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0% found this document useful (0 votes)

334 views170 pages

SSL Matrix2 Owners Manual

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Omu Antena

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Available Formats

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www.solidstatelogic.

com

Matrix2
Owners Manual

The Ultimate Hybrid Studio Centrepiece

Matrix2. This is SSL.

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
3700 Wilshire Blvd, Suite 720, Los Angeles, CA 90010, USA +1 (1) 213 249 9229
3-55-14 Sendagaya, Shibuya-Ku, Tokyo 151-0051, Japan +81 (0)3 5474 1144
7 bis, rue de la Victoire, le Blanc Mesnil, Paris 93150, France +33 (0)1 48 67 84 85

Visit SSL at URL: www.solidstatelogic.com

Solid State Logic

All Rights reserved under International and Pan-American Copyright Conventions
AWS 924, AWS 948, Matrix, Matrix2, Solid State Logic and SSL are trademarks of Solid State Logic
All other product names and trademarks are the property of their respective owners
No part of this publication may be reproduced in any form or
by any means, whether mechanical or electronic, without the
written permission of Solid State Logic, Oxford, England

Document History
82S6MT065A December 2013

Initial Release 1.0.2

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

Introduction

Matrix. Control your Creativity.

Welcome to Matrix. With the goal to bring the soul of analogue sound into the machinery of digital workflow, we designed
Matrix a seamless way to work in both worlds simultaneously. With unparalleled creative control over your DAW and analogue
outboard, Matrix reconfigures your project studio around its most important element you.
Matrix is a SuperAnalogue 16 channel, 40 line input mixing console with inbuilt signal router and multi-layer digital workstation
control. Its simply the most elegant way to be creative with your entire arsenal of analogue outboard and cutting-edge digital
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 consoles 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. Furthermore, the Insert Matrix can be controlled directly from buttons on the
Matrix itself, allowing the insertion and removal of devices as well as rapid A/B-ing of analogue devices on a particular insert
point.
With HUI and MCU modes, the 17 motorised faders and channel controls provide complete hands-on control over your DAW
mixer, allowing you to enjoy mixing on a tactile, fully-featured control surface. Additionally, Matrix gives you access to transport
and navigation functions, plug-in and virtual instrument parameters, and essential DAW commands, allowing you to work quickly
and easily using just the console surface.
Alongside its integration of your analogue and digital equipment, Matrix is also a first-class SSL mixer, drawing on our 30 years
of innovative analogue console design. The essential functions of recording and mixing routing, level measurement and
monitoring are organised and arranged to make everything available at your fingertips to streamline the entire recording and
mixing process. Matrix analogue architecture provides 16 channels, featuring dual line inputs, balanced insert sends and returns
and a dedicated direct output. Channel level control utilises the same high resolution Digital Controlled Attenuator as fitted to
the AWS 924, AWS 948 and Duality large format consoles. In Matrix the channel DCAs can be remote controlled via MIDI,
enabling DAW tracks to provide full automation control of analogue levels. Dual stereo mix busses and four stereo returns with
full stereo mix bus routing bring the total available mix inputs to 40. Powerful monitoring is a central feature of Matrix with
independent Main and Mini monitor outputs, Artist Monitor output with independent EQ and source selection, and three external
monitor inputs with source summing.
In short, Matrix is the new standard in project studio integration.

Matrix2 Owners Manual

Contents

Contents
Contents

About This Manual

What Else You Will need

Chapter 1 Installation and Setup

Matrix Rear Panel Connections

Plugging Up Your Matrix

Audio Connections
Data Connections
Configuration of Data Connections
Matrix Network Connection Examples

Software Installation and Configuration

System Requirements
Software Installation (Mac)
Software Installation (PC)
Matrix Remote Configuration
DAW Layer Configuration
ipMIDI Configuration

3
4
4
5

9
9
9
9
10
11
13

Chapter 2 Getting Started

Important Concepts

The Master Channel

Focus Modes

15
15

Preparing for the tutorial

STEP 1:

Bringing Signal into the Channel

STEP 2:

Routing to the Main Busses

STEP 3:

Hearing your Signal

STEP 4:

Sending to the Auxiliary Sends

STEP 5:

Global Control of your DAW

STEP 6:

Channel Control of your DAW

STEP 7:

Sending Signal from the Channel Direct Output

STEP 8:

Setting up Artist and Control Room Headphones

STEP 9:

Listening Back to the DAW

STEP 10: Selecting a Title

STEP 11: Inserting Signal Processing into the Channel

Matrix2 Owners Manual

Contents

Chapter 3 Analogue Signal Flow

Introduction to Focus Modes

Operating Principles

The Master Channel Strip

The Digital Scribble Strip
Total Recall LEDs

The Channel Strip

Channel Inputs
Channel Outputs
Auxiliary Sends

30
31
31

32
32
32
34

The Centre Section

Master Bus Controls

Monitoring
Talkback
Metering

36
38
39
40

Devices and Chains - Front Panel Control

Devices
Building Chains On The Fly
Inserting Preset Chains
Removing Assigned Devices

SSL Soft Keys

MonOpt Soft Keys
Mon Soft Keys
Meters Soft Keys
Auto Soft Keys
TR Soft Keys
IP Soft Keys
Misc Soft Keys
Links Soft Keys

Matrix Automation
The MIDI Fader Method
The A-FADA Method
Extra Setup Information for using A-FADA with Logic

41
41
41
42
42

43
44
45
45
46
46
47
47
48

49
49
51
52

Matrix2 Owners Manual

iii

Contents

Chapter 4 The Matrix Remote

Introduction to the Matrix Remote

The Projects Tab

Navigating the Projects List

Managing Projects
Managing Titles
Project and Title Notes
Track Sheets

The Total Recall Tab

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

The Channels Tab

Save And Load channel Names As A Preset
Renaming And Deleting Saved Channel Name Presets

The Insert Matrix Tab

Naming Devices
Setting Devices as Stereo
Inserting Analogue Devices Using The Insert Matrix

Chapter 5 DAW Control

55
56
57
59
59

60
60
60
60
61

65
66
66

67
67
68
69

Introduction

Layers

Matrix Console Layer Selection

Focus Modes

DAW Track Control

The Digital Scribble Strip

V-Pot Modes
SEL Key Modes

75
76
77

Transport Controls

Session Counter

Utility Buttons

Navigation Controls

Standard Profile Soft Key Assignments

Soft Key Overview

Pro Tools Standard Profile
Logic Standard Profile
Nuendo Standard Profile
CC (Continuous Controller) Standard Profile

Matrix2 Owners Manual

81
81
87
90
94

Contents

Chapter 6 DAW and CC Configuration

Matrix Console Layer Selection
Matrix Remote Layer Selection

Assigning DAW Layers

Selecting Profiles
Creating Profiles
Deleting Profiles
Renaming Profiles
Backing Up a Profile
Restoring a Profile
Disable Handshake
Selecting the Transport Master

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

95
95
95

95
96
96
97
97
97
98
98
98

98
99
99
99
100
101
102
103
104
104
104

Configuring CC Layers

106

CC Snapshots
The Digital Scribble Strip

107
108

Appendices

111

Appendix A DAW Protocol Lists

111

Appendix B Technical Specifications

115

Appendix C Audio Connectors and Pinouts

119

Appendix D Environmental Specification

121

Appendix E Software Updates

123

Appendix F Matrix Support

125

Appendix G Maintenance

129

Matrix2 Owners Manual

About This Manual

Whether you are an experienced studio engineer or an artist who is relatively new to the recording process, this manual will take
you through the full breadth of Matrix functions. Chapter 1 guides you through the process of connecting up and integrating Matrix
into your studio. Chapter 2 is a tutorial which provides an overview of the essential operating principles of Matrix, introducing
both its analogue and DAW control capabilities, a proportion of which will be familiar to users with studio experience. Chapter 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 DAWs manual. The
Remote is also used to configure and customise Matrixs 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 may not work in all .pdf viewers. They do work in Acrobat Reader, which is available from
www.adobe.com.

What Else You Will need

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

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

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

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

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

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

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

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

Matrix2 Owners Manual

Chapter 1 - Setup

Chapter 1 Installation and Setup

This chapter covers everything involved in setting up Matrix. If you have not already done so, please refer to the separate printed
Installation Guide for safety information and instructions on positioning and connecting the Matrix Power supply.
There are a number of ways in which Matrix can be set up to fit into your studio environment. The diagram below outlines the
standard configuration:

Matrix2 Owners Manual

Chapter 1 - Setup

Matrix Rear Panel Connections

Power Input

LINE IN 9-16

DAW RETURN 9-16

CHANNEL OUT 9-16

DEVICE SEND 9-16

LINE IN 1-8

DEVICE SEND 1-8

DEVICE RETURN 9-16

DAW RETURN 1-8

CHANNEL OUT 1-8

Audio Input/output
channels 916

DEVICE RETURN 1-8

Audio Input/output
channels 18

5.1 Inputs
& Outputs

Footswitch

0dBfs
switch

SW1

SW2

X-Rack
I/F

SD memory card
slot

USB

X-RACK / DIAG

Unused

GPIO

USB

Ethernet

SD CARD

NETWORK

EXT1,2 (C, SW, LS, RS)

PUSH

+18dB
+24dB

MON, MINI (C, SW, LS, RS)

IN - AES - OUT
CUE ST, FX OUT 1-4

REC, MIX, CUE INS SEND

FX RETURNS 1-4

REC, MIX, CUE INS RTN

RIGHT
LEFT

REC, MIX, FOLLOW MON OUT

Master Section I/O

Matrix2 Owners Manual

RIGHT - MINI - LEFT

GAIN
T/HOLD

Meter
trim

IN - SPDIF - OUT
EXT 1,2 (L,R)

MON L/R, ARTIST OUT

TB MIC

Master
I/O

TB Mic Mini LS
trim

Master
Digital I/O
I/O Optical and AES

Chapter 1 - Setup

Plugging Up Your Matrix

Matrix2 includes the 5.1 Surround Monitor card assembly. This extends the EXT 1 and EXT 2 Inputs from 2 to 6 channels,
thereby providing two 5.1 Inputs and additionally extends the MAIN and MINI Monitor Outputs from 2 to 6 channels (to provide
5.1 monitoring). Note that Left and Right EXT, MAIN and MINI signals appear on the rear DB25 connectors. See list below.

Audio Connections
All audio connections are made to the rear of the console 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 Matrixs 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
Device Send/Return
DAW Return
Channel Out

D25 female
D25 female
D25 female
D25 female

Line level inputs to the channels from mic amps, keyboards etc.
Insert Matrix sends/returns returns to/from effects units
Inputs from workstation (DAW Digital Audio Workstation)
Outputs to workstation

Master Section Connections

The Master Section connectors are allocated as follows:
Ext 1, 2 (L, R)
Ext 1, 2 (C, LFE, LS, RS)
Mon L/R, Artist Out
Mon Mini (C, LFE, LS, RS)
Rec, Mix, Follow Mon Out
Rec, Mix, Cue Ins Send
Rec, Mix, Cue Ins Rtn
Cue St, FX Out 1-4
FX Returns 1-4
Mini

D25 female
D25 female
D25 female
D25 female
D25 female
D25 female
D25 female
D25 female
D25 female
XLR 3-pin male

External to Monitor inputs 1 and 2 (L, R)

External to Monitor inputs 1 and 2 (5.1 channels)
Main LS, Mini LS* and Foldback sends (L, R)
Main LS, Mini LS (5.1 channels)
Record, Mix and Follow Monitor main outputs (L, R)
Record, Mix and Cue insert sends (L, R)
Record, Mix and Cue insert returns (L, R)
Cue Stereo and Effects sends 1-4 outputs
Stereo Effects returns 1-4
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.
Artist Out (Foldback Sends) should be used for Artist headphone feeds, not the Cue Sends.

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

XLR 3-pin female

XLR 3-pin male
TOSLink
TOSLink

AES/EBU monitor input

AES/EBU bus output
Optical digital monitor input
Optical digital bus output

Both digital outputs are always active. When an incoming digital signal is detected, the output will replicate its sample rate
up to a maximum of 192kHz. With no input the output sample rate will default to 48kHz. See Page 37 for more details.
See Page 47 for a description of digital input source selection via the OptDAC soft key.

Matrix2 Owners Manual

Chapter 1 - Setup

iJack and Headphones

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

Stereo 3.5mm jack

Headphones:

Stereo 1/4" jack

Allows the connection of an external line level signal source (such as an

iPod or MP3 player) to be switched directly to the Matrixs monitors.
Headphone connection

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

Network
A standard RJ45 connector for MatrixWorkstation network data. A 3m crossover cable is provided which should be used
to make a direct connection to the Network port on the workstation computer see the various setup examples on Pages
5 though 7 for an illustration of this and other connection methods.

USB
Use the 3m USB-A to USB-B cable provided to connect the Matrix to a free USB port on your workstation computer. This
connection carries USB keyboard commands generated from the console soft keys and is used to control the DAW via its
supported keyboard shortcuts, supplementing the existing MIDI DAW control offered on Matrix.

Defining QWERTY Keyboard Nationality (Mac)

Matrix emulates a UK keyboard. When Matrix is first connected to a Mac, a dialogue will be displayed which asks you to
identify the new keyboard. In order to identify the keyboard type, the Mac then requires the key to right of the left Shift
key to be pressed. In the SSL Misc soft key set (see Page 44), there is a key labelled KeybID. Pressing this key will send
the required keystroke to the Mac to correctly identify Matrix as a UK keyboard.

Foot Switch Inputs

Sw1 & Sw2

Mono 1/4" jack

Foot switch trigger inputs

X-Rack Interface
D9 female serial data port to facilitate connection to an SSL X-Rack for the transfer of Total Recall information. A suitable 2m
cable is supplied with each X-Rack chassis.
Note: Also included on this connector is a second serial data port for diagnostic and service use.

Configuration of Data Connections

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

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

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

Because ipMIDI uses multicast UDP packets, messages between one computer and Matrix will be received by all other
computers on the network, potentially causing problems in installations with more than one Matrix. The UDP packets can
be blocked by using a firewall router and connecting the main network to the WAN connector. The firewall can then be
configured to allow all traffic apart from UDP ports 21928 through 21947 which are used by ipMIDI and port 50081 which
4

Matrix2 Owners Manual

Chapter 1 - Setup
is used by the Matrix Remote application. Note that it may be necessary to use a separate Ethernet switch in place of an
integrated firewall router switch, as some of these can not support the high data transfer rate required. The NetGear FS108
(an eight port switch) has been used successfully at SSL Begbroke.
Most systems can be easily configured with a direct connection between Matrix and the controlling computer.

Assigning the Matrix IP Address

By default, Matrix uses a fixed IP address of 192.168.1.2 which works well if Matrix is connected directly to your DAW.
Alternatively, Matrix can be set to use a dynamically assigned (DHCP) address if your installation precludes a simple direct
connection. Switching between the two methods is achieved via the IP SSL soft keys (see Page 44). If Matrix is connected to
the computer via a network switch or router (with a DHCP server enabled), it should be set for DHCP, otherwise the Fixed
option should be used. Note that the currently assigned address will be shown in the scribble strip.

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

An alternative fixed IP addresses can be set using the console diagnostic port. A custom serial cable (not supplied) will be
required to achieve this please refer either to the Matrix support pages on the SSL Website or SSL Technical Support for
guidance on this.

Matrix Network Connection Examples

1 Direct Connection (no Internet Required)
This is the simplest way to setup Matrix with your computer.
Network connection

Matrix Console

Workstation Computer

Ensure that Matrix is set to use a fixed IP address: Use the SSL soft key on the console, go to the IP menu and check
that Fixed is selected (see Page 44).

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

Note also that if your workstation computer is a Mac, you should ensure that your Mac
Airport is switched off. We strongly recommend this as Airport is known to cause conflicts
with ipMIDI data. If you wish to use the internet, we suggest you configure Matrix with a
Router/Switch (see example 2).

Matrix2 Owners Manual

Chapter 1 - Setup

Network Connection Configuration (Mac)

On the Mac, go to System Preferences and click on the Network icon.
Fill in the IP Address and Subnet Mask boxes
with the numbers shown opposite.

Network Connection Configuration (Windows)

Go to Network and go into Local Area Connection Properties.
Open up the option Internet Protocol Version 4 (TCP/IPv4).
Select Use the following IP address and then fill in the IP Address
and Subnet mask boxes as shown opposite.

Matrix2 Owners Manual

Chapter 1 - Setup

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

This connection method allows you to connect multiple devices to your home network and access the Internet at the same time.
The basic principle behind this method is that your Internet router acts as a DHCP server, dynamically assigning IP addresses to
all the devices on your network. The simplest configuration would be as follows:
Internet connection
(ADSL)

Router

Network connections

Matrix Console

Workstation Computer

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

Router
Ethernet switch

Network connections

Home server

Matrix Console
Laptop

Workstation Computer

Matrix2 Owners Manual

Chapter 1 - Setup

Network Connection Configuration (Mac)

On the Mac, go to System Preferences and click on the Network icon.
Set Configure IPv4 to Using DHCP as shown
here:
Ensure that Matrix is set to use DHCP: Use the
SSL soft key on the console, go to the IP menu
and make sure that DHCP is selected (see
Page 44).

Network Connection Configuration (Windows)

Go to Network and go into Local Area Connection Properties.
Open up the option Internet Protocol Version 4 (TCP/IPv4).
Choose the option Obtain an IP address automatically as
illustrated here:
Ensure that Matrix is set to use DHCP: Use the SSL soft key on the
console, go to the IP menu and make sure that DHCP is selected (see
Page 44).

3 Connection in a facility that has multiple SSL consoles

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

Matrix2 Owners Manual

Chapter 1 - Setup

Software Installation and Configuration

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

System Requirements

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

ipMIDI is compatible with Mac OS X 10.5, 10.6, 10.7 and 10.8; Windows 2000, XP, Vista, 7 and 8

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

Software Installation (Mac)

Matrix Remote
Mount the MatrixRemote.dmg disk image and open it. Drag the enclosed Matrix Remote application to the Applications
folder, then to the Dock or any other convenient location.

ipMIDI
There are two versions of ipMIDI for Mac; V1.5 is suitable for OS X 10.5 whilst V1.6 runs on OS X 10.6, 10.7, 10.8 and
10.9. Please choose the correct version for your Mac.
Mount the ipMIDI.dmg disk image and open it. Double click on the ipMIDI.pkg file to run the installation program. Note
that you will be asked to log out and in again once you have completed the installation. Once you have logged back in open
Audio MIDI Setup and double click on the ipMIDI icon. Set the number of MIDI ports to 9 in the resulting pop-up.
Note that if you are upgrading an older copy of ipMIDI you must uninstall it before running the installer. To uninstall ipMIDI
simply delete: /Library/Audio/MIDI Drivers/ipMIDIDriver.plugin. You should empty the Trash after deleting the
.plugin file before running the installer.

Software Installation (PC)

Matrix Remote
Copy the MatrixRemote.exe file to the Program Files folder (or any other convenient location) then create a shortcut
to it on your desktop and/or task bar. Double clicking on this will launch the Matrix Remote program.

ipMIDI
Run the setupipmidi_1.9.exe application (note that the last part of the name may change depending on the version you
are installing) by double clicking on it. Note that you will have to restart the computer at the end of the setup process. Once
the computer has restarted right click on the ipMIDI icon in the task bar and set the number of MIDI ports to 9 in the
resulting pop-up.
Note that if you are upgrading an older copy of ipMIDI you must uninstall (using Add/Remove programs) it before running
the installer.

