rr 66 ––

DAW and CC Configuration

n this chapter, we will examine how the default DAW Profiles covered in Chapters 1 and 5 can be customised, focussing on the

I configuration of the four DAW control layers and associated soft keys Controller) layers for the control of MIDI devices. Layers and soft key assignments for both DAW and CC layers are stored on the SD memory card in the rear of the console, and are configured in the DAW tab in the Matrix Remote:

. We will also cover the configuration of CC (Continuos

Note that the programming described in this chapter is part of the global configuration of Matrix and is therefore not stored within specific Titles.

Note also that instructions for the initial configuration of your DAW layers can be found in Chapter 1.

MMaattrriixx CCoonnssoollee LLaayyeerr SSeelleeccttiioon

The layers are defined and configured in the Matrix Remote’s DAW tab, as described below. However, selecting a layer in the Remote does not select that layer on Matrix console. The layer which is being controlled from the Matrix console can then be selected using the DAW LAYER SELECT buttons, located in the Matrix centre section, below the digital scribble strip (shown right). The selected button lights to indicate that it is active. Layer 1 is active when none of the buttons is lit. If you wish to use Layer 1 and another layer is selected, press the lit button to return to Layer 1.

MMaattrriixx RReemmoottee LLaayyeerr SSeelleeccttiioon

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 to top. All other functions in this tab, with the exception of the Transport Master selection, are specific to the selected layer.

Matrix Owner’s Manual

Chapter 6 - DAW and CC Configuration

AAssssiiggnniinngg DDAAWW LLaayyeerrs

SSeelleeccttiinngg PPrrooffiillees

n order to use a DAW layer, you must first load a Profile onto it.

A Profile defines which control protocol (HUI, MCU or CC) is used to control the DAW or MIDI device, and also includes its own five sets of soft keys set up for a specific DAW program. There are four

- A HUI Profile configured for Pro Tools,

- An MCU Profile configured for Logic,

- An MCU Profile configured for

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

These Profiles provide starting points for the creation of more personalised Profiles. They include only basic soft key assignments, allowing plenty of space for the user to configure their own Profiles. Profiles for other DAW packages can also be created from the default Profiles, using the Pro Tools default Profile for DAWs that support the HUI interface, and the Logic default Profile for DAWs that conform to the MCU protocol. Note that the default Profiles themselves cannot be edited. Profiles are personalised by creating default Profile copies which can then be edited, as described on the following pages.

The soft key assignments included in the default Profiles are described on Pages 71 to 77 and the full list of functions available within each protocol can be found in Appendix A.

Nuendo/Cubase,

default Profiles supplied with Matrix

Profiles are selected and managed using the Profile Setup area, found in the top left corner of the DAW tab. The four default Profiles are listed in the drop-down

Selected Profile menu, along with any derivatives of them which you have

created (see below). By default, Matrix layers contain no preassigned Profiles. The user must therefore select a Profile before the system can control a DAW.

If the Profile you select uses a different protocol than that currently assigned to the layer selected in the Remote, or if the layer previously contained no Profile, a pop-up will appear asking you to restart the Matrix console. Press OK.

Note that further Profile selections can be made before performing this restart. However, a number of functions within the DAW tab will be locked out until the restart it complete.

Once all the necessary Profiles having been assigned to the required layers, cycle the power to the Matrix console to perform the restart.

Note that, depending on the complexity of your setup, you may need to re-find Matrix in the Remote after the restart. This is described on Page 10.

In order to cater for variations in the ways MCU DAWs return channel data to the digital scribble strip, there is a Flip Scribble

Strips box in the DAW tab of the Matrix Remote, located to the right of the Edit Profiles button. This switches the two rows

of the scribble strip, allowing Nuendo labelling to follow the Logic format. Flip Scribble Strips is enabled for the Nuendo default Profile and disabled for the Logic default Profile. For other MCU DAWs, the labelling format described in control surface documentation will enable you to ascertain whether or not to activate this function.

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Chapter 6 - DAW and CC Configuration

CCrreeaattiinngg PPrrooffiillees

o create a new Profile, press Edit Profiles to bring up the Profile Editor pop-up:

Select the Profile which you wish to use as a starting point and press Copy. Type a name for the new Profile into the Copy

Profile pop-up which appears, and press OK:

After a moment, the new Profile will appear in the Profile list in the Profile Editor. In order to ensure that the underlying protocol of a Profile (HUI, MCU or CC) is not forgotten when it is not present in the Profile name, the selected Profile’s protocol is indicated at the bottom of the pop-up, as well as underneath the Selected Profile in the Profile Setup area of the main

DAW tab.

Press OK to exit the Profile Editor.

You can now select the new Profile using the layer selection and Profile selection functions described on the previous pages.

There is a second way to create your own Profile, using the Save As button in the Soft Key area which makes up the bottom half of the DAW tab:

First select the Profile you want to use as a starting point and assign it to a layer, as described on the previous pages.

Press the Save As button below the Edit Profiles button to bring up the Save Profile As pop-up. Type a name for the new Profile into the pop-up and press OK. After a moment, the new Profile will be created and become active in that layer. In order to ensure that the underlying protocol of a Profile (HUI, MCU or CC) is not forgotten when it is not present in the Profile name, the selected Profile’s protocol is indicated underneath the Selected Profile in the Profile Setup area of the main DAW tab.

DDeelleettiinngg PPrrooffiillees

To delete a Profile, press Edit Profile to bring up the Profile Editor pop-up, select the Profile which you wish to delete, and press Delete. Press OK in the warning pop-up which appears, and after a moment the Profile will disappear from the list in the pop-up. Press OK to exit the Profile Editor.

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To rename a Profile, press Edit Profile to bring up the Profile Editor pop-up and select the Profile which you wish to rename. Press Rename to bring up the Rename Profile pop-up. Type a new name for the Profile into the pop-up and press OK. The Profile’s name will change in the Profile list in the Profile Editor.

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o back up a Profile or export it for use in another Matrix Remote, press Edit Profile to bring up the Profile Editor pop-

T up, select the Profile which you wish to back up, and press Backup. In the pop-up which appears, edit the name and destination of the file if necessary, and press Save. Your Profile will be exported as a .zip file.

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To restore a Profile from back-up or import a Profile created in another Matrix Remote, press Edit Profile to bring up the

Profile Editor pop-up and press Restore. In the pop-up which appears, locate the Profile .zip file you wish to restore and press Open. The restored Profile will appear in the Profile list. If the Profile name already exists the restored filename will be appended

with numeral to distinguish it from any parent Profile of the same name. You can now rename the Profile as described above.

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The Disable Handshake box below the Edit Profiles button in MCU layers will only be of use in systems where there are multiple MCU layers in use, and where these layers include both Logic and other MCU programs. Checking this box stops MCU programs from handshaking with each other via Matrix, preventing Logic from scanning for external controllers and subsequently creating ghost controllers of any other MCU programs.

Note: The console must be restarted if the Disable Handshake status is changed for a Profile before the change will take effect

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Normally Matrix will output transport commands to whichever DAW is assigned to the currently selected layer. However, if you are controlling more than one DAW, there may occasions when the Transport controls need to be locked to a specific DAW which is acting as the master timeline for any other DAWs being controlled.

This is done by selecting the layer containing the master DAW within the Transport

Master area of the Remote’s DAW tab. The selected transport master becomes

active as soon as it has been selected and will always receive commands generated by the five primary Transport keys, the ten soft keys located directly above the main Transport keys and the Navigation wheel and mode switch.

If None is selected within the Transport Master, Matrix will output the transport controls to the DAW on the currently selected layer.

Note that a DAW Transport master is not required when controlling multiple DAWs that are connected as ‘ReWire’ slaves to the Master DAW.

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The soft key area of the desk is located below the counter

isplay in the centre section, and comprises 16 buttons

d above and below the digital scribble strip which runs across the whole desk:

here is a vast array of functions which can be assigned to

T these buttons, and the scribble strip in between them indicates what functions are currently assigned to them: the upper row of the display refers to the row of buttons above it, and the lower display to the row of buttons below it.

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There are two types of message which these soft keys can be programmed to send: commands within the HUI and MCU protocols described above, and any QWERTY commands which you might send from your computer’s normal keyboard, such as DAW quick keys. These keyboard commands are not sent via the Ethernet MIDI ports, but via the USB cable connecting Matrix to the computer.

In addition to MIDI and USB commands, the top row of soft keys can be used as menu selectors for the bottom row, enabling each button in the top row to access up to eight

MIDI CC layers

Please refer to Chapter 1 for instructions for setting up MIDI and USB connections.

can only contain USB soft keys or Matrix commands.

separate

commands assigned to the buttons on the bottom row.

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Each DAW layer has five soft key sets, providing plenty of space to tailor the control of each DAW package independently. The sets are called ‘Default’ and ‘User 1’ to ‘User 4’. The supplied default Profiles come pre-programmed with a number of typical functions appropriate to the DAW which that layer controls, allowing you to get started with Matrix before you have programmed all your soft keys. The combination of sets and menus allows a maximum of 360 functions to be assigned to the soft keys of all five sets.

and pressing another button will replace the old selection with the new. The default set is active when none of the buttons are lit, and can be reactivated when not active by pressing whichever soft key set button is lit.