Matrix2 Owners Manual

Chapter 1 - Setup

Matrix Remote Configuration

Having completed the set-up guidelines described above, run the Matrix Remote software.
In the bottom left-hand corner of the Remote window there is a Find (
status of the connection to Matrix:

) button, along with indication regarding the current

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

to bring up the

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:

Matrix2 Owners Manual

Chapter 1 - Setup

DAW Layer Configuration

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

Matrix Remote Layer Selection

The layer being configured in Matrix Remote is selected via the DAW tabs 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.

Matrix2 Owners Manual

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

Matrix2 Owners Manual

Chapter 1 - Setup

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

Mac
Once the driver has been installed and you have logged back in, use the Finder to navigate to the Utilities folder (in
Applications). Double-click Audio MIDI Setup, select MIDI Devices and double-click on the ipMIDI icon. Set the number
of MIDI ports to 9 in the resulting pop-up.

Windows
Once the computer has restarted after installing the driver, right-click on the ipMIDI icon in the Task Bar, select ipMidi MIDI over Ethernet and set the number of MIDI ports to 9 in the resulting pop-up.

MIDI Port Mapping

MIDI control for the four Matrix Layers is split across the
nine ipMIDI ports which means that your DAW must be
configured to match the table here.
Note that CC (Continuous Controller) Layers only use
the first MIDI port in their layer. All CC data is sent on
MIDI Channel 1.

Matrix DAW Layer

1
2
3
4
Automation

Matrix Channels

ipMIDI port

1 to 8

9 to 16

1 to 8

9 to 16

1 to 8

9 to 16

1 to 8

9 to 16

1 to 16

MIDI Port 9 is concerned with automation, not layer configuration. Use of this port is described fully on Page 45.
Setting which ipMIDI ports the DAW should use is performed using the MIDI controller configuration page of your DAW. Below
and overleaf are two examples using Pro Tools and Logic Pro.

Pro Tools
In the Setup menu, click on Peripherals and
select the MIDI Controllers tab.
For MIDI controllers 1 and 2, select HUI as the
MIDI controller Type and assign the MIDI ports
for this layers DAW to the two MIDI controllers,
as listed in the table above.
As an example, if Pro Tools has been assigned to
Layer 1 (so using ipMIDI ports 1 & 2), the MIDI
Controllers tab should look as opposite.

Please note, if using Pro Tools on Windows, ensure you are running Pro Tools as an Administrator. Not doing this can
result in one way HUI communication!
Matrix2 Owners Manual

Chapter 1 - Setup

Logic Pro
The DAW protocol used by Logic Pro is the Mackie Control Unit (MCU) protocol. Therefore 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 Logic Pro. Click on Preferences then Control Surfaces Setup to access the menu shown below.
Both the Mackie Control and Mackie Control
Extender provide just eight faders. Therefore Matrix
faders 1-8 are mapped to the Mackie Control ports
along with the master fader and DAW Control
function switches whilst faders 9-16 are mapped to
the Mackie Control Extender ports. The actual
ipMIDI ports used will depend on which layer (or
layers) have a Logic Profile assigned. (Refer to the
previous page for a list of Matrixs MIDI port
assignments.)
The screenshot opposite gives an example of Logic
having been setup on DAW 2 layer. The Mackie
Control has its Input and Output ports set to 3 and
the Mackie Control Extender has its Input and Output
ports set to 4.
It is recommended that you delete any Mackie
controllers automatically created on set-up, and
recreate them manually. Note that if the physical
arrangement is reversed, then the Matrix faders will
not map correctly to the on-screen faders in Logic.
If Logic is the only DAW connected to Matrix, then
provided that there is only one DAW Layer set up
with an MCU based Profile, Logic should automatically
detect the two virtual controllers which will be shown in the Logic Control Surfaces 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 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 starting the Logic application. This
will prevent Logic automatically detecting multiple Mackie Control Units.
For other DAWs, please refer to the relevant User Guide for details about configuring MIDI controllers.
See Chapter 6 for a description of the Remotes DAW tab.

Matrix2 Owners Manual

Chapter 2 - Getting Started

Chapter 2 Getting Started

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 tutorialLEFT
before exploring the references to more detailed parts of the manual.
10

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

The Master Channel

While many of the channels 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 desks centre section. The Master Channel gives you access to additional
channel strip controls for whichever channel strip is assigned to it using the upper SEL
button, located above the numeric display, in the middle of the channel (shown left).
Note: There is a second SEL button in the channel, located a little lower on the channel
strip, just above the fader. This button is associated with DAW control, not assigning
the Master Channel. The DAW SEL button is examined on Page 77.
Multiple channel strips can be assigned to the Master Channel. See Page 30 for details.

Bass Modes
Focus
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.

DIM

Matrixs 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 desks channels control the
tracks within the DAW) and DAW input selection within Analogue Focus mode (where the desks channels
control the
3 analogue signal
4 returning from5the DAW).
6
7
8

0 2 Owners
0 Manual
Matrix

Chapter 2 - Getting Started

Preparing for the tutorial

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

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

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

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

Your main monitors and engineers 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 doesnt 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.

Matrix2 Owners Manual

Chapter 2 - Getting Started

STEP 1:

Bringing Signal into the Channel

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.
2Note: There is a 3second SEL button
4 in the channel,
5 located a little lower
6
7 strip, just above
8 the fader. This button 9
on the channel

is associated with DAW control, not assigning the Master Channel. The DAW SEL button is examined on Page 77.
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.

0123456
0123456
10

Note: You wont hear your signal until Step 3.

DIM

2 1 81

CUT
15

MASTER/FOCUS

ARTIST

40 MIX

40 SOLO

40
REC
50

MON

Bass
Matrix2 Owners Manual

Solid State Logic Matrix

Chapter 2 - Getting Started

STEP 2:

Routing to the Main Busses

Having brought signal into the channel, we will now learn how to bring it out again. We will cover more of the channel output
options in Steps 4 and 7.
Press the REC button in the BUS area towards the bottom of the Master Channel.
This routes the signal to the record bus. The button will light red to indicate that
this routing is active. Your CD signal should now be shown in the REC meter, to
the right of the VUs 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 topright of the centre section (shown left).

There are two ways to route the signal to both record and mix busses:
Firstly we will route just this channel to both busses:
Press the MIX button, below the REC button in the Master Channel. It will light yellow to indicate that this routing is active.
Your CD signal should now be shown in the MIX meter, to the right of the VUs above the centre section.

Solid State Logic Matrix

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.
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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10

TR
0

IP
10

Misc
10

MASTER/FOCUS

Matrix2 Owners Manual

2 1 81
50

DIM

LEFT

Chapter 2 - Getting Started

STEP 3:

RIGHT

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 VUs above the centre section.

iJack

Turn the monitor volume up using the MONITOR LEVEL pot until you can hear your CD.
If you cant hear anything, check that the DIM and CUT buttons beneath the monitor volume are
unlit, indicating that the mix is neither dimmed nor cut.

DIM

If you still cant hear anything, press the SOLO CLEAR button in the top right of the monitoring
area. This clears any solos that might have been activated.

CUT

If theres 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 buttons light will go out and the MIX button will light yellow to indicate that you have switchedMon
to monitoring
Meters Auto
the mix bus. Because you have set the mix bus level lower than the record bus, this action should cause the
monitoring
Projec
t 2 :: Title
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.
7

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.
8

MASTER/FOCUS

Matrix2 Owners Manual

RIGHT

LEFT

Solid State Logic Matrix

Chapter 2 - Getting Started

STEP 4:
MIX

Sending to the Auxiliary Sends

REC

MON

SOLO

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.
RIGHT
LEFT The first two pots beneath the CHOP
are the pan and gain trim for the CUE ST, which we

Solid State Logic Matrix

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.

iJack

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.
iJackadjust the gain, iJack
Use the pot to
using the FX1 meter to the right of the VUs 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
CUT
DIM
and the FX3 meter now reflects the CD player. The settings you created for the FX1 send transfer
automatically to the FX3 send.
FX busses 2 and 4 work in exactly the same way as FX busses 1 and 3, using the next gain pot down.
Once you have sent signal to the aux busses, you need to set the overall output level of the bus. Each aux bus
CUT
DIM
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).
iJack

iJack

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.

2 1 81

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.
DIM

CUT

Press the MONO button above the balance control. This reduces the stereo return to mono. The balance
Mon
Meters Auto
TR
IP
Misc
pot will now be a pan pot. Press the MONO button again to restore the return to stereo again.

Project 2 :: Title

Press the AFL button again to return to normal monitoring.

2 1 81

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

2
13
15
Matrix
Owners
Mon14 Manual
Meters

16
Auto
Project 2 :: Title

MASTER/FOCUS
IP
Misc

Mon
Mete
Project 2

REC

MIX
iJack

MON

STEP 5:

RIGHT

LEFT

ALL
14

iJack

Mon
Meters Auto
TR
Chapter 2 - Getting Started
Project 2 :: Title

SET

iJack

SOLO

iJack

Solid State Logic Matrix

Global Control of your DAW

DIM

CUT

In this step in the tutorial we are going to concentrate on global control of the DAW, leaving in-channel controls to Step 6.
Note that the DAW control elements of Matrix function within the protocol of the DAW
i being controlled,
2 2in
62as described
Chapter 1. Please refer to your DAW control surface documentation for more details.

CUT

DIM

Find the DAW LAYER SELECT buttons, located in the centre section, below
the digital scribble strip, and select the layer on which you have configured
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.
iJack

10
5
0
5
10

Misc

CUT

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
track may appear in
i the DAW return.
2 of2a DAW
62The control
1 81
a different Matrix channel from the analogue signal fed out from that DAW track, whose channel is fixed.
11

MASTER/FOCUS

Misc

Note:
ARTIST10
not
so
20
30 control,
20 10 The 20
20button is20concerned
2010
20 transport
2020 with talkback,
30
40
30
30
30
30
30
30
30
you can ignore it for now.

20
30

iJack

10 main Matrix 10
0 located10at the bottom of the centre
Find the
transport controls,
section.
Above
the main
transport
controls
you
will find
two rows
of
five
10
10
10 5
10
10
10
105
10
0
510
5
buttons.
These
give
you
access
to
some
of
the
more
complex
DAW
controls.
5
5
5
5
5
5
5
5
5
5
Mon
Meters Auto
100
0
0 0
0
0
0 0 will notice
0
If you
operate
any of00the transport
controls
you
that
now
Projec
t102they
::0 T
itle
5
5
5
5
5
5
5
5
5
15
control
the
transport
of
your
DAW.
5
5
5
15
10

Mon
Meters Auto
Project 2 :: Title

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
MASTER/FOCUS
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.
DIM

1 81

40
20

3040

Above
and to50 the left50of the transport
controls,50 you will50find the 60BANK
50 and
50
50
50
CHANNEL
keys.
These
buttons
scroll
the
DAW
tracks
through
the
Matrix
40
30
30
30
channels. BANK scrolls the tracks 16 at a time, whereas CHANNEL scrolls
50
40
40
them one
at a time. These
buttons allow
the 1640
Matrix channels to control more than 16 DAW tracks. Make sure that you
leave the
fed from Channel
Out 16 (which you named Test) in one of the channel strips (not
50
50 DAW track50which is being60
necessarily channel 16).
ARTIST

30
40
12

MASTER/FOCUS

To the right of the transport controls is a large black wheel with nine buttons above it. Ensure that
the cursor
key
MODE
button10(towards0 the top,
surrounded by arrow keys) is unlit. If it is lit or
10
10
10
10
10
flashing,
press5 it until it
that
no Wheel Mode switches are lit. If one is, press
5
5
5
5
5 is unlit.5 Also ensure
10
0
0
0 button0 to deselect
0
the lit
it. 0

MASTER/FOCUS
10
5
0
5

20
30

10 to determine the default function of the Scroll Wheel

20
10
10
surface
documentation
Refer10 to your 10DAW control
20
30
20
20
20
20
20
and Cursor keys. Note that when controlling Pro Tools
the Jog Wheel will scroll the timeline forwards and
30
30
30
30 is not 30
30
backwards
this
a normal Pro
Tools 40function.

In50this tutorial
we are
the60 surface
of the control capabilities of Matrix. See Chapters 5
50
50
50 only skimming
50
5
and 6 for more details of more advanced DAW control functions.

ARTIST

Matrix2 Owners Manual

ARTIST

Chapter 2 - Getting Started

STEP 6:

Channel Control of your DAW

In this step we will turn our attention to control of the DAW track.
controlling the
track, located
above
Still on the Matrix console, press the CUT button in the channelMon
MeTest
ters
Auto
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. Project 2 :: Title

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.
Press the SOLO button again to deactivate it.
4
5
6
7
9
11
Test track10fader is moving.

Move the fader

at the bottom
of the Matrix
channel. You8 will notice that the DAWs

Find the SEL KEY area of the centre section, located below the DAW LAYER
SELECT buttons. These buttons define the function of the lower SEL key
which is concerned with DAW control.
Note that the SEL KEY modes have nothing to do with the upper, analogue SEL key.
10

0 In default mode,
0
0 as DAW track
0 selectors: 0
the lower 0SEL keys function

1014

1015

1016

MASTER/FOCUS
10

Ensure that all the SEL KEY buttons are unlit, indicating that the lower SEL keys are in default mode. If any buttons are lit,
5
5
5
5
5 to return to5 default mode.5
5
5
press them

5
5 track in the5
5 Press the
5 SEL key in the
5 channel controlling
5
5 track. You will
5 notice that you have selected
the Test
the Test
10
10
520

DAW. 10
10

10
10

10
0

Press the left hand SEL KEY button marked REC ARM and press the SEL key in the channel controlling the Test track
20
20
20
20
20
20
5
520
520
again. You
will notice 5that this time you
have record-armed
the5Test track in the DAW. Leave the track record-readied.
030

030

30
10

540

15
40

1050

20
50

030

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

Matrix2 Owners Manual

Chapter 2 - Getting Started

STEP 7:

Sending Signal from the Channel

Direct Output
5

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.
3
Turn channel
16s pan4pot, 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 VUs.

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 1SOLO
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.

Bass

Leave the channel with neither the CUT nor SOLO lights lit.
You can press the SOLO CLEAR button to cancel the solo.
5

See Page 45 for descriptions of more advanced configuration of the desks solo feature.

2 1 81

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 DAW0
to1meter
signal level you are sending.
234the56
DIM

CUT

01can23
4meter
56 the CHOP signal within the Matrix. See Page 46.
Note that you
also

MASTER/FOCUS

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.

ARTIST
Note that you may not have permission to record more than eight seconds of audio
from the CD you are
playing.
4
5
6
7
8
9

For
how to 10
alter the point within
from which you 10
feed the channel10outputs, see Page0 32.
10 information regarding
10
10 the channel10

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10
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50 20

40 10 MON
REC
50 20

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MIX

REC

MON

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Chapter 2 - Getting Started

RIGHT

LEFT

STEP 8:
9

Solid Sta

Setting up Artist and Control Room

Headphones

Misc

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 artists mix using the desks own headphone output:
Plug your headphones into the desks headphone socket, located in the trim on the right-hand side of
the desk.
iJack

iJack

In the HEADPHONE area below the ARTIST MONITOR area, press the FROM ARTIST button.
This routes the artists mix, rather than the main monitor mix, to the desks 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.
DIM

CUT

We will use the stereo cue bus to create our artists headphone mix:
In channel 16, press the CUE ST gain pot (the lower of the two CUE ST pots) to switch on the
i send. The LED
62below2it and2
to the right will light to indicate that it is on.
REC
MIX

1 81
MON

Use the pot to adjust the gain, using the CUE ST meter to the right of the VUs as a reference, and pan the signal using the
upper pot.
Mon

Meters

Auto

In the ARTIST MONITOR area, press the CUE button (the fourth one down on the left-hand
side).
selects
Projec
t 2This
:: T
itle the CUE
ST output as the send to the artists headphones. You will see the other source options available, shown above and below
the CUE button.
LEFT

Adjust the artists headphone level using the grey gain pot in the lower right-hand corner of the ARTIST MONITOR area.
11

Press the button marked EQ, towards the top right, which inserts a 2-band EQ into the artists 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.
8

MASTER/FOCUS

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
the10MAIN 10MONITOR
area
(shown
right). 10The talkback
mic0 itself 10is just below the pot.
10
10
10
10
10
10

ARTIST

5
10

Holding
down
the0 ARTIST
button,0 located0 in the bottom
right-hand
corner of the centre
0
10
0
0
0
0
section,
routes
the
talkback
mic
to
the
artists
headphones.
5
5
5
5
5
5
5
5
15
10

Note 20that you20will not 20hear the20 talkback20 mic on20the desk30 headphone
output, even though FROM
20
ARTIST
is
pressed,
as
the
pick
off
point
is
pre
level
and
TB
injection.
30
40
30
30
30
30
30
30
40

Note 50that the main

monitoring
automatically
dims50when the60 talkback
button is selected.
50
50
50
50
50

ARTIST

iJack

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Chapter 2 - Getting Started

STEP 9:

Listening Back to the DAW

In this step, we will examine the options available for listening to the DAW return.
First, we need to bring the DAW return into the channel:

iJack

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 channels input from
the LINE IN to the DAW RETURN. The button will switch colour from green to red, indicating the
new input selection, and the LED indication to the right of the CHIP pot will switch from INPUT
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.
CUT

DIM

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 strips pan pot (shown left). Both the Master Channels DAW MONITOR
button and the channel strips TRK button light up to indicate that DAW Monitor mode is active.

Now press Channel 16s TRK button a few times and you will hear the channels 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.

Mon

Meters

Auto

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
Project 2 :: Title
player comes back.
We will now create an artists 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
the SuperCue monitoring function for Channel 16. It will light green to indicate that it is active.
If you listen to the artists headphone send using the engineers 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!

Note that for the DAW MONITOR and SuperCue functions to switch between corresponding DAW sends and returns,
15 track output must
16
MASTER/FOCUS
each DAW
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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Chapter 2 - Getting Started

STEP 10:

Selecting a Title

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
in Step 11. For the Total Recall, Channels and About tabs along with more detail on the Projects and Insert Matrix tabs,
see Chapter 4, and for the DAW tab see Chapter 6.

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.

Matrix2 Owners Manual

STEP 11:

Chapter 2 - Getting Started

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
doesnt, 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
into the channel using the Insert Matrix in the Matrix Remote:
Press channel 16s 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 right
hand-side of the Insert Matrix tab shows you red boxes labelled Insert 1, Insert 2 etc. These boxes represent your analogue
outboard gear you have connected to the Insert Send and Return connections on the back of Matrix. They are known as Devices.
Devices are floating, which means you can freely move them into whichever analogue insert point you like.

Start by renaming each Device. You can do this by right-clicking and choosing Rename
Once you have named your devices use the scroll bar at the bottom, to bring Chan16 into view inside the Insert Matrix
Simply click and
drag the device you want and hover over the first available slot in channel 16s column. Release the mouse
Bass
click and it will be placed into the insert slot.
The device will then turn red in the Device list to indicate it is in use
For more information regarding the Insert Matrix, including how to make chains, see Page 67.
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 2 - Getting Started

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Matrix2 Owners Manual

Chapter 3 - Analogue Signal Flow

Chapter 3 Analogue Signal Flow

In this chapter we will be examining the analogue side of Matrix, focusing on its extensive routing capabilities and
examining the unique Matrix automation facility. We will also cover the SSL soft keys, which affect both analogue and
DAW control domains.

Introduction to Focus Modes

Matrix combines two distinct modes of operation in one control surface, providing control of both the analogue
signals and the DAW functions associated with the modern recording environment. In order to accomplish this within
a compact space, the console can operate in two Focus modes, focusing on either the analogue or DAW control
functions. These modes are 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
5
6
7
8
DAW track metering in DAW Focus mode. The scribble strip also functions differently in each Focus mode.
It is possible to lock the meters to either the analogue channel or DAW track signals regardless of the
consoles Focus mode. This is done via the Meter menu in the SSL soft keys. See Page 43 for more details.
Matrixs 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.

Bass

In this chapter, we will be concentrating on Analogue Focus mode, so the Focus button should be lit.
See Page 74 for more on Focus modes.

Operating Principles
1

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.
4

The Matrix channel strip (shown left) is split into two sections: the top section, from the channel metering down to
10 of the10desk (signal
10
10
10
10etc), and
10
10
10
10
10
the10digital scribble
strip,
controls
most
of the10 analogue side
routing
and 10source selection
5
5
5
5
5
5
5
5
5
5
5
5
5
we will therefore focus our attention there. The lower section of the channel strip, from below the digital scribble5
0
0
0
0
0
0
0
0
0
0
0
0
0
0
SOLO
buttons
as well5
strip5 down, 5is more5 focused5 on DAW
control.
However, 5this section
includes
the5 CUT and
5
5
5
5
5
5
5
as the
fader,10 all of which
function
in 10both analogue
and DAW
Focus
10
10
10 modes.
10
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0123456
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Matrix Owners Manual

Chapter 3 - Analogue Signal Flow

The Master Channel Strip

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 desks 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
the scribble strip which cannot be used for selection to the Master Channel. Use of this
SEL button is described on Page 77.
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.

Bass

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 1s 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.

DIM

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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MASTER/FOCUS

Chapter 3 - Analogue Signal Flow

The Digital Scribble Strip

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 76). 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.
See Page 106 for a description of the scribble strip in CC layers.

Total Recall LEDs

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 60, 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 desks Total Recall function.

2
5
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Matrix
Owners
Manual

LEFT

3 11
- Analogue
Signal
2
3
4 Flow
10Chapter
12
13

The Channel Strip

Channel Inputs
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
IN. The second input would normally be fed from the output of the DAW and labelled as DAW
Return. The Channel Input (CHIP) is sourced from the line in by default, and it is this
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).
1
2 your input, it3 then has a 20dB
4
5
8 Recall LED,
Once you have selected
gain trim, indented
in the6centre at unity7gain with a Total
and phase reverse () 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 67).
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.

Channel Outputs
Direct Channel Outputs
The individual Channel Outputs (CHOP), are designed to be used to feed the inputs of a DAW, and appear on
the desks 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-outs source is indicated by the LEDs to the right of the gain pot and by the colour of the SRC button:

Signal Source

LED indication

SRC button colour

Pre-fader, post-insert (default)

From the line-in, pre-gain
Post-fader

No LED
INPUT is lit
POST is lit

Unlit
Red
Yellow

Bass

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Chapter 3 - Analogue Signal Flow

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REC and MIX Busses

In addition to the CHOP, the channels 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
Channel which light up to indicate the presence of routing. This routing is also indicated
by the lighting of the REC and MIX symbols at the bottom of the meter section above
5
6
the 2channel (shown3 left). You will4notice that throughout
the desk,
references7 to the
11
12
13
14
15
REC bus are red, references to the MIX bus are yellow, and references16to the MON
bus are green.

1
10

LEFT
8

The signal level being sent to the record and mix busses is controlled by the fader at the bottom of the channel. The channels
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

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 strips 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.
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).
Both the Master Channels DAW MONITOR button and the channel strips 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
Bass
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
11 any channels12in DAW MONITOR
13
15 status of the16DAW transport and track
MASTER/FOCUS
source on
mode 14
depending on the
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.

Bass

Note that for the DAW MONITOR function to switch between corresponding DAW sends and returns, each DAW track
5
5
5 output must be
5 sending to the5Matrix channel 5which is feeding 5its input.
5
5

10 source 0
0 Note also that0in order to use DAW
0
0
0 mode, the channel
0 and the CHOP
MONITOR
input must0 be set to INPUT,

must not be post-fader.

10
Cut10 and Solo

Above the fader,

there is a CUT
switch which
immediately
output, and a SOLO
button
4
5
6
7 mutes the channels
8
9
20
20 mutes all other
20
20
which
channels, 20
leaving that channel
as the only20signal reaching20the monitors. 30

30
30
30
30 modes available
30 on Matrix.
See Pages30
42 and 44 for details
of the different
solo and cut
Bass

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Chapter 3 - Analogue Signal Flow

Auxiliary Sends
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
Recall LEDs. 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 pan pot is indented in the middle, where the
signal is feeding both the left and right busses equally.
The stereo cue bus can be fed from four places: line-in pre-input-selection, pre-fader (post-insert), post-fader
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:

Signal Source

LED indication

SRC button colour

Pre-fader, post-insert, (default setting)

From the line-in, pre-gain
Post-fader
SuperCue monitoring (see below)

No LED
INPUT is lit
POST is lit
S-CUE

Unlit
Red
Yellow
S-CUE is Green*

MON

REC

MIX

DIM

SOLO

SuperCue
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 artists 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.
RIGHT

LEFT

Solid State Logic M

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
Bass
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.

32-Track Mixdown
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 desks 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.

iJack

MASTER/FOCUS

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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,
the sends to FX busses 1 and 2 are active. Pressing the FX3 button in the Master
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
the gain pot being lit.

DIM

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:
Bass

Signal Source

LED indication

SRC button colour

Post-fader (default setting)

Pre-fader
Stereo Cue Send

No LED
PRE is lit
CUE is lit

Unlit
Green
Red

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

MASTER/FOCUS

10 10

30
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40 40

Chapter 3 - Analogue Signal Flow

The Centre Section

RIGHT

LEFT

Solid

15
16
Master
Bus
Controls

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.MIX
The gainREC
pots trimMON
the signal
by 24dB and are indented in the centre at unity
SOLO
gain.

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
RIGHT
LEFT
(S) button below the INSERT button sums the insert return and the original bus feed together.
16 Note that pressing the INSERT button without anything connected to the MIX INS SEND and RTN will leave

Solid State L

the mix bus silent, unless the S button is selected.

Note also that if the MIX INS SEND and RTN connections are not required for signal processing, pressing the
S button enables the return connections to be used as a direct stereo input to the bus.
MIX

REC

MON

SOLO

The Record Bus

iJack
The REC bus has its own dedicated insert circuit which is isolated from the channel
routing in iJack
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
(S) button below the INSERT button sums the insert return and the original bus feed together.

RIGHT

LEFT

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

Solid State Logic M

Note also that if the REC INS SEND and RTN connections are not required for signal processing, pressing the
S button enables the return connections to be used as a direct stereo input to the bus.
CUT
DIMMIX button
The REC bus can be routed to the MIX bus by pressing the TO
below the S button.
iJack

iJack

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

2 18

Note that pressing the INSERT button without anything connected to the CUE INS SEND and RTN will leave
the cue bus silent, unless the S button is selected.
Note also that if the CUE INS SEND and RTN connections are not required for signal processing, pressing the
DIM
S button enables the return connections to be
used asCUT
a direct stereo input to the bus.
The bus can be routed to the MIX bus by pressing the TO MIX button below the S button.

Mon
Me
ersto theAuto
When using the desk for 32-track mixdown (see Page 34), the CUE
ST bus must
bet
routed
MIX bus.
iJack

iJack

Project 2 :: Title

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.)

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DIM

CUT

Mon

Meters

Auto

Misc

Auto
itle

REC

MIX

Digital I/O

REC

MIX

MON

Chapter 3 - Analogue Signal Flow

SOLO

Matrix has one stereo digital output which feeds both AES/EBU and S/PDIF connections on the desks rear
panel. This output is controlled by the Digital I/O area of the centre section, located immediately below the
MIX bus master. If a digital input is connected, then Matrix will lock its internal clock to it. The LED in the top
RIGHT
LEFT I/O area, labelled ADC LOCK, lights
right corner of the Digital
to indicate that the desk is locked to the
incoming signal.

Solid State

The digital LEFT

output can be sourced from the MIX bus,RIGHT
REC bus, or from the monitor signal (pre-monitor level). The SOURCE
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 48kHz
it is recommended that an external reference is always connected to ensure that Matrixs digital I/O remains synchronised to the
DAW.

Solid State Logic Matrix

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 FX sends would normally be brought back into Matrix using the
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.

2 1 81

iJack

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.
iJack

iJack

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
TRand at the bottom
IP of eachMisc
signals,
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 toDIM
indicate CUT
that AFL is on. (See Page 38 for more on AFLs.)

DIM

CUT

in
62 2

62 2
2 1 81

2 1 81

Mon
Meters Auto
TR
IP
Project 2 :: Title
Mon
Meters Auto
TR
IP
Misc
2
Matrix Owners Manual
37
Project 2 :: Title

Misc

Chapter 3 - Analogue Signal Flow

Monitoring
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
gain reduction introduced by the DIM button ranges from 3dB to 30dB and is
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.

iJack

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 minis 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 L inverts the phase
of the left-hand monitor signal. You can monitor the stereo difference (L-R) signal by
pressing L when the MONO button has been selected.

CUT

DIM

The next five buttons above the L 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 (S), 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 S button 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,
ers
restoring the monitoring source selection in the buttons beneath it. The SOLO CLEAR button lightsMon
to indicate Me
that t
there
is a
channel or bus in solo or AFL mode somewhere on the desk, as does the SOLO light located aboveProjec
the VU meters.
t 2 ::
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.
13

2
14
15
Matrix
Owners
Manual16

MASTER/FOCUS

Auto
Title

RIGHT

LEFT

Chapter 3 - Analogue Signal Flow

IP
Misc
Artists
Monitoring
Matrix has an additional output for the artists 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
the artists monitoring. The sources available are (from bottom to top) the MIX bus, the control room monitor output (MON),
the CUE bus, the desks 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 (S) 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 S button cancels all monitoring sources and returns the artists 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.
iJack
Both EQ pots are indented in the centre.

iJack

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.

Engineers Headphones
There is an engineers 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 artists monitor mix (see above). The button lights to
indicate that the feed has been switched to the artists mix.
CUT
DIM
While the FROM ARTIST button is not selected, the headphone signal follows the source
selection in the MAIN MONITOR area, along with the L and MONO buttons, but is not
affected by the DIM, CUT, MINI or level controls.

REC

MIX

LEFT

Conversely, when FROM ARTIST is selected, the engineers headphone signal follows the ARTIST MONITOR source
selection, 12
EQ insert and MONO
button,
by the level
13
14but is not affected
15
16 control.

Talkback
ARTIST

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 desks inbuilt talkback microphone to the
artists 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
it. When
it is pressed,
the
Mon aboveMe
ters
Auto
DIM function is automatically activated in the main monitoring.

Project 2 :: Title

The action of the talkback switch may be changed from momentary to latching by engaging the
TB Latch switch within the SSL > MonOpt menu.
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 104 for more details.
Note also that the talkback does not feed the engineers headphone signal, even when the FROM ARTIST button has
been selected.
iJack

Matrix2 Owners Manual

tittle

Chapter 3 - Analogue Signal Flow

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

REC

MON

SOLO

RIGHT

LEFT

Solid State Logic Matrix

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
2
Focus mode,3the right-hand 4meter is blank and the left-hand meter displays the signal level of the channel.
iJack

iJack

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 Total Recall in Analogue Focus mode, and for
DAW Automation status (HUI protocol DAWs only) in DAW Focus.
in
62 2 2 1 81
Normally the channel meters follow the desk Focus mode. However, via the MeterMIX
menu in the
SSL softMON
key set, the
SOLO
REC
channel meters can be locked to the Analogue Channel or DAW metering regardless of the current Focus mode (see
Bass
Mon
Meters Auto
TR
IP
Misc
1
Project 2 :: Title
Page 43).
DIM

CUT

The AUTO indicators in Analogue Focus mode are described on Pages 45 and 56.
The REC and MIX symbols at the bottom of the meter area are concerned with bus routing and are described
on Page 33.
1

LEFT
16

RIGHT

MASTER/FOCUS

See Chapter 5 for more on DAW protocols.

15
10

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.
ARTIST

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.
iJack

62
40

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Matrix2 Owners Manual

DIM

CUT

iJack

Chapter 3 - Analogue Signal Flow

Devices and Chains - Front Panel Control

Your 16 pieces of outboard gear that are connected to the Insert Send and Returns connections can be routed to the desired
Insert Point from the front panel. Equally, any change you make in the Matrix Remote browser, will be mirrored on the Matrix
itself.
Please note that if the IN-LINE button is active, the
DEVICES and CHAINS buttons will function as VSOLO and V-MUTE commands instead. See Chapter
5 for more information on these modes.

Devices
Pressing the DEVICES key will hi-jack the LCD scribble strip
on the right-hand side of Matrix to display the names of your
16 pieces of analogue outboard gear.
The two rows of eight buttons above and below the labels will
indicate if that particular DEVICE is available.

1176

LA-3A

DIST

4KDYN

MANL

VHD

1176

4KDYN

9KDYN

LA-2A

THERM

VULT

DIST

9KEQ

PURP

LA-2A

If the button is lit (yellow) that device is available. If the button

is not lit, it is already inserted across a channel.

From this point, you can route outboard gear to each channel. Simply press the upper SEL key on the channel you
want to insert something on and then press of the button corresponding to the device you want to insert.
Bass
1176

That button will now unlight and the text will appear on the main LCD display, underneath the channel name. You
can follow the same procedure to insert devices on other channels.

Building Chains On The Fly

The Matrix will allow you to use up to 6 devices across a single channels insert point. With the DEVICES button still active, go
to a channel where you already have a single device insert across a channel. For example, we already have our 1176 device
inserted on the Bass channel but we want to put a 4K EQ after it. To do this, we use the Navigation arrows.
Press the DOWN arrow. Where the text displayed 1176, you will now see a *. This indicates
the slot is available and all you need to do is press one of of the 16 devices corresponding to the
device you want to insert.
To further aid recognition of what you are doing, the two character MODE display
will change to read - 2. This signifies that you are on the second slot of that that
channel.

- 2
MODE

The up and down arrows will allow you to move between slot numbers on a channel. You can only move down to the next
available slot when you have filled the current slot. The bottom right of the MODE display will display a small dot . to indicate
when a particular channel has a device inserted on the next slot down.
The left and right arrows will allow you to move the upper SEL key to select the channel you want (or just press the desired
upper SEL key directly).

Matrix2 Owners Manual

Chapter 3 - Analogue Signal Flow

Inserting Preset Chains

Any CHAINS of devices you have previously saved can be inserted using the CHAINS button (see Chapter 4 - Matrix Remote
for creating preset chains).
To insert a preset CHAIN, first ensure you have pressed the CHAIN button. The LCD on the right-hand side of Matrix will now
change to show the names of any Preset Chains you have stored on the top row, with additional <<and >> keys.
The button directly above the name Preset Chain will light yellow if available or will be unlit if already in use.
Like with Devices, use the upper SEL key to selected the desired channel and then press the button directly above the desired
Chain name. The bottom row of the main scribble strip will now display the name of the Chain below the channel name.
If you have a channel that has 2 or more devices on it but you have not saved it as a Preset Chain, the bottom row of the
main LCD scribble strip will display the name of the first device in the first slot.
At the same time, the bottom row of the right-hand LCD scribble strip will display which devices you have in that particular chain
(providing that channel is still selected).

Removing Assigned Devices

When in either DEVICES or CHAINS mode, if a device/chain you want to use is already in use, the button does not light. You
can see which channel it is already in use on by simply pressing it. The device label will change to display the channel number e.g.
Chan 10 and the MODE display will change to indicate the slot it is currently inserted on.
To remove the device simply press and hold the desired device button until it re-lights yellow. It is now available to insert using
the normal method.

Matrix2 Owners Manual

Chapter 3 - Analogue Signal Flow

SSL Soft Keys

Soft keys are buttons which can have different functions assigned to them, depending on which soft key set is active.
There are a number of Matrix settings which are accessed
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.

MonOpt

Mon

Meters

Auto

Misc

Links

Project 2 :: Title

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.
USER KEY SETS

USER 1

USER 2

USER 3

USER 4

SSL MENU

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.
For a description of the user-definable soft keys, see Page 97.
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 eight menus of SSL soft keys, labelled: MonOpt, Mon, Meters, Auto, TR, IP, Misc and Links.
The settings configured within these menus are detailed over the following pages.
When no soft key menus are active, the soft key display indicates the Current Project and Title (see Page 48).

Matrix2 Owners Manual

Chapter 3 - Analogue Signal Flow

MonOpt Soft Keys

The MonOpt 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 CHOPs
and aux sends) sourced from the input or pre-fader signal remain unaffected by solos, but are affected when sourced post fader,
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 InpCu option in the Misc soft key menu is enabled (see Page 44), pre fader sends will also mute when a
solo mute is received.
Pressing the AFL button switches the solo buttons to be non-destructive, by routing the post channel, post pan signal to a
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.
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.

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 Mom (momentary) causes the SOLO buttons to deactivate when released. They therefore need to be held down in
order to remain in solo mode. More than one button can be held down simultaneously.
Pressing Alt prevents the SOLO buttons from latching, introducing an intercancellation between SOLO buttons: pressing a
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 Alt or Mon mode, press the currently selected mode button to return to default (latch) mode.
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 76).

When the Sub0dB button is lit, the LFE channel is attenuated by 10dB. This is a requirement when mixing for SACD or any
other format that requires unity gain on the LFE channel.

TBLatch will change the operation of the ARTIST talkback button from momentary to latching.

Matrix2 Owners Manual

Chapter 3 - Analogue Signal Flow

Mon Soft Keys

The Mon menu allows you to cut or solo individual monitor outputs in your 5.1 setup. By default, pressing any of the Left,
Centre, Right, LSurr, RSurr, Sub buttons will cut the relevant output. Pressing the Solo button
first will change the function of the buttons from Cut to Solo mode. The Mtr5.1 button switches between 5.1 and stereo
monitor outputs. The Mtr5.1 button also changes the MIX, REC and MON meters on the meterbridge from 3 stereo meters
to a single 5.1 meter.

Meters Soft Keys

The Meters menu in the SSL soft keys is used to configure the analogue channel meters. Once this menu has been selected,
the eight lower buttons in the soft key area are in three groups: buttons 1 and 2 prevent the meters from following the consoles
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
can be returned to their default state by pressing the currently selected option:
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 consoles Focus mode, displaying the analogue channel levels in Analogue Focus mode, and the
levels in the DAW tracks in DAW Focus mode. Pressing Analog causes the meters to stay with the analogue channel levels,
and pressing DAW causes the meters to stay with the DAW track levels, regardless of the consoles Focus mode.

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 Peak introduces a 3 second peak hold, and pressing Hold introduces an infinite peak hold
which can be reset by cancelling the Hold button.

Meter Source Options:

There are four source options for the channel meters: CHIP (channel input post-gain), CHOP (channel output), DAW
Return (DAW return pre-gain), and Post (post fader).

Matrix2 Owners Manual

Chapter 3 - Analogue Signal Flow

Auto Soft Keys

The first three soft keys in the Auto menu enable the
analogue channel levels to be controlled via MIDI Volume
(CC7) messages received from a 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.