Note that the SSL soft key button overrides the USER soft keys. Selecting user-defined soft keys while the SSL set is active will not activate that soft key set until the SSL button is deselected. The SSL soft keys are described on Page 41.

The soft key set which is currently active in the soft keys is selected using the buttons in the SOFT KEY SETS area of the centre section, located below and to the right of the soft keys themselves.

In addition to the five programmable sets, there is also a further system set labelled SSL which is used for accessing global settings and options for the Matrix console.

Pressing one of these buttons simply activates that set of soft keys,

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oft keys are programmed from the DAW tab in the Matrix Remote:

Across the middle of the DAW tab’s window is a row of radio buttons marked Soft Key Set. These buttons select which set of soft keys is present in the lower part of the window for editing. The five normal soft key sets, Default and User 1 to User

4, are all edited in exactly the same way within the DAW tab. The Transport/Utility set functions slightly differently and will

be dealt with on Page 89.

Below this row of buttons is a representation of the soft keys section of the Matrix control surface called Soft Key Setup, showing the 16 buttons and the central display, with current assignments indicated in the display. Six dashes in the display indicate that the button is currently unassigned within this soft key set.

In the left-hand top corner of the Soft Key Setup area are the Save, Save As and Undo buttons, and towards the right-hand top corner are the Show Sub Keys box (see Page 87) and saved data Status indicator. The Status indicator shows whether or not there are unsaved changes within the present soft key set. Assignments must be saved using the Save or Save As button in order for them to become active on the Matrix control surface. Unsaved changes can also be cancelled using the Undo button. Switching between soft key sets will lose any unsaved changes, and a pop-up window will appear, offering the option of Save and continue or Cancel the set switch.

Soft key assignments only appear in the Matrix soft keys once they have been saved.

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o assign a HUI or MCU function to a button, select the relevant Soft Key Set in the Remote’s DAW tab and press the button

T you wish to assign. The button will go yellow to indicate that it is being edited. From the drop-down menu which appears, selecting

DAW CMDS

produces a second drop-down which lists all the control commands available to you within the selected Profile:

Select the required command from the list, and its name will appear in the appropriate part of the tab’s soft key display. Soft key assignments must be saved before they become active in the Matrix soft keys. If there are any unsaved changes when you try to exit the current Soft Key Set, a pop-up will appear inviting you to save changes before exiting. Press No to exit without saving your changes, or Yes to save changes and remain in that soft key set.

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oft keys can be assigned single keystroke commands, or more complex combinations such as modified commands. To assign a

S keyboard stroke, select the relevant Soft Key Set in the DAW tab and press the button you wish to assign. The button will go yellow to indicate that it is being edited. From drop-down menu which appears, selecting Key assign produces the Keyboard

Shortcut Setup pop-up window which records your keystrokes in order to replicate them when the soft key is pressed.

Press the Learn button to start recording your keystrokes. The button will darken to indicate that it is recording. Now press the key, or combination of keys, which you want that soft key to emulate. The Keyboard Shortcut

Setup window will display the depression and release of every key you press

in the sequence in which they happen. Key releases are distinguished from key depressions by the presence of a caret symbol (^) immediately before it.

If you make an error, press Cancel and start again. Once you have completed the sequence correctly, press Learn again to stop the recording, followed by

OK to close the Keyboard Shortcut Setup box. Soft key assignments must

be saved before they appear in the Matrix soft keys.

First Key Modifier

Selecting the First Key Modifier box before pressing Learn causes any modifier release signals to be delayed until Learn is pressed again. This allows key combinations which the computer will recognise and hijack to be programmed without the associated control message actually being sent. For example, to program

switch between programs:

+Tab on a Mac, without causing the computer to

⌘

- Select the First Key Modifier box;

- Press Learn;

- On the QWERTY keyboard, press and release

- On the QWERTY keyboard, press and release Tab;

- Deselect Learn.

You will notice that the

⌘

release does not appear in the pop-up until after the Learn button is deselected.

⌘

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o create a menu of soft keys, select the relevant Soft Key Set in the DAW tab and press the button in the top row which you

T wish to use to access the menu. The button will go yellow to indicate that it is being edited. From drop-down menu which appears, selecting Menu sets that button as a menu selector which can now be used to access a menu of eight functions using the eight bottom-row buttons.