MonOpt

Mon

Meters

None

Abs

Trim

Auto

Misc

Links

DF1

DF2

Snap

Selecting None disables external MIDI control, giving full control of the fader level to the desk faders.
Selecting Abs disables the physical faders, giving full control of the fader level from received MIDI volume data.
Selecting Trim enables simultaneous control from both the MIDI data and the physical faders, allowing the received MIDI
volume messages to trim the channel level set by the console faders in Analogue Focus mode. The last three soft keys in the
Auto menu are functions of the A-FADA mode, where the DAW is controlled by audio tracks within the DAW.
The Automation status of each channel (None, Abs or Trim) will be stored within each TR snapshot.
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.
Selecting DF1 enables the A-FADA method of automation. DF1 stands for DAW Follow 1. The analogue channel faders now
follow any volume automation written on the first 16 audio tracks in the DAW you have set up on Layer 1.
Selecting DF2 enables the A-FADA method of automation. DF2 stands for DAW Follow 2. The analogue channel faders now
follow any volume automation written on the first 16 audio tracks in the DAW you have set up on Layer 2.
Selecting Snap restores the last known analogue channel fader positions you had set before one of the DF buttons was pressed
and writes those positions into the DAW.

TR Soft Keys
The TR soft keys allow Matrixs Total Recall functions to be controlled from the console (TR is described on page 63):

Enable enables TR for restoring snapshots.

TakeTR takes a TR snapshot.
SetSel sets a TR snapshot to any channels selected using the upper SEL key.
SetAll sets a TR to the whole console.
Cur: displays the TR number which is currently selected in the Total Recall tab of the Matrix Remote.
<< selects the previous TR snapshot
>> selects the next TR snapshot
Tip - Dont forget to press the ENABLE button after using the << and >> buttons to show the TR snapshot.

Matrix2 Owners Manual

Chapter 3 - Analogue Signal Flow

IP Soft Keys
The IP soft keys allow you to switch the consoles IP address between Fixed and DHCP.
The IP address information is shown after the DHCP button. By default, Matrix uses a fixed IP address of 192.168.1.2. with the
subnet mask set to 255.255.255.0.
See Page 5 for a description of how to change the fixed IP address.
See Page 4 for details of configuring the consoles Ethernet connectivity.

Misc Soft Keys

The Misc soft keys cover miscellaneous Matrix settings:

InpCu configures the channel CUT buttons. By default, pressing the channel CUT button mutes the channel output, leaving
any pre-fader feeds from the channel unaffected. Pressing InpCu causes the CUT buttons to mute the channel after the input,
muting any feeds from the channel that are not sourced from the INPUT.

OptDAC switches between the two digital inputs. By default, the AES (XLR) input is selected. Pressing the OptDAC button
selects the S/PDIF input, and the button lights to indicate that this input has been selected.

Fader Options:
Mst+10 rescales the master fader. By default, the master fader reaches 0dB at the top, following the scaling labelled on the
left of the fader. Pressing Mst+10 switches the meters scaling to reach +10dB at the top, following the labelling on the right
of the fader.

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

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 +18dB button
provides an alternative scaling of +18dBu.

USB Keyboard Identifier:

The KeybID key is used to identify the nationality of keyboard being emulated by the Matrix USB soft keys. See Page 100 for
details.

Matrix2 Owners Manual

Chapter 3 - Analogue Signal Flow

Links Soft Keys

Creating Links
V2 software adds a powerful fader linking feature. Fader
linking allows you to link 2 or more faders together in
one link group. Once faders are linked, you only have to
move one of them and all other faders in that link will
follow. This may be useful for work with stereo
instruments or for easy tweaking of the overall balance
of a drum kit.

MonOpt

Mon

Meters

Auto

CueSt

FX13

FX24

Hide

SusSEL SusAll

Misc

Links

Upon pressing the LINKS button, the mode display on Matrix will change to show the letter L1. This indicates you are in the
first link group. Pressing the upper SEL key on the desired channels will put faders in to that link group. For instance, press the
upper SEL key on Channel 1 and then press the upper SEL key on Channel 2. Both faders are now linked.
In order to link faders 3 and 4 together, you need to move to the next link group. To do this, use the >> key in the LINKS menu.
The MODE display will now read L2 to indicate you are setting up the second link group. Once again, simply press the upper
SEL key on the appropriate channels (3&4) to link them together.
There are eight link groups available in total. The << and >> arrows will move you between the groups.

Link Soft Keys

The LINKS menu offers a range of useful functions for linking.
Pressing the CueSt button so that it lights will link the on/off function of the Stereo Cue knob. This setting is specific to the
currently selected link group.
Pressing the Fx13 button so that it lights will link the on/off push function for the FX 1/3 knob. This setting is specific to the
currently selected link group.
Pressing the Fx24 button so that it lights will link the on/off push function for the FX 2/4 knob. This setting is specific to the
currently selected link group.
The Hide function is useful for when you dont want to see the slight lag of the faders in a link. Pressing Hide will throw all
faders in the current link group down to the bottom of the fader travel, apart from the first one in the link. The first fader in the
link will still be controlling all the other linked faders but those faders are hidden. Usefully, the scribble strip display (when in
Analogue Focus) will still display the dBs values of all hidden faders. This setting is specific to the currently selected link group.

SusSel will suspend the currently selected link group.

SusAll will suspend all links across all link groups.
<< selects the previous link group.
>> selects the next link group.
Tip - If you need to re-adjust the relative balance of a group of linked faders, simply ensure you are touching one of the faders
in that link and move the faders that need re-adjusting. This allows you to achieve the same thing as turning SusSel on and
off but faster.

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Chapter 3 - Analogue Signal Flow

Matrix Automation
The MIDI Fader Method
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
domain. 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):
-

In absolute (Abs) mode the volume data replaces the levels set by the Matrix faders in Analogue Focus mode;

In Trim mode the MIDI data adds or subtracts from the level set by the desk faders in Analogue Focus mode in a similar
fashion to a VCA-style master fader;
Tip: Pressing the MF Focus button while in Analogue Focus mode (described on Page 74) will allow you to trim one channel
of automation via the master fader, while retaining access to the channel faders.

A third mode, None, mode returns full level control to the Matrix faders.

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.

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 channels 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 None mode neither LED
3
4
5
6
7
8
9
is lit, in Abs mode the red LED is lit, and in Trim mode the green LED is lit.

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 9, 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 80) 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.

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The above screenshot is an example of how to setup Pro Tools to run the Matrix automation system. You should create 16 midi
tracks to control the 16 analogue channels of Matrix. The outputs of each midi track are set to ipMIDI port 9. The first midi track
is set to ipMIDI port 9 channel 1, the second midi track is set to port 9 channel 2 and so on.
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.
Note that for the automation to be replayed, the 16 MIDI channels must be in an automation mode that outputs 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.
Note that, while in DAW Focus mode, you cannot normally view the channel signal level in the meters. The Meters menu
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 3 - Analogue Signal Flow

The A-FADA Method

A-FADA (Analogue Fader Accesses DAW Automation) is an innovative approach to analogue console automation, utilising the
automation system of a DAW to control the analogue channel levels.
A-FADA links the DAW fader and mute data to the consoles channel level and cut functions, allowing all the workstation
automation editing tools to be used on a mix that is actually taking place in the analogue domain, providing the workflow advantages
of in the box mixing whilst retaining a full analogue process and mix path.
Operationally, A-FADA is identical to running a standard DAW mix from a hardware control surface. With this in mind, the
descriptions below should provide enough information to get you going.

Setting up A-FADA
As A-FADA works by sending out volume information over HUI/MCU protocols, it is presumed that your Matrix is already
working a control surface, with the relevant HUI/Mackie Controller setup in your DAW.
In your DAW, create 16 new blank audio tracks which will be used to control the analogue channel faders on Matrix. Make sure
that these 16 audio tracks are positioned as the first 16 tracks of the session. Any volume automation data or fader movements
on these 16 tracks will control the analogue channels of Matrix.
Your existing tracks with audio recorded to them should be routed out of different outputs on your audio interface and into Matrix
via the analogue channel inputs as normal.

16 tracks positioned at
the top of the session

If you have existing DAW automation you wish to re-use, copy it from the audio tracks and paste it to the blank tracks you have
just created. You will then need to either disable or delete the automation from the original tracks.
If the automation is deleted rather than disabled, micro-automation (such as the removal of undesirable transients) can be
performed on the original audio tracks within the DAW using a mouse or trackball

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Now you are ready to engage A-FADA. Press the SSL button on the Matrix and then press the Auto button. This example
presumes you want your DAW on DAW layer 1 to control Matrixs channels. Simply press the DF1 button and your DAW faders
now control Matrixs analogue gains.
If you wish to use the DAW you have configured on DAW layer 2, then press the DF2 button instead.
Note: These 16 audio tracks must be positioned as the first 16 in the session, as the HUI/MCU protocols dictate this.
Tip: You probably want to rename these Audio Tracks to have meaningful names such as KICK instead of Audio1.

The Snap function

The snap function fires a snapshot of the console analogue fader positions, automatically stored when A-FADA mode is enabled
(when you press the DF button). When A-FADA mode is enabled, the console faders will move to match the current DAW fader
positions. Pressing the Snap switch will move the faders back to the previously stored positions, allowing the analogue balance
to be restored and written into the DAW automation.

Operating A-FADA
Once A-FADA mode has been enabled, the console faders will control the corresponding DAW faders, and the fader position
signal from the DAW will control the console fader positions and analogue gain, regardless of the selected Focus mode.
In Analogue Focus the channel cut switches control the analogue cuts directly, while in DAW Focus they are routed via the
DAW and will be recorded as mute automation. Analogue Focus mode allows channels to be muted as far as monitoring the mix
is concerned, without writing mute automation or needing to change automation modes.
The console solo switches are connected to the analogue signal path in both Focus modes.
In order to lock console channels to the same DAW track (and thus its automation), Channel/Bank scrolling is disabled in A-FADA
mode.

Extra Setup Information for using A-FADA with Logic

You need to ensure that Logics Control Surfaces Preferences are set correctly. Go to Preferences > Control Surfaces.
Ensure that the options Touching Fader Selects Track, Control surface follows track selection and Flash Mute
and Solo buttons are all un-ticked.
It is also recommended to set the Logic Mixer to 'Arrange' view mode. This ensures that the first 16 'control tracks' always
correspond to Matrixs 16 analogue channels. If using Instrument tracks with Multi Outputs, also ensure that the 'Link' button is
disabled, to prevent Logic automatically switching back to 'All' view mode when you click on an instrument.
Logic Tip - Because A-FADA will lock out the Channel/Bank keys, in Logic you can use Control Surface Grouping to use
another DAW layer as your control surface. For example, if you were using DAW 2 for A-FADA, you could use DAW 3 for
general control surface purposes. Simply add another Mackie Control and Extender for this layer and then drag them beneath
the existing ones in the setup page in Logic.

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Chapter 4 - Matrix Remote

Chapter 4 The Matrix Remote

In this chapter, we will examine how the Matrix configuration and session information can be controlled and managed in the Matrix
Remote.
For details of installing the Matrix Remote software, see Chapter 1.

Introduction to the Matrix Remote

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 consoles 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.

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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The Projects Tab

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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Navigating the Projects List

Folders can be listed by order of creation or in alphabetical order. Double-clicking on a folder expands it to reveal the subfolders within it, as does clicking on the sign in front of the folder. Similarly, double-clicking on an expanded folder collapses
sign. The folder architecture is as follows:
it again, as does clicking on the

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 67):

Although the files named assign.dat,

chain.dat, stpairs.dat are visible, they
are for internal use only and should not
be modified.

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. 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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Managing Projects
Creating a Project
To create a new Project, simply press the New Project button in the bottom left-hand corner of the window. The following
window will appear asking to name the Project and the first Title.

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.

Deleting a Project
To delete a Project, right 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 Project.
Please be aware that this action cannot be undone.

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Chapter 4 - Matrix Remote

Managing Titles
Creating a Title
To create a new Title, simply press the New Title button and a new Title pop-up window will
appear. This will create a new Title in the currently selected Project.
To create a new Title in a different Project, first open another Title in the desired Project using
Open Title, then click New Title.
The New Title pop-up Window will prompt you for the following:
Title Name Name your New Title
Channel Names Allows you to choose between the following:
> Last Used - Imports the same analogue channel names as used in the currently selected Title.
> Default - Names the channels in consecutive order Chan1, Chan2 etc.
> List of Presets - Underneath the options for Last Used and Default, you will see a list of
any saved Channel Name presets you have created using the Save Channel Names as Preset
option in the Channels page of the browser. See later in this chapter for more information on this.
Insert Matrix Allows you to choose between the following:
> Last Used - Imports the same Insert Matrix as the currently selected Title. The devices will be
inserted in the same positions.
> Default - Returns all devices to be available in the right-hand list.
> List of Presets - Underneath the options for Last Used and Default, you will see a list of
any saved Insert Matrix presets you have created using the Save Insert Matrix as Preset option
in the Insert Matrix page of the browser. See later in this Chapter for more information on this.

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 Titles 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 61 for details of how to recall a snapshot.

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Chapter 4 - Matrix Remote

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.
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.

Duplicating and Copying a Title

To duplicate a Title, right-click (Mac: ctrl+click) on the Title folder and choose Duplicate. A duplicate of the Title, including
the Title Notes (see next page), Insert matrix and Total Recall folders and Channel Names folder, will appear at the bottom of
the same Project folder, with a bracketed number e.g. (1) appended to the Title Name indicating it is a duplicate. Subsequent
duplicates will incrementally increase the bracketed number.
To copy a Title to a different Project simply drag the Title into the destination Project folder and click OK in the Confirm Copy
pop-up. Alternatively, right-click (Mac: ctrl+click) on the Title folder and choose Copy to clipboard. Right-click on the
destination Project folder and choose Paste from clipboard.

Deleting a Title
To delete a title, right-click (Mac: ctrl+click) on the Title 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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Project and Title Notes

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
in 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.

Track Sheets
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

The Total Recall Tab

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 63.
Note that the settings of any X-Racks which are connected to Matrix are also included in the Total Recall function. For XRacks 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 46 for more details.

Taking a TR Snapshot
To take a snapshot of the desks settings, press the Take TR Snap button located to the right of the window. The snapshot
will then appear in the current Titles 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 TR set of SSL soft keys see Page 44.

Naming a TR Snapshot
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.

Deleting a TR Snapshot
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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Recalling a TR Snapshot
Enabling Total Recall
In order to recall a snapshot of the desks 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 Enable in the TR soft key menu (See Page 44).
The 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
enabled (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 78 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.

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

Grp 1: Auto Resets

Grp 2: Manual Switches

Grp 3: Manual Pots

- Channel Strip input selection, CHOP

and Aux SRC buttons, Aux ON
switches, REC and CUE bus routing,
and TRK and CUT switches;
- All Bus Send INSERT and S switches;
- All faders.
- MIDI-Auto Status (None, Trim,
Absolute)

- Channel Strip PHASE and INSERT

switches;
- REC and CUE bus master TO MIX
switches;
- All ST RET switches except AFL;
- Artist Monitor EQ and MONO
switches.

- 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 pots 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 channels controls are matched.
Once you have taken the snapshot, dont 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 channels 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 channels 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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The Channels Tab

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.
Channel names can be a maximum of six characters long.
When in DAW Focus mode, the channel names will be generated by the names of the DAW tracks they are controlling.
However, when a CC layer is active, the CC numbers can be labelled in the scribble strip, as described on Page 106.
See Page 74 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 (Chan1, Chan2 etc), press the Reset Channel Names button underneath
the scribble strip in the tab, and click Yes in the warning pop-up that appears.
If you are using the Cue Stereo to source extra inputs for 32 Track Mixdown mode (see page 34) you can label both rows
of the Matrix scribble strip so that you can remember what sources are having their level controlled by each Cue pot. Simply click
the Display Channels 17-32 button. Usefully, you can then choose Flip Scribble Strip so that the labels for channels 1-16
are closest to the faders and the labels for channels 17-32 are (slightly) closer to the cue pot.
Please note that you will only see both sets of labels on the Matrix scribble display when solely in Analogue Focus. If the Devices,
Chains, In-Line, Plug-In or Auto-Set buttons are engaged or if you are in DAW Focus Mode, you will not see channel names
17-32.

Matrix2 Owners Manual

Chapter 4 - Matrix Remote

Save And Load channel Names As A Preset

If you would like to re-use the channel names you have already typed in another Title, you can save your current Titles channel
names as a preset.
Simply press the Save Preset button, in the top-right of the Channels Tab
section. A window will then appear. Type in a name for this preset in the
blank box at the bottom of the window and click Save.
Upon creating a New Title, the preset name will be available in a dropdown list. Or, if you create a New Title with default channel names and
then realise you want to use one of the presets, simply go to the Channels
Tab and click Load Preset then choose your preset name from the list
and click Load.

Renaming And Deleting Saved Channel Name Presets

Right-clicking on a stored channel preset in the list allows it to be renamed or deleted. You can rename
or delete from either the Load or Save pop-up window. The maximum amount of saved presets is
32.

Matrix2 Owners Manual

Chapter 4 - Matrix Remote

The Insert Matrix Tab

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.

Naming Devices
The Devices column on the right-hand side of the Insert Matrix tab lists the 16 devices 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 Devices
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.

Matrix2 Owners Manual

Chapter 4 - Matrix Remote

Setting Devices as Stereo

Right-clicking on a device in the list will present the option Set As Stereo. Clicking this will automatically append the letter L
to the device label you have selected and will also add a R to the next device in the list.
Setting a device as stereo means that you only have to click and drag once to move it into the Insert Matrix, as both devices are
moved as one. For instance, setting Device 15 as stereo and then dragging it into Channel 11 will automatically insert Device 16
onto Channel 12.
To return a pair of devices to normal mono operation, right-click on either of the devices in the device list and select Set As
Mono.

Matrix2 Owners Manual

Chapter 4 - Matrix Remote

Inserting Analogue Devices Using The Insert Matrix

On the right-hand side, you have two buttons, Devices and Chains. Make sure Devices is selected and you will see your 16
analogue pieces of gear in either a red or black box. To insert a piece of analogue gear onto a particular channel, simply drag and
drop (click and hold with a mouse-click) one of the devices currently available into the first available slot on your desired channel.
Available devices are shown in black. Devices already in use are shown in red. The horizontal scroll bar at the bottom will allow
you to move through all 16 channels of Matrix.
Please note that the Insert Matrix has no concept of an empty slot. So if you try and drag a device into the 6th slot and
there are not devices in the 5 above it, it will automatically move up to fill the top slot.
Once inside the Matrix, devices can be freely dragged and dropped between channels. If you wish to move a device from Channel
1 to Channel 16, simply hover over the horizontal scroll bar whilst holding the mouse-click down to move across the Matrix.

Creating Chains On The Fly

Once you have a device inserted in the first slot, the second slot will become available for you to drag a device into. This way
you can create chains of devices. For example, the screenshot above shows that the insert send of Channel 14 routes into the
4K EQ, out of the 4K EQ into the 4K DYN, out of the 4K DYN back to the insert return. A maximum of 6 devices can be used
across a single channel.

Re-Ordering Adjacent Devices

To swap the order of two adjacent devices, pick up the first device with the mouse and then hover over the second. Release the
mouse and they will swap slots.

Matrix2 Owners Manual

Chapter 4 - Matrix Remote

Removing Devices
Right-clicking on a device in the Insert Matrix will give you three different options:
Remove selected device Removes the selected device from the Insert Matrix and places it back into the devices list. Any
devices below will shuffle up to fill empty slots.
Remove ALL devices from selected channel Removes all devices in that channel, not just the one that was right-clicked
on.
Remove ALL devices from Matrix Removes all devices, across all channels of the Insert Matrix and returns them to the
devices list. A pop-up window provides an extra chance to change your mind.

Saving Chains as Presets

If you build a chain that may be of use on another session, you can save this as a preset. For instance you have found a combination
of devices that work well for a singer who may work with again. Click the Save Chain button which can be found at the bottom
of each channel in the Insert Matrix. A pop-up window will appear asking you to name the chain. The chain will then be shown
in the Chain list.
Please be aware that the Save Chain button is specifically for saving preset chains to be used at a later date. The Insert Matrix
will continue to save automatically with the Title any time a change is made.
Channels with devices Set To Stereo are not available for saving as Chain Presets.

Loading Preset Chains from the Chains List

Click the Chains button at the top-right of the devices list to view your saved chains. The Chains list is split into two columns.
The left column displays the names of your saved chains and the right column displays the names and order of devices of the
selected chain. Click on the chain name in the left column to select the desired chain. Looking at the image above, you can see
that two items in the chains list, Andy Vocal 1 - Devs in use and Andy Vocal 2.

Matrix2 Owners Manual

Chapter 4 - Matrix Remote

Andy Vocal 1 is greyed out because at least one of the devices in that particular chain is already in use elsewhere in the Insert
Matrix. The right-hand column shows that the device in question is the DBX 1 and it is being used on Channel 14. Right-click on
the chain name in the left-hand column and choose Release Assigned Devices. This will un-route any devices needed by that
particular chain and make them available again. The chain name will no longer be greyed out. Click and drag on the chain name
itself (left-hand column) and move into the desired channel on the Insert Matrix.
Be sure to click and drag on the name of the chain and NOT the displayed chain order boxes.

Renaming and Deleting Chains

Right-clicking on the chain name will allow it to be renamed or deleted. A maximum of 32 preset chains can be stored.

Save and Load Entire Insert Matrix as a Preset

The Save Preset and Load Preset buttons at the top-right of the Insert Matrix tab allow entire Insert Matrix settings (including
assigned devices, device names, chains and devices set as stereo) to be saved and loaded within each title.
This may be useful if you have a particular setup for tracking and a different setup for mixing. Instead of having to re-create these
setups each time you open a New Title, you can simply save them as two presets.
Clicking the Save Preset button will bring up a pop-up window. Type in
a name for this preset into the blank box at the bottom of the window
and click Save.
Upon creating a New Title, the preset will be available in a drop-down list.
Or, if you create a New Title with a default Insert Matrix and then realise
you want to use one of the presets, simply go to the Insert matrix Tab and
click Load Preset, choose your preset name from the list and click
Load.

RENAMING AND DELETING SAVED CHANNEL NAME PRESETS

Right-clicking on a stored channel preset in the list allows it to be renamed or deleted. You can rename or delete from either
the Load or Save pop-up window. The maximum amount of saved presets is 32.

Matrix2 Owners Manual

Chapter 4 - Matrix Remote

Matrix
noun ( pl. -trices )
1 an environment or material in which something develops

Matrix2 Owners Manual

Chapter 5 - DAW Control

Chapter 5 DAW Control

Introduction

iJack

A wide range of DAW packages, along with associated MIDI devices such as soft synths and certain hardware instruments, can
be controlled directly from Matrixs front panel, allowing you to run sessions with significantly less reliance on a mouse and
keyboard. This control data is received via networked MIDI connections, using one of two standard MIDI control surface protocols: HUI
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
CUT
provides a powerful and practical method to achieve tactile control of aDIM
workstation
or editor.
For DAW software other than Pro Tools, Logic, and Cubase/Nuendo please refer to their operational documentation to
confirm which protocol they support.
This chapter describes how the Matrix console employs these control protocols, introducing the front panel controls and covering any
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 DAWs operation
manual.

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.

Layers

Meofte
rsvirtualAuto
TRcan be
Matrix can connect to up to four DAWs or software MIDI devices,Mon
one from each
four
layers. Each layer
assigned to use a particular Profile. Selecting a Profile will assign the layer
to use one
threeT
control
protocols and load a
Projec
t of2the::
itle
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.
Note that the DAWs or MIDI devices do not have to be on the same computer.

Matrix Console Layer Selection

The layers are assigned and configured in the Matrix Remotes 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.
15

MASTER/FOCUS

Matrix2 Owners Manual

CUT

DIM

Chapter 5 - DAW Control

Focus Modes

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. 8Focus modes also affect the channel
5
6
7
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 consoles
Mon
Focus mode. This is done via the Meter menu in the SSL soft keys. See Page 43 for more details.

Meter
Project 2 :

Matrixs 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.
Note: It is important to distinguish between DAW Focus mode (where the desks channels control the tracks
within the DAW) and DAW input selection within Analogue Focus mode (where the desks channels control the
analogue signals returning from the DAW).
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
to a different DAW trackMASTER/FOCUS
using the lower (DAW) SEL buttons. The
12 in the DAW.13The master fader
14 can therefore
15 be assigned16
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 80 for details.

2 1 81

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 76 for details.
0

0 15

1016

0 10

0 11

0 12

0 13

0 14

5
DIM

01523456
0123456

CUT

MASTER/FOCUS

ARTIST

1030

1040

3010

540

5 50

40 5

050

0 60

50 0

40SOLO

20
Owners Manual
74 20 Matrix2 20

40 MIX

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REC

MON

Bass
Chapter 5 - DAW Control

DAW Track Control

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 76
and 77.
2

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.
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5
0
5
10

Please note that there are two SEL buttons in the Matrix channel. The other SEL button is located further up the channel
10
10
10
10
10
10
10
strip, above the digital scribble strip, and is concerned with the desks analogue routing, not DAW control.
5

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.
0
0
0
0
0
0
0

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The Digital Scribble Strip

17-32 will hi-jack the bottom row of the scribble strip and replace the DAW track names. FLIP SCRIBBLE STRIP will then
50
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50
50
50
50
50
50
allow the two rows of channel names to be reversed, so that 17-32 are shown on the top row.
Please note that the FLIP SCRIBBLE STRIP on the Channels tab is independent to the FLIP SCRIBBLE STRIPS option on the
DAW tab, which is specific to DAW scribble strip information. Read below to find out more about this.
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 106 for a description of the scribble strip in CC layers.

Matrix2 Owners Manual

Chapter 5 - DAW Control

V-Pot Modes
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
additional 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 switch returns the V-Sel switches to channel swap
function.
V-SOLO and V-MUTE functions only work when the IN-LINE button is active. If IN-LINE is not active, these will
function as buttons for DEVICES and CHAINS mode in analogue operation. Please refer to Chapter 3 for
information on this.

Matrix2 Owners Manual

Chapter 5 - DAW Control

SEL Key Modes

The Matrix offers additional DAW control functionality via the SEL KEY area of
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

corresponding track within the DAW. The SEL symbols at the top of the
channel DAW
16 SEL buttons select theMASTER/FOCUS
channel meters light to indicate which track (or tracks) have been selected.

Rec Arm Mode

In REC ARM mode, each SEL button arms and disarms the corresponding DAW tracks record ready function. The REC
symbols at the top of the channel meters flash to indicate which tracks are record-armed.
10
1

5
0
5
10

Plug-in
Tools
Only)
2 5 Mode 3(Pro
4 5
5

PLUG-IN mode allows you to control the parameters of your Pro Tools tracks plug-ins from the Matrix front panel. In this
0
0
0
mode, the0V-Pots, V-Sels and
the digital scribble
strip no 10
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
5
5
5
5
15
switches to assign and control the plug-ins within a Pro Tools channel strip.
10

Note that the alignment of some of the labels in the digital scribble strip is approximate.
20
30
40
50

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.
40
30
30
30
30
With PLUG-IN
mode enabled,
the channel
DAW SEL50keys can select
and indicate the channel currently selected to the plug40
40
40
40
in editor.
50

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 channels meter area (shown above left) also lights to indicate that one of its sends
is being edited.
V-Sel 16 switches between Insert and Param mode, and the red LED below the V-pot lights to indicate Param mode.
Insert mode is used to select which insert ( 1- 5) is being configured, and Param allows the parameters of the selected
plug-in to be controlled.

Insert Mode
V-Pot 16 scrolls between the Inserts 1-4 page and the Insert 5 page. The current page is indicated in the top
row of the scribble strip. In the Inserts 1-4 page, Inserts 1-4 can be accessed by pressing V-Sels 9, 10, 11 and 12. In
the Insert 5 page, Insert 5 is accessed via V-Sel 9. The selected insert label will flash to indicate that it has been selected.
Channel 15s V-Sel button switches Assign mode on and off, and the red LED below the pot flashes when Assign mode
is on. In Assign mode, the V-Pot for each insert scrolls through a full list of available plug-ins, with the LEDs around the VPot 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.

Matrix2 Owners Manual

Bass

Chapter 5 - DAW Control

Param Mode
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
V-Sels, and the lower row on the scribble strip displays the parameters controlled by the V-Pots. In Param mode, V-Pot 16
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 Bypass and Compare functions of the plug-in.

Auto Set Mode

AUTO SET mode allows you to change the automation status of the DAW tracks via the console V-Sel switches. In this mode, the
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.
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
channels DAW SEL key is pressed, the track name in the scribble strip is replaced by a display of that tracks current automation
mode. The tracks 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 Read Mode; Flashing red + green LEDs indicates if the trim state has been selected for any of
the write modes (Pro Tools HD only).
Either set of V-Sel buttons (ie. 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.
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 desks analogue routing, not DAW control.
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 76).

Matrix2 Owners Manual

Chapter 5 - DAW Control

OCUS

Transport Controls
Your DAWs transport can be controlled from the five dedicated transport buttons on Matrix control surface, located at the
bottom of the centre section:

10
5
0

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 DAWs own on screen transport keys.

5
10
20
30

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
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
103.

ARTIST

You will find definitions of these transport functions in your DAWs control surface documentation, with the exception of
MON
SOLO
REC
MIX
PREVIOUS, NEXT, and LAST CUE which function as follows:
Note that these functions are Pro Tools specific.
10

PREVIOUS, located to the left of the top row, takes the cursor to the timeline marker numbered one lower than that
RIGHT
LEFT
which was last selected using the PREVIOUS and NEXT buttons.
Solid State Logic Ma
12
13
14
15
16
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.

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.
iJack

iJack

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 99).

Session Counter
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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 DAWs
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.

Mon
Meters Auto
Project 2 :: Title

2 1 81

Matrix2 Owners Manual

MASTER/FOCUS

Misc

Chapter 5 - DAW Control

iJack

iJack
iJack

iJack

Utility Buttons
Above the transport controls, there are another two rows of five buttons:
The 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.
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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 the
ARRANGE WINDOW unless the ARRANGE Channel Strip
is selected
control surface set up
i View mode62
2in the2Logic
1 81
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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.
ARTIST

Mon

Meters

Auto

The Modifier keys (SHIFT, CTRL, OPT/ALL and /ALT) as well

as the
ENTER keys
Projec
t 2 ESC
:: Tand
itle
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.

Misc

2 1 81

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.

Navigation
Mon
MetControls
ers Auto

10
5
0
5
10
20
30
40
50

MASTER/FOCUS

Misc

30
20
20
20
20
20
20
The navigation
wheel performs
a number
of different
functions,
depending on which mode has been
40
30
30
30
30
30
30
selected using the four mode buttons above the wheel.
40

50
50
50
50
60
50
For DAWs
controlled
via the50MCU 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.

ARTIST

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.
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.

Projec
t 2can::
Title
Matrixs navigation
controls
be used
to navigate around the DAW session and to enable additional
transport
monitoring
functions
such
as
Scrub
(HUI
only). They consist of the large navigation
10
10
10
10
10
0
10 and Shuttle
5
5with four mode buttons above it, and the five
5
5
5
wheel 5in the bottom
right
hand5 corner of
the console
0
0
0
10
0
buttons
above 0them known
as 0Cursor keys,
comprising
four directional keys and a central MODE
5
5
5
5
5
5
15
selector.
20
10
10
10
10
10
10

Matrix2 Owners Manual

Chapter 5 - DAW Control

Standard Profile Soft Key Assignments

Soft Key Overview
In 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
can be programmed to send either DAW specific MIDI commands or keyboard shortcuts. The top row can also be programmed
to act as Menu keys for the lower row of switches, up to 5 sets of Soft Keys can be stored with each Profile. The Standard Profile
for each protocol includes a suggested set of keys for the top, or Default, set. Some profiles may come with more keys assigned
to the User 1 and User 2 layers. The assignments for the standard 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.
Please refer to your DAWs HUI or MCU protocol section of their manual for a full understanding of control capabilities.

Pro Tools Standard Profile

Main Soft Key Page
Below are the assignments for Matrix Standard key set. You are in the Standard Key Set when the User 1, User 2, User 3 or
User 4 keys are not selected.

< Prev
Next >
V-Pot
I/O
MemLoc
Big C
AutoEn
AWind
Edit
Mix
Sus G
Plugs
Trans
RecRdy
P Roll
Click

Locates to previous marker

Locates to next marker
Opens the V-Pot menu
Opens the I/O menu
Opens/closes the Memory Locations window
Opens/closes the Big Counter window
Opens the AutoEn Menu
Opens the Automation Window
Brings the Edit window to the foreground
Bring the Mix window to the foreground
Suspends/Suspends Groups
Shows/hides the Plug-In window of selected plug-in
Shows/hides transport window
Record-ready for all tracks
Toggles Pre and Post Roll on/off
Toggles the metronome on/off

Matrix2 Owners Manual

Chapter 5 - DAW Control

The V Pot Menu

The image below shows the assignments for the V-Pot Submenu.

Pan
Mute
Dfault
Assign
Send A
Send B
Send C
Send D

V-Pots control Pan levels (hold OPT modifier whilst moving to see value)
Changes push function of V-Pots between Muting sends or Pre/Post
Default faders/pan positions. Press and hold whilst pressing a channels SEL key
Enters/Exits the HUI Assign mode for Plug-ins and I/O assignments
V-Pots control Send A levels
V-Pots control Send B levels
V-Pots control Send C levels
V-Pots control Send D levels

The I/O Menu

The image below shows the assignments for the I/O Submenu.

Assign
Input
Output
--------------------------

Enters/Exits the HUI Assign mode for Plug-ins and I/O assignments
Allows assign mode to set channel inputs
Allows assign mode to set channel outputs
Unassigned
Unassigned
Unassigned
Unassigned
Unassigned

The AutoEn Menu

The image below shows the assignments for the AutoEn Submenu.

Fader
Mute
Pan
Send
SMute
Plugin
AutoS
------

Enables/disables Fader automation

Enables/disables Mute automation
Enables/disables Pan automation
Enables/disables Send automation
Enables/disables SMute automation
Enables/disables Plugin automation
Enables/disables all automation
Unassigned

Matrix2 Owners Manual

Chapter 5 - DAW Control

The User 1 Menu

The image below shows the assignments for the User 1 Submenu.

< Tab
Tab >
SelTab
Z Out
Z In
Cut
EdMode
EdTool
Edit
Mix
Tab T
Sel R
Split
Copy
Paste
Click

Tabs to previous transient (providing Tab To Transient is enabled)

Tabs to next transient (providing Tab To Transient is enabled)
Tabs to next transient and also highlights area (providing Tab To Transient
is enabled)
Vertical Zoom Out for all tracks
Vertical Zoom In for all tracks
Cut highlighted region
Cycles selection of Pro Tools edit modes Shuffle, Spot, Slip and Grid
Cycles selection of Pro Tools editing tools
Brings the Edit window to the foreground
Bring the Mix window to the foreground
Enables/disables Tab To Transient
Selects all regions on track
Separates region at playhead
Copy highlighted region
Paste highlighted region
Toggles the metronome on/off

The User 2 Menu

The image below shows the assignments for the User 2.

Intro
Verse
Chorus
Mid 8
BrkDwn
Outro
MemLoc
Delete
-----------

Enters a marker that names itself to INTRO

Enters a marker that names itself to VERSE
Enters a marker that names itself to CHORUS
Enters a marker that names itself to MIDDLE 8
Enters a marker that names itself to OUTRO
Enters a marker that names itself to MID 8
Opens/closes the Memory Locations window
Deletes the last entered Memory Location(s)
Unassigned

Matrix2 Owners Manual

Chapter 5 - DAW Control

The User 3 Menu

The image below shows the assignments for the User 3.

Drums
Bass
Keys
Guitar
String
Vocals
Perc
FX
-----------

Opens/closes the Drum Names Submenu

Opens/closes the Bass Names Submenu
Opens/closes the Keys Names Submenu
Opens/closes the Guitar Names Submenu
Opens/closes the Strings Names Submenu
Opens/closes the Vocals Names Submenu
Opens/closes the Percussion Names Submenu
Opens/closes the FX Names Submenu
Unassigned

The Drum Names Menu

The image below shows the assignments for the Drum Names Submenu.

Kick
Snr T
Snr B
Tom 1
Tom 2
Hats
OHS
Room

Types in the name KICK followed by enter. Double tap SEL key to enter
name dialogue before pressing this.
Types in the name SNR T followed by enter. Double tap SEL key to enter
name dialogue before pressing this.
Types in the name SNR B followed by enter. Double tap SEL key to enter
name dialogue before pressing this.
Types in the name TOM 1 followed by enter. Double tap SEL key to
enter name dialogue before pressing this.
Types in the name TOM 2 followed by enter. Double tap SEL key to
enter name dialogue before pressing this.
Types in the name HATS followed by enter. Double tap SEL key to enter
name dialogue before pressing this.
Types in the name ROOMS followed by enter. Double tap SEL key to
enter name dialogue before pressing this.
Types in the name ROOMS followed by enter. Double tap SEL key to
enter name dialogue before pressing this.

Matrix2 Owners Manual

Chapter 5 - DAW Control

Transport/Utility Keys
The image below shows the assignments for the Matrixs transport/utilities section.