Clicking the Show Sub Keys box to the left of the Soft Key Setup saved data Status indicator will blank the scribble strip in the Remote, leaving only those top row buttons which have been set to be menu selectors. All buttons with the exception of those assigned as menu selectors will now be disabled. The Show Sub Keys box will be checked (X) to indicate that you are assigning functions within the sub keys of a menu. In the example shown below, the fourth and fifth soft keys from the left have been assigned as menu selectors:

Select the button whose menu you wish to edit, and it will go yellow to indicate that it is being edited. The scribble strip will then contain dashes above the eight lower buttons, indicating that they are available for assigning:

You can now assign functions to the eight bottom-row buttons in the normal way, as described above. Once you have created the soft key assignments for this menu, pressing another top row button that has been assigned as a menu selector will switch the sub keys in the bottom row to that menu selector. The newly selected menu button will light to indicate that it is now the one being edited. Once you have completed the soft key assignments within all the menus, deselect the Show Sub Keys box to return the window to normal operation.

Soft key assignments must be saved before they become active on the Matrix console.

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very time you assign a soft key in any of the ways described above, they are named automatically:

- DAW CMDS functions are labelled according to the function you have chosen, as listed in Appendix A;

- Keyboard shortcuts are named ‘USB n’ where ‘n’ is the lowest number currently unused among the USB soft key labels;

- Menu selectors are named ‘Menu n’ where ‘n’ reflects the position of the soft key in the top row, counted from the left.

o rename a soft key, go to the relevant Soft Key Set in the DAW tab and press the button

T you wish to rename. The button will go yellow to indicate that it is being edited. From dropdown menu which appears, selecting Rename brings up the Keycap Name pop-up. Type the new name in the box provided (using a maximum of six characters) and press OK. Once the Soft Key Set has been saved, the new names will appear in the Matrix soft key area.

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Soft keys can be set up to send more than one command, enabling modifiers to be assigned to the same soft key as the function which they are modifying. Once the first command has been assigned, further commands are assigned in exactly the same way. The soft key is then named according to the most recent assignment made, with an asterisk (*) added after it to indicate that there are multiple assignments on that soft key. The button can then be renamed in the normal way, though it will retain its asterisk to remind you that there are multiple functions assigned to it. Hovering over the button will bring up a list of all the commands assigned to that button.

When the soft key is pressed, the key ON signals are sent in the order in which they are programmed, and the key OFF signals are sent in the reverse order. In other words, if SHIFT is the first command and Play the second, then when the button is pressed it will send SHIFT ON - Play ON, and when it is released it will send Play Off - SHIFT OFF. This means that modifiers need to be programmed before the function they are modifying. Up to three modifiers can be added to a command function on one soft key.

Note that modifiers can only be assigned within the same command type as its modified function: DAW CMDS

Key assign.

Note that menu selectors cannot be part of multiple soft key assignments. Reassigning a menu selector will cause that menu selector and its soft key contents to be lost.

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In most instances, if a new command is assigned to a soft key, the new command will replace the old command. However, in order to allow for the modified function assignments described above, replacing a DAW function will require the previous function to be removed first, otherwise the new function will simply be added to the old one.

To remove the assignment of a soft key, select the relevant Soft Key Set and press the button whose assignment you wish to remove. The button will go yellow to indicate that it is being edited. From drop-down menu which appears, select Unassign. The scribble strip will return to a line of dashes, indicating that there is no function assigned to it and that it is available for reassigning.

CMDS

function with another DAW

CMDS

In order to protect menus and all their sub-keys from being removed accidentally, a warning pop-up will appear when a menu is removed or replaced, allowing the action to be cancelled.

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n addition to the main 16 soft keys, the function of 18 other buttons and the two foot switch inputs can be edited, increasing

I the total number of assignable soft keys within the four layers to 380. This is likely to be useful if you are using DAW packages which do not have suitable equivalents for certain functions used in the Pro Tools, Logic or Nuendo/Cubase Profiles. It may also be that the way you work means that there are some controls which you never use and other functions which would be more usefully accessed from those buttons.

The 18 buttons which are editable in this way are:

- The ten buttons above the main transport controls, the top left of which is labelled PREVIOUS,

- The six right-most utility buttons located above them, the top left of which is labelled SHIFT,

- The SAVE and UNDO buttons located above and to the right of the main soft key area.

Note: The functions assigned to these buttons in the default Profiles are described on Pages 69 and 70.

To edit these button assignments, press the Transport/Utility radio button at the right-hand end of the Soft Key Set row in the DAW tab, bringing up a representational display of these buttons:

The buttons in the tab are distinguished by the Matrix console labels above each button. The current button assignments are indicated below each button. If the button is currently unassigned, the label below the button will consist of six dashes.

These buttons are assigned in exactly the same way as the normal soft keys.

Note that Transport and Utility keys cannot be assigned to be Menu selectors.