PlayFS
RecFS
Shift
Ctrl
Alt
Option
Enter
F8
Save
Undo
Previous
RTZ
Next
End
Last
Loop
Nudge Nudge +
Online
Q Punch

Play command is assigned to first footswitch connection

Record command is assigned to second footswitch connection
Shift command (HUI)
Ctrl command (HUI)
Alt command (HUI)
Option command (HUI)
Enters a marker
Cycles Pro Tools edit tools
Saves session
Undo
Locates to previous marker
Locates to session start
Locates to next marker
Locates to region end
Locates to last locator
Turns loop playback on/off
Nudge left by Nudge value
Nudge right by Nudge value
Toggles Online Sync on/off
Toggles Quick Punch record on/off

Matrix2 Owners Manual

Chapter 5 - DAW Control

List of HUI Functions

The ProTools profile contains a mixture of HUI commands and USB keyboard shortcuts. To help you see how we have renamed
the commands, see the table below.
BLACK Text = HUI command
RED Text = USB keyboard shortcut
DAW CMD / KBD Shortcut

Softkey Label (Re-named)

Prev Marker
Next Marker
----Apple+Numeric keypad 5
Apple+Numeric keypad 3
--Apple+Numeric keypad 4
Edit to foreground
Mix to foreground
Shift+Apple+G
Open/close plugin editor
Open/close transport
Rec/Rdy all
Apple+K
Numeric keypad 7
Pan
Mute
Default
Assign
Send A
Send B
Send C
Send D
Input
Output
Auto Enable Fader
Auto Enable Pan
Auto Enable Send
Auto Enable Send Mute
Auto Enable Plugin
Auto Enable Plugin
Auto Suspend
Alt+Tab
Tab
Shift+Tab
Ctrl+Alt+Down Arrow
Ctrl+Alt+Up Arrow

< Prev
Next >
V-Pot (Menu)
I/O (Menu)
MemLoc
Big C
AutoEn (Menu)
AWind
Edit
Mix
Sus G
Plugs
Trans
RecRdy
P Roll
Click
Pan
Mute
Dfault
Assign
Send A
Send B
Send C
Send D
Input
Output
Fader
Mute
Pan
Send
SMute
Plugin
AutoS
< Tab
Tab >
SelTab
Z Out
Z In

Matrix2 Owners Manual

DAW CMD / KBD Shortcut

Apple+X
Edit Mode
Edit Tool
Alt+Apple+Tab
Apple+A
Apple+E
Apple+C
Apple+Y
Numeric Enter + INTRO + Enter
Numeric Enter + VERSE + Enter
Numeric Enter + CHORUS + Enter
Numeric Enter + MID 8 + Enter
Numeric Enter + BREAKDOWN +
Enter
Numeric Enter + OUTRO + Enter
Apple+Z
Shift/All
Option/All
Control
CMD/Alt/Fine
Fkey8/Esc
Play Foot Switch
Record Foot Switch
RTZ
End
Last Marker
Loop
KPad +
KPad On-line
Quick Punch
Save
Undo
Rewind
Forward
Stop
Play
Record

Softkey Label (Re-named)

Cut
EdMode
EdTool
Tab T
Sel R
Split
Copy
Paste
Intro
Verse
Chorus
Mid 8
BrkDwn
Outro
Delete
Shift
Option
Ctrl
Alt
Esc
PlayFS
RecFS
RTZ
End
Last
Loop
Nudge Nudge +
Online
QPunch
Save
Undo
Rewind
Forward
Stop
Play
Record

Chapter 5 - DAW Control

Logic Standard Profile

Main Soft Key Page
The image below shows the assignments for Matrixs Standard key set. You are in the Standard key set when the User 1, User
2, User 3 and User 4 keys are not selected.

Mixer
AView
TkZoom
Func
Marker
Nudge
SMPTE
Delete
NM/VAL
Track
PanSur
Send
EQ
Plugin
Instr
Click

Opens/Closes the Mixer

Shows/Hides automation lane data
Zooms track by set amount
Accesses the Func Submenu
Creates/Deletes Markers (push and hold function)
Nudges selected region (push and hold function)
Changes nudge value between SMPTE or Bar/Beats
Deletes selected region
Switches V-Pot display between labels/values.
Globally changes V-Pots through various Track options (has push and hold function)
V-Pots control pan parameters (has push and hold function)
V-Pots control send parameters (has push and hold function)
Opens standard Logic EQ strip on selected channel (Has push and hold function)
V-Pots control Plug-ins
V-Pots control Virtual Instruments
Turns the metronome on/off

The Func Submenu

The following image shows the assignments for the Func Submenu.

F1
F2
F3
F4
F5
F6
F7
F8

Opens Screenset 1
Opens Screenset 2
Opens Screenset 3
Opens Screenset 4
Opens Screenset 5
Opens Screenset 6
Opens Screenset 7
Opens Screenset 8

Matrix2 Owners Manual

Chapter 5 - DAW Control

The User 1 Submenu

The following image shows the assignments for the User 1 Submenu.

Snip
Silenc
Splice
Repeat
Split
Loop Region
Mute
Delete
Select
Pencil
Eraser
TxtFng
Scisor
Glue
ASelct
ACurve

Cuts section between locators (Arrange page)

Inserts silence between locators (Arrange page)
Inserts snipped section at playhead (Arrange page)
Repeats section between locators (Arrange page)
Splits regions/events by playhead position (Arrange page)
Turns loop on/off for selected region (Arrange page)
Mutes selected region (Arrange + MIDI page)
Deletes selected region (Arrange + MIDI page)
Select Tool (Arrange + MIDI page)
Pencil Tool (Arrange + MIDI page)
Eraser Tool (Arrange + MIDI page)
Text/Finger Tool (Arrange + MIDI page)
Scissors Tool (Arrange + MIDI page)
Glue Tool
Automation Select (Arrange + MIDI page)
Automation Curve (Arrange + MIDI page)

Transport/Utility Keys
The following image shows the assignments for the Transport/Utility section of Matrix.

PlayFS
RecFS
Shift
Ctrl
Cmnd
Alt
Scrub
Enter
Cancel
Save
Undo
EQ
PrevMk
NextMk
Cycle
Punch
RTZ/Start

Play command is assigned to the first footswitch port

Record command is assigned to the second footswitch port
Keyboard Shift (follow key state)
Keyboard Ctrl key (follow key state)
Keyboard Cmnd key (follow key state)
Keyboard Alt/Option (follow key state)
Puts jog wheel into Scrub mode
Keyboard Enter key
Cancel
Saves project
Undo
Opens standard Logic EQ strip on selected channel (Has push and hold function)
Locates to previous marker
Locates to next marker
Turns cycle on/off
Turns Autopunch on/off
Go to selection start (track region must be selected first)

Matrix2 Owners Manual

Chapter 5 - DAW Control

List of MCU Functions

The Logic profile contains a mixture of MCU commands and USB keyboard shortcuts. To help you see how we have renamed
the commands, see the table below.
BLACK Text = MCU command
RED Text = USB keyboard shortcut

DAW CMD / KBD Shortcut

Instr
Plugin
EQ
PanSur
Send
Track
KeybID
x
a
z
Menu
Marker
Nudge
SMPTE/Beats
Backspace
Name/Value
Track
PanSur
Send
EQ
Plugin
Instr
Click
Ctrl+Cmnd+X
Ctrl+Cmnd+Z
Ctrl+Cmnd+Y
Ctrl+Cmnd+R
/
L
M
Backspace
Esc>1
Esc>2
Esc>3
Esc>4

Softkey Label (Re-named)

Instr
Plugin
EQ
PanSur
Send
Track
KeybID
Mixer
AView
TkZoom
Func
Marker
Nudge
SMPTE
Delete
NM/VAL
Tracj
PanSur
Send
REQ
Plugin
Instr
Click
Snip
Silenc
Splice
Repeat
Split
Loop
Mute
Delete
Select
Pencil
Eraser
TxtFng

DAW CMD / KBD Shortcut

Esc>5
Esc>6
Esc>Q
Esc>W
F1
F2
F3
F4
F5
F6
F7
F8
Play Foot Switch
Record Foot Switch
Shift (Follow Key State)
Cmnd (Follow Key State)
Ctrl (Follow Key State)
Alt (Follow Key State)
Cntl + .
Cntl + ,
Cycle
Rewind
Forward
Stop
Play
Record
Enter
Cancel
Save
Undo
Scrub
Punch
Shift + Return
Drop

Softkey Label (Re-named)

Scisor
Glue
ASelct
ACurve
F1
F2
F3
F4
F5
F6
F7
F8
PlayFS
RecFS
Shift
Cmnd
Ctrl
Alt
NextMk
PrevMk
Cycle
Rewind
Forwrd
Stop
Play
Record
Enter
Cancel
Save
Undo
Scrub
Punch
RTZ/Start
Drop

Matrix2 Owners Manual

Chapter 5 - DAW Control

Nuendo Standard Profile

Main Soft Key Page
The image below shows the assignments for Matrixs Standard key set. You are in the Standard key set when the User 1, User
2, User 3 and User 4 keys are not selected.

AUTO
EDIT
DEVICE
PAN**
SOLDEF
DELETE
ADD
TRSP
MIXER
E
EQ
INSERT
FXSEND
PAGEDN
PAGEUP

Opens the Automation Submenu

Opens the Edit Submenu
Opens the Device Submenu
Sets the V-Pots as Pan controls and shows the values
Solo Defeat
Deletes selected Regions/Notes/Automation Data
Adds Marker at cursor position
Shows/hides transport panel
Shows/hides the Mixer
Opens channels view
V-Pots control the channel EQ
V-Pots assign and control plug-ins on the selected track
V-Pots control Send levels
Pages backwards through plugins or other functions with multiple parameters
Pages forwards through plugins or other functions with multiple parameters

The Auto Submenu

The following image shows the assignments for the Auto Submenu.

PANEL
READ
WRITE
G-READ
G-WRIT
------

Shows the Automation Panel

Set selected track to Read mode
Set selected track to Write mode
Toggles automation Read status for all tracks
Toggles automation Write status for all tracks
Unassigned

Matrix2 Owners Manual

Chapter 5 - DAW Control

The Edit Submenu

The following image shows the assignments for the Edit Submenu.

COPY
PASTE
DUPL
DELETE
QUANT
CUT
M2C
X

Copy selected region/event/note

Paste selected region/event/note
Duplicate selected region/event/note
Delete selected region/event/note
Quantise selected region/event/note
Cut selected region/event/note
Set locators to selected region/event
Crossfade

The Device Submenu

The following image shows the assignments for the Device Submenu.

VSTCON
INSTRM
PERFOR
TRSP
V-KEY
------

Opens VST Connections window

Opens VST Instruments window
Opens VST Performance window
Opens Transport window
Opens Virtual Keyboard
Unassigned

The User 1 Submenu

The following image shows the assignments for the User 1 Submenu.

1
2
3
4
5
6
7
8
9
0

Numeric Keypad 1
Numeric Keypad 2
Numeric Keypad 3
Numeric Keypad 4
Numeric Keypad 5
Numeric Keypad 6
Numeric Keypad 7
Numeric Keypad 8
Numeric Keypad 9
Numeric Keypad 10

Matrix2 Owners Manual

Chapter 5 - DAW Control

Transport/Utility Keys
The following image shows the assignments for the Transport/Utility section of Matrix.

SHIFT
CTRL
CTRL A
ALT
ESC
ENTER
PREV
NEXT
RTZ
RIGHT
CYCLE
NUDGE NUDGE +
SYNC
PUNCH

Keyboard Shift (follow key state)

Keyboard Ctrl (follow key state)
Keyboard Ctrl+A
Keyboard Alt/Option (follow key state)
Keyboard Escape
Keyboard Enter
Locate to previous marker
Locate to next marker
Locate to session start
Locate to session end
Engage/disengage loop function
Unassigned
Unassigned
Turn sync on
Engage/disengage punch-in record mode

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

Matrix2 Owners Manual

Chapter 5 - DAW Control

List of MCU Functions

The Cubase/Nuendo profile contains a mixture of MCU commands and USB keyboard shortcuts. To help you see how we have
renamed the commands, see the table below.
BLACK text = MCU command
RED text = USB keyboard shortcut
DAW CMD / KBD Shortcut
Pan + Name/Value
C
Solo Defeat
backspace
Add
F2
Mixer
Edit
EQ
Inserts
FX Sends
Page Down
Page Up
F6
Read
Write
Alt+R
Alt+W
Ctrl+C
Ctrl+V
Ctrl+D
backspace
Q
Alt+X
P
X

Softkey Label (Re-named)

AUTO (Menu)
EDIT (Menu)
DEVICE (Menu)
PAN**
CLICK
SOLDEF
DELETE
ADD
TRSP
MIXER
E
EQ
INSERT
FXSEND
PAGEDN
PAGEUP
PANEL
READ
WRITE
G-READ
G-WRIT
COPY
PASTE
DUPL
DELETE
QUANT
CUT
M2C
X

DAW CMD / KBD Shortcut

F4
F11
F12
F2
Alt+K
Numeric Keypad 1
Numeric Keypad 2
Numeric Keypad 3
Numeric Keypad 4
Numeric Keypad 5
Numeric Keypad 6
Numeric Keypad 7
Numeric Keypad 8
Numeric Keypad 9
Numeric Keypad 0
Shift (follow key state)
Ctrl (follow key state)
Ctrl A
Alt (follow key state)
Esc
Enter
Previous
Next
,
Right Arrow Key
Cycle
Nudge Nudge +
Sync
Punch

Softkey Label (Re-named)

VSTCON
INSTRM
PERFOR
TRSP
V-KEY
1
2
3
4
5
6
7
8
9
0
SHIFT
CTRL
CTRL A
ALT
ESC
ENTER
PREV
NEXT
RTZ
RIGHT
CYCLE
NUDGE NUDGE +
SYNC
PUNCH

Matrix2 Owners Manual

Chapter 5 - DAW Control

CC (Continuous Controller) Standard Profile

Snap
Rest
Refrsh

Takes a snapshot of the current values of the Matrix faders, V-Pots and switches.
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.
Sends the current positions and state of Matrix faders, V-Pots and switches as MIDI data to the Workstation.

Matrix2 Owners Manual

Chapter 6 - DAW and CC Configuration

Chapter 6 DAW and CC Configuration

iJack

In this chapter, we will examine how the standard DAW Profiles covered in Chapters 1 and 5 can be customised, focussing on the
configuration of the four DAW control layers and associated soft keys. We will also cover the configuration of CC (Continuos
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:

DIM

CUT

Mon
Meters Auto
Project 2 :: Title

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.

Matrix Console Layer Selection

The layers are defined and configured in the Matrix Remotes 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.
15

MASTER/FOCUS
Matrix16Remote Layer
Selection

The layer being configured in Matrix Remote is selected via the DAW tabs 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.
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Assigning DAW Layers

Selecting Profiles
In 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 standard Profiles supplied with Matrix:
- A HUI Profile configured for Pro Tools,
- An MCU Profile configured for Logic,
- An MCU Profile configured for Nuendo/Cubase,
- 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 standard Profiles, using the Pro Tools standard Profile for DAWs that support the HUI interface, and the Logic standard Profile
for DAWs that conform to the MCU protocol. Note that the standard Profiles themselves cannot be edited. Profiles are
personalised by creating standard Profile copies which can then be edited, as described on the following pages.
The soft key assignments included in the standard Profiles are described on Pages 81 to 87 and the full list of functions
available within each protocol can be found in Appendix A.
Profiles are selected and managed using the Profile Setup area, found in the top
left corner of the DAW tab. The four standard Profiles are listed in the dropdown 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
standard Profile and disabled for the Logic standard 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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Creating Profiles
To 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 Profiles 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 Profiles protocol is indicated underneath the Selected Profile in the Profile Setup area of the main DAW tab.

Deleting Profiles
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.

Renaming Profiles
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
Profiles name will change in the Profile list in the Profile Editor.

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Backing Up a Profile
To back up a Profile or export it for use in another Matrix Remote, press Edit Profile to bring up the Profile Editor popup, 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.

Restoring a Profile
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.

Disable Handshake
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

Selecting the Transport Master

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 Remotes 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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Chapter 6 - DAW and CC Configuration

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:

MonOpt

Mon

Meters

Auto

Misc

Links

Project 2 :: Title

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

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.

DAW Control Protocols, USB Commands and Menus

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 computers 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. MIDI CC layers can only contain USB soft keys or Matrix commands.
Please refer to Chapter 1 for instructions for setting up MIDI and USB connections.
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 separate commands assigned to the buttons on the bottom row.

Soft Key Sets

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 Standard and User 1 to User 4. The supplied standard 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.
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.

USER KEY SETS

USER 1

USER 2

USER 3

USER 4

SSL MENU

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,
and pressing another button will replace the old selection with the new. The standard 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.

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Chapter 6 - DAW and CC Configuration

Programming Soft Keys

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

Across the middle of the DAW tabs 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, Standard 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 103.
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 101) 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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Assigning DAW Protocol Functions

To assign a HUI or MCU function to a button, select the relevant Soft Key Set in the Remotes DAW tab and press the button
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 tabs 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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Assigning QWERTY Keystrokes

Soft keys can be assigned single keystroke commands, or more complex combinations such as modified commands. To assign a
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 +Tab on a Mac, without causing the computer to
switch between programs:
-

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.

Follow Key State

Selecting the Follow Key State box before pressing Learn causes the Matrix to recognise an on and an off state to the assigned
button. This is useful when you need to assign a modifier key (e.g. Option/Ctrl/Alt/Shift) and it needs the ability to recognise when
you are holding it down with your finger. Under normal circumstances, if you assigned a keyboard modifier to a button and did
not select Follow Key State first, it would simply register a single message (equivalent to pressing and releasing the key straight
away).
The Cubase/Nuendo Standard profile comes pre-assigned with Follow Key State modifier messages.

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Creating Soft Key Menus

To 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
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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Renaming Soft Key Assignments

Every 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.

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

Assigning Modified Functions to Soft Keys

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 or 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.

Removing and Replacing Soft Key Assignments

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 CMDS function with another DAW CMDS
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.
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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Editing Transport and Utility Button Assignments

In addition to the main 16 soft keys, the function of 18 other buttons and the two foot switch inputs can be edited, increasing
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 standard Profiles are described on Pages 79 and 80.

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
contain dedicated codes for use with foot switches which actuate the DAW transport Play and Record functions. These are
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
Switch 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 consoles DAW LAYER SELECT buttons, telling the KVM switch to
select the USB port connecting to the computer on which the layers DAW or MIDI device is hosted. The specific commands
used by your KVM switch should be found in its operating manual.

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Configuring CC Layers
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.
These messages can be used to control software instruments within the current DAW, using the DAWs MIDI learn mode to
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:

CCs 0-15

V-Pots 1-16:

CCs 16-31

SEL switches 1-16:

CCs 64-79

V-Sels 1-16:

CCs 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 devices manual for instructions regarding mapping these CC numbers within the MIDI device.

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CC Snapshots
In addition to the snapshots which can be taken of the Matrix control surface via Total Recall, snapshots can also be taken of the
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 standard Profile:
Take 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 95.
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.

The Digital Scribble Strip

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 74) 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.

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Labelling CC Numbers
When a CC layer is active, the display of Controller Numbers in the scribble strip can be replaced with user-created labels which
identify the parameters being controlled.
When a CC layer is active in the DAW tab and the Transport/Utility soft keys are selected, the CC Scribble Strips box
appears to the left of the saved data Status box. Checking this box brings up the Continuous Control Names pop-up:

The main part of the pop-up displays a representation of the Matrix digital scribble strip, with the channels CC numbers displayed
in the top row in light yellow and the current label displayed in the bottom row in darker yellow. Clicking on the scribble strip
in any channel will allow the channel label to be edited.
Below the scribble strip are four small buttons which switch the scribble strip display between the four sets of CC numbers
assigned to the console faders, V-Pots and switches: Fader, V-Pot, lower Sel switch and V-Sel. These buttons switch the
labelling function between the four CC assignable channel controls and their respective CC number ranges. If you switch ranges
without saving your changes, a pop-up will appear inviting you to save the changes before switching ranges.
At the bottom of the window are five larger buttons:
Clear Names leaves the CC labels for that CC range blank. When you press this button, a pop-up appears confirming whether
or not you want to continue.
Reset Names returns the scribble strip CC labelling to the CC numbers assigned to the controls. When you press this button,
a pop-up appears confirming whether or not you want to continue.
Undo returns the labels for the current CC range to their last saved state. When you press this button, a pop-up appears
confirming whether or not you want to continue.
Save saves the labels for the current CC range as part of that layers configuration.
OK closes the pop-up and returns you to the Remotes DAW tab. If you have unsaved changes, a pop-up will appear inviting you
to choose between losing your unsaved changes or saving on exit.

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Appendix A - DAW Commands

Appendices
Appendix A DAW Protocol Lists
Transport/Utility Function Map
The chart below details the assignments of the transport and utility functions within Pro Tools, Logic and Nuendo/Cubase:

Pro Tools

Logic

Nuendo/
Cubase

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

RTZ
End
Loop
On-Line
Quick Punch
Prev Marker
Next Marker
Last Marker
Kpad Kpad +

Stop Stop
Cycle
Drop
USB
USB
USB
USB

USB
Cycle
USB
Punch
Previous
Next
USB
USB

SHIFT
OPT/ALL
CTRL
/ALT

Shift/All
Option/All
Control
CMD/Alt/Fine

Shift
Option
Control
Alt

Shift
USB
USB

ESC
ENTER

Fkey 8/Esc
Kpad Enter

USB
Enter

USB
USB

SAVE
UNDO

Save
Undo

FOOT 1
FOOT 2

Play Foot Switch

Record Foot Switch

Play Foot Switch

Record Foot Switch

Play Foot Switch

Record Foot Switch

Key Type

Transport

Utility

Note that all USB key commands listed refer to the Logic or Nuendo/Cubase standard command key mappings; see your
DAW documentation for more details.

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Appendix A - DAW Commands

Command soft Key Labelling

The following list details the way in which each DAW protocol command is labelled in the Matrix soft keys. Non-standard
commands are asterisked (*):

Pro Tools
Function
Mix to foreground
Edit to foreground
Open/close transport
Open/Close Mem
Open/close session setup
Open/close plugin editor
Input
Output
Assign
* Artist Talkback Switch
Pan
Mute
Send A
Send B
Send C
Send D
Send E
Bypass
Default
Undo
Control
Auto Suspend
Save
Auto Enable Plugin
Auto Enable Pan
Auto Enable Fader
Auto Enable Send Mute
Auto Enable Send
Auto Enable Mute
Auto Mode Read
Auto Mode Latch
Auto Mode Trim
Auto Mode Touch
Auto Mode Write
Auto Mode Off
Option/All
CMD/Alt/Fine
Rec/Rdy all
Shift/All
Edit Tool
Edit Mode
Fkey 1
Fkey 2
Fkey 3
Fkey 4
Fkey 5
Fkey 6
Fkey 7
Fkey 8/Esc
Kpad Clr

112

Soft Key Label

Mix
Edit
Trans
Memloc
Status
Alt
Input
Output
Assign
Artist
Pan
Mute
Send A
Send B
Send C
Send D
Send E
Bypass
Dfault
Undo
Ctrl
AutoS
Save
Plugin
Pan
Fader
SMute
Send
Mute
Read
Latch
Trim
Touch
Write
Off
Option
Alt
RecRdy
Shift
EdTool
EdMode
F1
F2
F3
F4
F5
F6
F7
F8
Clr

Matrix2 Owners Manual

Function
Kpad =
Kpad /
Kpad *
Kpad Kpad +
Kpad .
Kpad Enter
Kpad 0
Kpad 1
Kpad 2
Kpad 3
Kpad 4
Kpad 5
Kpad 6
Kpad 7
Kpad 8
Kpad 9
Audition
Audition Pre
Audition In
Audition Out
Audition Post
RTZ
End
On-line
Loop
Quick Punch
Forward
Rewind
Stop
Play
Record
* Next Marker
* Prev Marker
* Last Marker
* Reset Marker
Edit Capture
Edit Seperate
Edit Cut
Edit Copy
Edit Paste
Edit Delete
Status Auto
Status Monitor
Status Phase
Status Group
Group Suspend
Group Create
Play Foot Switch
Record Foot Switch

Soft Key Label

=
/
*
+
.
Enter
0
1
2
3
4
5
6
7
8
9
Auditn
AudPre
AudIn
AudOut
AudPst
RTZ
End
Online
Loop
QPunch
Forwrd
Rewind
Stop
Play
Record
Next
Prev
Last
Reset
Capt
Seper
Cut
Copy
Paste
Delete
Auto
Mon
Phase
Group
Suspend
Create
PlayFS
RecFS

Appendix A - DAW Commands

Logic
Function
Track
PanSur
EQ
Send
Plugin
instr
Flip
Global
Name/Value
SMPTE/Beats
F1
F2
F3
F4
F5
F6
F7
F8
MIDI Tracks
Inputs
Audio Tracks
Audio Instruments
Aux
Busses
Outputs
User
Shift
Option
Control
Alt
Read
Write

Soft Key Label

Track
PanSur
EQ
Send
Plugin
instr
Flip
Global
NM/VAL
SMPTE
F1
F2
F3
F4
F5
F6
F7
F8
MIDITr
Inputs
AudTr
AudIns
Aux
Busses
Outpts
User
Shift
Option
Ctrl
Alt
Read
Write

Function

Soft Key Label

Touch
Latch
Trim
Save
Undo
Group
Cancel
Enter
Marker
Nudge
Cycle
Drop
Replace
Click
Solo
Forward
Rewind
Stop
Play
Record
VSel 1
VSel 2
VSel 3
VSel 4
VSel 5
VSel 6
VSel 7
VSel 8
Play Foot Switch
Record Foot Switch
* Artist Talkback Switch

Touch
Latch
Trim
Save
Undo
Group
Cancel
Enter
Marker
Nudge
Cycle
Drop
Rplace
Click
Solo
Forwrd
Rewind
Stop
Play
Record
VSel 1
VSel 2
VSel 3
VSel 4
VSel 5
VSel 6
VSel 7
VSel 8
PlayFS
RecFS
Artist

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113

Appendix A - DAW Commands

Nuendo
Function
Page Down
Pan
EQ
Page Up
Inserts
FX Sends
Flip
Edit
Name/Value
SMPTE/Beats
F1
F2
F3
F4
F5
F6
F7
F8
Fader Group 1
Fader Group 2
Fader Group 3
Fader Group 4
Fader Group 5
Fader Group 6
Fader Group 7
Fader Group 8
Undo
Redo

114

Soft Key Label

PageDn
Pan
EQ
PageUp
Insert
FXSend
Flip
Edit
Nm/Val
SMPTE
F1
F2
F3
F4
F5
F6
F7
F8
FadGp1
FadGp2
FadGp3
FadGp4
FadGp5
FadGp6
FadGp7
FadGp8
Undo
Redo

Matrix2 Owners Manual

Function
Save
Revert
Read
Write
Project
Mixer
Sends
Instruments
Master
Motors
Solo Defeat
Shift
Left
Right
Cycle
Punch
Previous
Add
Next
Forward
Rewind
Stop
Play
Record
Play Foot Switch
Record Foot Switch
* Artist Talkback Switch

Soft Key Label

Save
Revert
Read
Write
Prject
Mixer
Sends
Instrm
Master
Motors
SolDef
Shift
Left
Right
Cycle
Punch
Prev
Add
Next
Forwrd
Rewind
Stop
Play
Record
PlayFS
RecFS
Artist

Appendix B - Technical Specifications

Appendix B Technical Specifications

Performance Figures
Headroom

< +26dBu @ 1kHz (< 1% THD)

Line In to Direct Out

Frequency Response
Noise
THD

0dB at 20Hz, +0/0.1dB at 20kHz, 1dB at 80kHz

< 89dBu 20Hz 22kHz
< 0.002% @ 1kHz (+24dBu, 22kHz filter)

Line to Aux Bus Out

Frequency Response
Noise
THD

0dB at 20Hz, +0/0.1dB at 20kHz

< 93dBu (no channels routed)
< 76dBu (all channels routed, faders at 0dB)
< 0.002% @ 1kHz (+24dBu, 22kHz filter)

Line To Mix/Rec Bus Out

Frequency Response
Noise
THD

0dB at 20Hz, +0/0.1dB at 20kHz

< 89dBu (no channels routed)
< 77.5dBu (all channels routed, faders at 0dB, pan at centre)
< 0.002% @ 1kHz (+24dBu, 22kHz filter)

Matrix Console
Parameter

Value

Width
946
Height
228
Depth
724
Weight
25
Heat Dissipation
130
Noise
Connector (DC power input)

Unit

mm
mm
mm
kg
W
BICC 12-pin Male

Notes

including feet
excluding connectors
approximately
fanless

Matrix Power Supply

Parameter

Value

Width
Height
Depth
Weight
Heat Dissipation
Noise
Voltage
Current
Connector (mains input)

106
202
306
5
45
100 240
2.0 1.0

Unit

mm
mm
mm
kg
W
V
A
IEC320 10A Male

Notes

including feet
excluding lead and connectors
approximately
fanless
10%

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115

Appendix B - Technical Specifications

Matrix Digital IO Specifications

Test conditions (unless otherwise specified): Input test signal is a 1kHz sine wave; measurement bandwidth is 22Hz to 22kHz, signal
level is 1dB FS.

Stereo ADC
Source selectable between Mix bus, Record bus and Monitor (pre level control) signals.
Connections: S/PDIF (TosLink optical) and AES-3 (male XLR). Signal available on both connectors at all times.
Sample rate locks to selected digital input up to a maximum sample rate of 192kHz. In the absence of a valid digital input
defaults to 48kHz.
Dynamic range typically 113dB A-weighted, 111dB unweighted. Worst case 108dB unweighted
THD < 0.0015%
0dB FS switchable between +18dBu and +24dBu

DAC
Connections: source selectable from Matrix front panel between S/PDIF (TosLink optical) and AES-3 (female XLR) inputs.
Sample rate 32kHz to 192kHz
Dynamic range typically 116dB A-weighted, 111dB unweighted. Worst case 109dB unweighted
THD < 0.001%
0dBFs switchable between +18dBu and +24dBu

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Matrix2 Owners Manual

0.984
25.0 mm

97
0.1 .0
5

0.
R5 197
.0
m

35.709
907.0 mm

FURNITURE CUTOUT - MATRIX

THIS LINE INDICATES REAR PANEL CONNECTORS

AREA REQUIRED FOR CONNECTORS & CABLES

0.984
25.0 mm

3.937
100.0 mm
28.150
715.0 mm

Dimensions: [inches]
millimeters

Appendix B - Technical Specifications

Matrix Tabletop cutout

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117

0.394
10.0 mm

Appendix B - Technical Specifications

118

Matrix2 Owners Manual

Appendix C - Pinouts

Appendix C Audio Connectors and Pinouts

XLR 3-Pin
Pinout for balanced analogue audio (Mini LS):
Pin 1
Screen/Ground
Pin 2
Hot (+ve)
Pin 3
Cold (-ve)

Pinout for balanced digital audio (AES3):

Pin 1
Screen
Pin 2
Hot (+ve)
Pin 3
Cold (-ve)

D-Type Multipin
25-way
Dimensions:
Cable Dia:

Free Socket

Free Plug

Connectors Viewed
From Wiring Side

Connectors Viewed From Wiring Side

13 12 11 10 9

Plug

55 x 15mm (approx.)
8mm (typical)

25 24 23 22 21 20 19 18 17 16 15 14

9 10 11 12 13

Socket

14 15 16 17 18 19 20 21 22 23 24 25

9-way
Dimensions:
Cable Dia:

Plug

35 x 15mm (approx.)
7mm (typical)

Socket
6

1/4" Jack
Pinout for headphone:
Tip
Right channel
Ring
Left channel
Sleeve Ground
Pinout for footswitch:
Tip
Control input (connect to 0V to activate)
Ring
n/c
Sleeve 0V

Stereo
Plug

Tip(T) Ring(R) Sleeve(S)

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119

Appendix C - Pinouts

Matrix 25-way D pinouts

Location:

Matrix rear panel

Connector Type:
Circuit
1
2
3
4
5
6
7
8

hot
24
10
21
7
18
4
15
1

25-way D-type female

cold
12
23
9
20
6
17
3
14

screen
25
11
22
8
19
5
16
2

Channels 18, 916 Ext 1, 2

Mon LS Artist out Rec, Mix F/Mon

Channel 1 (9)
Channel 2 (10)
Channel 3 (11)
Channel 4 (12)
Channel 5 (13)
Channel 6 (14)
Channel 7 (15)
Channel 8 (16)

Mon Out L
Mon Out R
Mini Out L
Mini Out R
Artist Out L
Artist Out R
-

Ext 1 Input L
Ext 1 Input R
Ext 2 Input L
Ext 2 Input R
-

Rec Out L
Rec Out R
Mix Out L
Mix Out R
Follow Mon Out L
Follow Mon Out R
-

Matrix 25-way D pinouts

Location:

Matrix rear panel

Connector Type:

25-way D-type female

Circuit
1
2
3
4
5
6
7
8

hot
24
10
21
7
18
4
15
1

cold
12
23
9
20
6
17
3
14

screen
25
11
22
8
19
5
16
2

Rec, Mix, Cue Send Rec, Mix, Cue Rtn

Cue St, FX1-4 Snd FX1-4 Rtn

Rec Send L
Rec Send R
Mix Send L
Mix Send R
Cue Send L
Cue Send R
-

Cue Out L
Cue Out R
FX 1 Out
FX 2 Out
FX 3 Out
FX 4 Out
-

Rec Return L
Rec Return R
Mix Return L
Mix Return R
Cue Return L
Cue Return R
-

FX return 1L
FX return 1R
FX return 2L
FX return 2R
FX return 3L
FX return 3R
FX return 4L
FX return 4R

Surround Monitor Card 25-way D pinouts

X-Rack / Diag

Location:

Matrix rear panel

Connector Type:

9-way D-type female

Matrix rear panel

Connector Type:
Circuit
1
2
3
4
5
6
7
8

hot
24
10
21
7
18
4
15
1

25-way D-type female

cold
12
23
9
20
6
17
3
14

screen
25
11
22
8
19
5
16
2

EXT 1,2

MON, MINI

EXT 1 C
EXT 1 LFE
EXT 1 LS
EXT 1 RS
EXT 2 C
EXT 2 LFE
EXT 2 LS
EXT 2 RS

MON out C
MON out LFE
MON out LS
MON out RS
MINI out C
MINI out LFE
MINI out LS
MINI out RS

Description
1

6
2

7
3

8
4

9
5

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Matrix2 Owners Manual

Tx Data
(Tx Data)
Rx Data
(Rx Data)
0V

Notes

X-Rack data out

(diagnostic terminal data out)
X-Rack data in
(diagnostic terminal data in)
data ground

Appendix D - Environmental Specifications

Appendix D Environmental Specification

Temperature
Operating:
Non-operating:
Max. Gradient:

5 to 30 Deg. C
20 to 50 Deg. C
15 Deg. C/Hour

Relative Humidity
Operating:
Non-operating:
Max. wet bulb:

20 to 80%
5 to 90%
29 Deg. C (non-condensing)

Vibration
Operating:
< 0.2G (3 100Hz.)
Non-operating, power off: < 0.4G (3 100Hz.)

Shock
Operating:
Non-operating:

< 2G (10mSec. Max.)

< 10G (10mSec. Max.)

Altitude (above sea level)

Operating:
Non-operating:

0 to 3000m
0 to 12000m

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121

Appendix D - Environmental Specifications

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Matrix2 Owners Manual

Appendix E - Software Updates

Appendix E Software Updates

Software downloads for both the Matrix console and Matrix Remote are available from our website:
www.solidstatelogic.com/support/consoles/matrix/downloads.asp
We recomend that the console and remote software versions be kept in sync with one another.

Remote Software Updates

To update the Matrix Remote software, delete the old version and install the new version following the installation instructions
in Chapter 1.
Note: Because all Matrix data is saved on the SD card on the console, not as part of the Matrix Remote, the Remote can
be deleted without any loss of data

Console Software Updates

Matrix console software updates are named MatrixUpdate followed by the software version.
Download the Matrix update file to the computer hosting the Matrix Remote and double
click on it to bring up the Matrix Update pop-up.

Click on Find to open the Find Matrix pop-up and scan for consoles to update. Once the
console(s) on the network have been found, highligh the console you wish to update and
click Select to close the pop-up.

Click Send and the software will now be sent to the console. When the send is complete,
click on Save to save the new software. Once the save is complete, you will need to restart
the console.
It is very important that the console does not lose power during the save.

Software Rescue Disk

In the unlikely event that the on-board flash memory fails, or you suffer a power failure while updating software, Matrix can boot
up from the SD card in the back of the console:
Download the latest Matrix update file. This is a Java (.jar) file. Change the suffix to .zip and use a zip program to open the file
and extract the code.img file to an SD card (you will need an SD card reader).
Turn off the console, fit the SD card, and reboot. The console will now restart (a little slower than normal) from the SD card.
Finally, repeat the software update process.

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123

Appendix E - Software Updates

This page is intentionally almost blank

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Matrix2 Owners Manual

Appendix F - Support

Appendix F Matrix Support

Our Commitment to Customer Support
A great product is only the start of what sets SSL equipment apart. We believe that the worlds best products demand the best
support. To provide this, SSL has a network of sales and service centres throughout the world, including its subsidiaries in New
York, Los Angeles and Tokyo. Through these offices, and appointed distributors in other countries, a full program of backup and
technical support is guaranteed.

Introduction
Matrix has been designed to require a minimal amount of user calibration or adjustment and requires no regular maintenance. In
the unlikely event that you experience a technical problem, the quickest way to resolve the issue is for your local distributor to
arrange a replacement part for you to fit.
The modular design of Matrixs hardware allows assemblies to be replaced with the minimum amount of technical experience.
The maintenance section of this manual provides detailed instructions on replacing assemblies in the console.
Solid State Logic and selected distributors also offer a console repair service for both in and out of warranty repairs.

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125

Appendix F - Support

Support
Matrix Registration
We recommend that you register your Matrix console online, using the link below. Registering is free and ensures that you have
access to SSL Technical Support via our on-line knowledgebase, software downloads from our website, and will also provide you
with automatic email notifications regarding product updates:
www.solidstatelogic.com/productregistration

On-line support
To access the latest support information on Matrix, please visit our online support site. Answers to common questions are kept
up to date by our support staff to ensure that answers are relevant, accurate and comprehensive. This resource is available to
you 24 hours a day, 7 days a week:
www.solidstatelogic.com/support/consoles/matrix

If you cannot find an answer to your question or a solution to your issue, you can submit your query to our support teams.
Software downloads and additional documentation is also available from our website:
www.solidstatelogic.com/support/consoles/matrix/downloads.asp
See Appendix E for instructions regarding updating software.

Service Centres
In addition to the on-line services, you can locate and contact your local distributor via the link below:
www.solidstatelogic.com/contact

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Matrix2 Owners Manual

Appendix F - Support

Warranties
Factory Warranty
The Factory Warranty covers the repair of defects in materials and workmanship during the warranty period.
Pursuant to the Solid State Logic Terms and Conditions, under European consumer law, the purchaser has full statutory warranty
rights for two years from the date of delivery of the product. The warranty is valid only in those Member States of the European
Union (EU), who have adopted the applicable EU law into their national legislation, otherwise a warranty term of one year will
apply. The applicable national legislation governing the sale of consumer goods is not affected by this warranty. Warranty claims
will only be accepted if the purchased product has been used for its intended purpose. Any purchased product used for an
unintended purpose will not be eligible for warranty protection. Consumable items, accidental damage and damage caused by
operation of the equipment outside of Solid State Logics recommended operating conditions are not covered by this warranty.
For all warranty enquiries or claims please address the claim to the dealer from which you purchased the product, within a period
of one month from the date on which you detected its lack of conformity with the terms of the warranty. Please include your
original proof of purchase when initiating the claim.
The distributor will be able to arrange for a replacement assembly to be supplied or for the console to be repaired at their local
office or at Solid State Logic.
Please note that we cannot provide a substitute or temporary loan Matrix console during the repair period.