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Foot Switch Commands

The Foot Switches buttons in the middle of the Transport/Utility window allow the two momentary foot switches which can be connected to the Matrix to have any USB or listed DAW command assigned to them. Both the HUI and MCU protocols

ontain dedicated codes for use with foot switches which actuate the DAW transport Play and Record functions. These are

c shown in the command list as Play Foot Switch and Record Foot Switch.

In addition, there is an extra SSL command which has been created specifically for use with the foot switch: Artist Talkback

witch enables the talkback function of the Artist button to be assigned to a foot switch.

Note that the foot switch must be held down to keep talkback open.

KVM Hot Key

The KVM Hot Key, located towards the top left of the Transport/Utility window, does not appear on the Matrix console. The button is only used on setups where there is more than one computer connected to Matrix. The KVM Hot Key can be programmed with a command to a USB KVM switch, telling it to switch between computer ports. When programmed, it outputs a USB command whenever its layer is selected using the console’s DAW LAYER SELECT buttons, telling the KVM switch to select the USB port connecting to the computer on which the layer’s DAW or MIDI device is hosted. The specific commands used by your router can be found in the router’s operating manual.

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When a CC Profile is assigned to a Matrix layer, CC messages are sent on Channel 1 of the first send port assigned to that layer.

hese messages can be used to control software instruments within the current DAW, using the DAW’s MIDI ‘learn’ mode to

T attach the Matrix controllers to instrument plug-in parameters. Alternatively, an external hardware MIDI device can be controlled by assigning it to the output of a MIDI track in the DAW whose input is receiving the control data from a Matrix CC layer. Logic provides a further mechanism to integrate external MIDI hardware via the capabilities of the Logic Environment.

CC Layers are unidirectional. No CC data is returned from the device to Matrix and all front panel positional indication is derived locally, not from the device itself. Matrix controls are mapped to CC numbers as follows:

- Faders 1-16: CC’s 0-15

- V-Pots 1-16: CC’s 16-31

- SEL switches 1-16: CC’s 64-79

- V-Sels 1-16: CC’s 80-95

Faders and V-Pots output the full range of controller values 0-127.

Note that the V-Pots function as absolute controllers, not as incremental devices.

The SEL and V-Sel switches emulate latched switches sending appropriate ON and OFF values as they change state:

- ON = 127,

- OFF = 0.

The ON state is indicated by the switch tally: The V-Sel switch uses the red led located beneath the V-Pot, and the SEL switch uses the light in the switch and the SEL symbol in the meter bridge.

Please refer to your MIDI device’s manual for instructions regarding mapping these CC numbers within the MIDI device.

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n addition to the snapshots which can be taken of the Matrix control surface via Total Recall, snapshots can also be taken of the

I status of the CC values which are being sent to a MIDI device from Matrix. This is done using the three assignable soft keys in the DAW CMDS list of a CC layer, which are pre-assigned in the supplied CC default Profile:

ake Snapshot takes a snapshot of all the CC values currently held in the Matrix control surface. The snapshot is automatically

saved as part of the Profile. Only one snapshot can be saved in a Profile. If more than one snapshot is required, each one will require its own Profile. Profiles can be copied using the Edit Profiles pop-up, as described on Page 81.

Restore Snapshot restores the saved snapshot to the Matrix and therefore to the MIDI device.

Refresh sends the current Matrix CC values to the MIDI device.

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The digital scribble strip that runs across the centre of the desk consists of two display rows. By default, the top row contains labels associated with the currently selected Focus mode: In Analogue Focus mode it displays the channel names defined in the

Channels tab of the Remote (switching to a momentary display of the fader value in dB when a fader is moved), whereas in DAW

Focus mode the top row displays the DAW track names or the CC fader numbers (or user-created labels - see next page).

When Matrix is assigned to a CC layer controlling a MIDI device, the bottom row of the scribble strip displays the V-Pot CC Number or User label (see next page). When a fader or V-Pot is moved, the associated label switches to a momentary display of the value being altered.

The FLIP function in the V-POT MODES (see Page 66) interchanges the controllers assigned to the Faders and V-Pots as well as the DAW SEL switches and V-Sel switches. This makes it possible to have 32 controller channels available to the faders, using the FLIP to switch between channels 0-15 and 16-33.

Note that Flip Scribble Strips cannot be used on a CC layer.

Matrix Owner’s Manual

Ssl Matrix Owner's Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

Introduction

Contents

About This Manual

Soft Key Overview

The soft key set which is currently active in the soft keys is selected using the buttons in the SOFT KEY SETS area of the centre section, located below and to the right of the soft keys themselves.