Manufacturer backed Extended Warranty

Give yourself even greater peace of mind. When you buy a console, you have the right to peace of mind. Purchasing a Manufacturer
backed Extended Warranty will help you maintain that sense of security for years to come.
An extended warranty provides you with great cover and the ability to budget operating costs accurately. Extended warranties
are available from the end of the Factory Warranty period until the console is five years old.
The warranty provides your console with cover for parts and repairs. Should you experience an issue during the extended
warranty period we can dispatch a replacement assembly to you or you can return your console to the distributor who supplied
the warranty or to SSL for repair. All parts and labour involved in the repair will be free of charge. Please note that the extended
warranty excludes all shipping costs and that we cannot provide a substitute or temporary loan Matrix console during the repair
period.
You can purchase an extended warranty at any time during the products initial Factory or Extended Warranty period. You can
choose to extend for 12, 24, 36 or 48 months. Longer commitments attract special discounts.
If your Factory Warranty has expired or your existing Extended Warranty has lapsed, you can still purchase an extended warranty.
However, you will not be entitled to the benefits of the extended warranty for a period of 30 days from the purchase date of the
extended warranty. After 30 days your 12, 36 or 48 month warranty will commence.
If you would like to purchase an extended warranty for your console, please contact your local distributor or nearest SSL office.

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127

Appendix F - Support

Repair
Spare Parts
As you would expect, SSL offers a full range of spare assemblies for Matrix.
In addition, SSL offers an exchange service for the high value assemblies. The exchange service reduces the cost of replacing the
more expensive assemblies. With the Exchange Service we simply ship you a replacement assembly and you return your faulty
unit to SSL.
Subject to operating hours of local couriers, SSL will dispatch replacement assemblies on the same day from the 'Critical Spares
Inventory' held at strategic world-wide locations.

Console Repair Service

SSL and selected distributors offer a repair service for your console. If your console develops a fault you can return your console
for repair.

Shipping
During the Factory Warranty period SSL will pay carriage costs for shipments to your facility. You are responsible for all carriage
and insurance costs for the return of the faulty item.
Out of warranty and during any applicable Extended Warranty period, SSL will recharge carriage costs for all assemblies and
repaired console shipments to your facility. You are responsible for all carriage and insurance costs for the return of the faulty
assembly or console to SSL.
Returned goods must be suitably packed in order to avoid damage in transit. We recommend that all packaging is retained in case
you need to return or transport Matrix in the future. The packaging has been purposely designed to ensure that Matrix is
adequately protected. Solid State Logic cannot accept responsibility for any damage caused in transit as a result of insufficient
packaging. Regardless of warranty status, Solid State Logic will charge for replacement packaging.
SSL strongly recommend that you arrange adequate insurance cover for return parts shipments, as SSL cannot be held responsible
for return goods that sustain damage in transit.

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Matrix2 Owners Manual

Appendix G - Service

Appendix G Maintenance
These servicing instructions are for use by qualified service personnel only. To reduce the risk of electric shock
do not perform any service unless you are qualified to do so.

Disconnect all power cords before removing any panels or modules.

Introduction
Matrix has been designed to require a minimal amount of user calibration or adjustment and requires no regular maintenance
routine. Additionally, there are no links or switches to configure the operation of the console. In the unlikely event that you
experience a technical problem this section of the manual will guide you through the identification and replacement of the defective
module.
Matrix contains a mix of analogue and digital assemblies, all of which use SMT (Surface Mount Technology) extensively making
field repair to component level unrealistic. This means that repair of the console will be, primarily, by on-site board exchange.
Should you require further assistance with a problem please contact your local SSL distributor or use the on-line help facility on
our website:
www.solidstatelogic.com/support/consoles/matrix

Replacing or Reseating the SD Card.

Should you need to replace or reseat the SD card, insert the card and re-boot the system. New cards will be initialised with the
default Profiles as well as a Project containing one Title.
Note that the initialisation process significantly increases Matrixs re-boot time.

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129

Appendix G - Service

Part Numbers, Revision Levels etc.

Within this manual are details of adjustments which may be dependent upon the revision of each particular assembly. Therefore
a brief discussion on part numbers, revision levels etc. is in order.
Solid State Logics manufacturing facilities, in common with all manufacturing companies, work with part numbers. If a part does
not have a part number, it simply does not exist! All SSL assemblies therefore will have a part number and all assemblies will have
a small white oblong label somewhere with that part number printed on it. This label should look something like this:

Part Number
All SSL assemblies (and in fact all components and items) have a unique part number. Sub assembly part numbers are generally 8
digits long (metalwork, drawings and documents can be 11 or 12 digits; the additional digits relate to revision level). Matrix
assembly numbers would typically be as shown:

Revision Level
The way that any assembly is built is controlled by the Revision Level. This is a decimal number which will increment every time
something about the build of an assembly changes; component value changes, firmware changes etc. are all changes that would
trigger a revision change. Wherever reference is made to Assembly Revision, it is the revision level on these partcode labels that
is being referred to.

Batch Number
SSL manufactures most assemblies in batches, which can range in size from 2 to100 or more. Each time a set of assemblies is
manufactured the assemblies in that production run are given a unique batch number. This batch number allows SSL to track the
movement and history of all assemblies it manufactures.

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Matrix2 Owners Manual

Appendix G - Service

Diagnosing Faults
It is always sensible to check external equipment first (unless the fault is obviously within the console such as a faulty pot or
switch). Matrix spends the majority of its life in a stationary position, whereas microphones, their cables and effects devices etc.
are constantly on the move, and hence are much more likely to incur damage.
Once you have established that the problem lies within the console, you need to determine whether the problem is due to an
operational error, or hardware failure. The most common, and easiest to solve, problems are operational errors, and you should
eliminate these first. Refer to the relevant section in this manual, and ensure that you have followed the correct procedure.
If you have confirmed that the problem is neither due to external equipment or operational error, then you possibly have a
hardware fault. In most cases, a fault can be located in minutes, with little technical knowledge. However, ensure that you read
the paragraphs on Replacing Modules later in this section before attempting any maintenance.
The key to correctly diagnosing a hardware fault is to understand the consoles signal flow. Block diagrams detailing audio signal
flow, digital control bus structure and power wiring, can be found at the end of this section.
Hardware faults can be defined as one of three types: Audio, Control, or Power.

Audio Faults
Audio faults will most likely manifest themselves as either partial or total signal loss, or distortion of the audio signal.
Referring to the Matrix Hardware Signal Flow Block Diagrams, you can see that there are many possible signal paths through the
console. Logical routing, and monitoring of signals at different points, will enable you to easily locate the faulty module.
To give an example of an audio fault, examine the following problem. By working through this example you will see the basic
principles of fault finding at work.
You have several channels, all centre panned, routed to the REC bus. When monitoring the Rec Bus you notice that the audio
can only be heard on the left main and mini monitor outputs. Once you confirmed the external connection to the console your
first step is to refer to the Matrix Hardware Signal Flow Block Schematic. From this you will see that channel strips output passes
through several stages of hardware before reaching the monitors.
We can start to isolate the problem by checking the signal path halfway through the chain.
Looking at sheet 2 of the signal flow diagram we can see that the audio source for the monitors is selected on the 629515
assembly. Route an alternative stereo source to the monitors, such as EXT 1.

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Appendix G - Service
Can you hear audio on left and right monitors? If you can still only hear audio on the left main and mini monitors then the problem
must be post the source selection and as you can see from the diagram must be a problem on the 629515 assembly.
For the sake of this example we will assume that when you switched to an alternative source you could hear audio on both left
and right monitors indicating that the problem is prior to the monitor source selection. Using the same principle we will try to
isolate the signal path further. Again referring to the Matrix block schematic sheet 2 you can see that the REC bus feed to the
monitoring is taken from the 629508 assembly which is shaded blue on the left hand side of the diagram. Audio from the channels
on the REC bus are summed together by this module. The summed audio is then routed to several destinations including the REC
bus insert send.

Choosing a piece of external equipment which has an input meter, switch the REC bus insert into the signal path. Check the input
meter on the inserted equipment. Can you see signal on both inputs or just the left input? If you can only see signal on the left
channel then it is most likely that the fault lies with the 629508 REC bus assembly.
Again, for the sake of this example, we will assume you can see signal on both inputs. Select the REC bus as the monitor source.
If you can now hear audio on both monitors then the fault is most likely with the switching of the insert return on the 629515
assembly. If you still can only hear audio on the left monitor then the problem is most likely with the 629508.
As you can see in a matter of minutes we have broken down the signal path and identified the faulty module. The next step would
be to follow the module removal instructions later in this section and re-seat the suspected module in its slot to ensure that a
valid connection is made. Once re-seated, test the signal path again. If there is no change, a replacement will be required.

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Appendix G - Service

Control Faults
Control faults will typically result in either the corruption of display information, or the failure of encoders and switches. The
majority of the consoles display and control functions are performed by the 629505X1 CPU, which is located behind the centre
section meter panel. The CPU uses several serial data busses to carry control data, such as fader position data and switch presses,
to the CPU as well as display data, such as LED illumination commands, to the displays and motor drive information to the faders.
Referring to the Matrix Control Block Schematic you will see that there are four Digital Data bus connections to the CPU:
The first, labeled Router, is daisy chained through the right hand 626516X1 assembly into the left hand assembly and controls
the routing matrix.
The second, labeled Tile-control, daisy chains through the 629506X1 into the 626507X1, back into the 629506X1 and the
through the two 629502XA solo and cut panels. This data chain carries switch presses and rotary encoder data to the CPU and
corresponding LED and display data back from the CPU. Additionally this data chain also carries channel strip TR object data which
is converted from analogue to digital position data on the 629502XA assemblies.
The third connection, labeled Channels, connects the 629515X1 and 629511X1 assemblies to the CPU using a Y split cable and
then daisy chains through the 629511X1 to the two 629510X1 assemblies. This third connection also carries switch press data
from the analogue modules and LED data from the CPU. This connection also carries a separate MDAC (Multiplying Digital to
Analogue Converter) control bus which writes gain data to the channel and centre section MDAC elements.
Finally the forth connection, labeled meters, daisy chains through the three meter assemblies driving the LED bar graph displays.
All of these data chains are point to point connections and as such if any one of the assemblies fails or is removed then the flow
of data will be interrupted and assemblies after that point in the chain will fail to function.
The following example highlights a data bus fault and explains how the fault might be located.
After powering on the console you notice that the data displays for channels 1 to 8 are blank and the corresponding solo and cut
switches work but do not illuminate.
Once again refer to the Matrix Control Block Schematic. From the diagram you can see that data bus for the left 629502XA
assembly is connected to socket labeled out on the right 629502XA assembly and the power is supplied from the left hand
629516X1 routing assembly. From the fault description we know that the data from the switches is reaching the CPU so the power
to the assembly must be good so we can rule this out.
We know that the display data is reaching the right hand 629502XA assembly as the displays and LEDs are functioning correctly.
From this we can conclude that the problem must be with either the output of the right assembly or the input of the left 629502XA
assembly. This leaves three potential causes. The first is that the data ribbon connection between the two panels is not seated
correctly. The second is that the input stage to left hand 629502Xa assembly is faulty. The third is that the right hand panel has
a faulty output stage.
To eliminate the first possibility, power down the console and gain access to the PCB side of the 629502XA assemblies (refer to
Replacing Modules information at the end of this section). Remove and then reinsert the 34 way ribbon connector between the
two 629502XA assemblies to ensure that a sound connection is made. Re-assemble the console and check the condition of the
fault. For the sake of the example we will assume that this did not resolve the problem.
The next possibility to eliminate is that one of the 629502XA Panels is faulty. Power down the console and swap the two
assemblies. Re-power the console. If the panel originally in the left hand position was faulty, then neither panel will now function.
In this cause you should revert to the original configuration and replace the faulty panel. If, however, the problem was due to the
failure of right hand panels output stage, then you should find that both assemblies are now functioning correctly. As the left hand
panel is not required to buffer data onto another panel, this fault will not effect the operation of the console and can be left in
this position allowing you to continue working unhindered.

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133

Appendix G - Service

Power Faults
The consoles power supply is externally housed and consists of a single SMPS (Switch Mode Power Supply) providing all of the
consoles analogue and digital power rails.
Power from the external supply is wired via the twist-lock connector on the rear of the console to the 629515X1 and two
629516X1 assemblies. It is then distributed to all the other assemblies through either a dedicated power loom or as part of a data
ribbon power connection. The 629515X1 and 629516X1 assemblies use resetable fuses to protect and isolate their power rails
from the main supply. The consoles 629505X1 CPU is powered directly from the SMPS and is again protected with PTC
thermistors on the CPU assembly.
The SMPS is fitted with a protection fuse, however, this is not a user serviceable part. If this fuse fails there has been a severe
power supply fault and the whole unit must be replaced.
The Matrix external power supply contains no user serviceable parts. Do not attempt any maintenance.

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Appendix G - Service

Replacing Assemblies
Removal of modules while power is applied to the console will almost certainly result in component failure.

Refer to the Matrix Wiring Diagram at the end of this section when reconnecting wiring looms. Incorrect
connection may result in damage to one or more assemblies.

All of the screws used in Matrix are 5mm pan Pozi do not replace with screws of any other length. Doing
so could potentially cause damage to front panel or remove the threaded insert from the trim.
Once you have identified the location of the fault and have taken delivery of a replacement assembly, you are in a position to
replace the faulty part.
Access to all of Matrixs assemblies is from the underside of the console and as such will require the console to placed face down,
however, please read the instructions for the part to be removed fully before starting work as some assemblies require the
removal of front panel knob caps and collars before the console is turned over.

Tools
The following tools are supplied with Matrix and will enable you to replace the majority of assemblies:

Description

SSL Part No.

No. 1 Pozidrive screwdriver

Knob fixing tool 15mm
Allen key 2mm

80C2CEHC
80C66G9C
80CLC6A5

All screws used in the assembly of Matrix are Pozidrive screws, although similar in appearance to other cross
head screws, the use of a non Pozidrive screwdriver will damage the screw head, potentially making future
removal almost impossible.
You may also find that the following tools, which are not supplied with Matrix, or their equivalent, make the removal process
simpler:

Description

SSL Part No.

5.5mm nut spinner

6BA nut spinner (VU meters only)

80C4DHHC
80C4BCHC

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135

Appendix G - Service

1 - Base Plate Removal

Remove all external connections to the console.

Place the console face down on a protective surface.

Using a #1 Pozidrive screwdriver, remove the 33 pan head Pozi screws from the large base plate, including the four central
screws.

Remove the baseplate.

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Appendix G - Service

2 - Rear Connector Panel Removal

Either follow instruction #1 for full base plate removal or just remove the back row of base plate screws to leave the base
plate in place (all of the following illustrations show the base plate removed, regardless of whether it is essential to access
the assemblies concerned).

Using a #1 Pozidrive screwdriver, remove the 19 pan head Pozi screws from the edge of the rear panel.

Slide the panel away from the console slightly and then rotate the panel so that the connectors lay against the underside
of the console.

Align the holes in the rear panel with the inserts on the base of the console and secure in place with two of the previously
removed pan head screws.

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137

Appendix G - Service

3 - 629940XC Fader Replacement

Remove fader knob cap from the fader to be replaced.

Loosen but do not remove the two hex screws located at the top and bottom of the fader on the front panel.

Follow instruction #1 for base plate removal.

Unplug the two connectors from the fader to the 629502XA assembly.

Slide the front of the console over the edge of the work surface to gain access to the faders.

Remove the two loosened hex screws and remove the fader from the console.

Fit the replacement part, ensure correct orientation and secure with the two hex screws.

Connect the fader to the 629502XA assembly, refer to adjacent faders for correct connector order .

Refit the back panel and rotate the console face upwards.

Finally, fit the knob cap and test for correct operation.

No user calibration of the fader is required.

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Appendix G - Service

4 - 629502XA Solo and Cuts Panel Replacement

There are two 629502XA assemblies in the Matrix console, one for channels 1-8 the second for channels 9-16. Remove
the knobs caps from the assembly to be removed.

Follow instruction #1 for the base plate removal.

Using a #1 Pozidrive screwdriver, remove the 12 black pan head screws from the 629502XA assembly and lift the assembly
clear of the console.

Unplug the eight fader and motor connections and the external ribbon cables from the 629502XA.

Fit new assembly and secure in place.

Reconnect all cables, refer to the wiring diagram in at the end of this section for further details.

Refit the back panel, rotate the console and replace and knob caps.

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139

Appendix G - Service

5 - 629506XB Monitor Tile Replacement

Remove the master fader V-pot knob cap.

Follow instructions #1 and #2 for base plate and rear panel removal.

Disconnect all ribbon cable connections to the assembly.

Remove all pan Pozi screws.

Replace with new assembly, reassemble and test for correct operation.

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Appendix G - Service

6 - 41HJYLC3 Channel LCD Replacement

Follow instruction #4 for 629502XA removal to reveal the display.

Remove the three pan Pozi screws and remove the assembly.

Fit new assembly and screw in place.

Reassemble and test for correct operation.

7 - 41HJYLC3 Centre Section LCD Replacement

Follow instruction #4 for 629506XA removal to reveal the display.

Remove the three pan Pozi screws and remove the assembly.

Fit new assembly and screw in place.

Reassemble and test for correct operation.

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141

Appendix G - Service

8 - 41HJYLC2 Small Centre Section Replacement

Follow instruction #5 for 629506XA removal to reveal the display.

Remove the two pan Pozi screws.

Fit new assembly and screw in place.

Reassemble and test for correct operation.

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Appendix G - Service

9 - 629507XC Motion Control

Using a 2mm Hex driver loosen the grub screw in the jog wheel and then remove. Take care not to lose the plastic washer
underneath the jog wheel.

Follow instruction #1 for the removal of the base plate.

Disconnect Loom J and the two master fader connections from the motion control assembly.

Remove the 12 screws securing the motion control assembly to the front plate.

Replace with new assembly and reassemble, take care when refitting the jog wheel to ensure free rotation.

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143

Appendix G - Service

10 - 629507XD Headphone/iJack Panel Replacement

Follow instruction #9 for the removal of the 629507XA motion control panel.

Remove the ten screws securing the mounting plate to the frame.

Remove the mounting plate, unplugging loom AB from the headphone assembly as you raise the panel.

Remove the screw securing the headphone PCB to the mounting plate.

Remove the nut from the headphone jack socket.

Fit the replacement assembly and reassemble the console.

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Appendix G - Service

11 - 629510X1 Channel Buscard Replacement

Follow instruction #1 for base plate removal.

Unscrew the rear connector panel and slide the rear panel away from the console slightly to gain access to buscards.

Unplug the two looms crossing over the top of the channel buscard and the loom connecting to the solo and cuts panel.

The buscard is locked to the channel modules with four (six on later units) plastic retaining strips, clipping the card at each
corner.

To remove the card, press the tabs on two adjacent clips and pull the card upwards slightly so that the clips do not lock
back in place, repeat for the remaining two clips.

Lift the buscard clear and unplug the remaining looms.

Early Matrix consoles were shipped with a terminating header inserted in socket PL2A of channel 1-8s buscard. If fitted
remove and fit to the replacement card.

When fitting the replacement buscard ensure that all four locking clips are in place and that all cards fully inserted.

Reconnect all cables.

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145

Appendix G - Service

12 - 629501X2 Channel Module Replacement

Remove the knob caps and retaining collars from the channel module to be replaced.

Follow instructions #1 and #2 for the removal of the base plate and rear panel.

Follow the instruction #11 for the removal of 629510X1 channel buscard.

The faulty module will be attached to the buscard, fit the replacement assembly to the buscard and reassemble.

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Appendix G - Service

13 - 629511X1 Centre Section Buscard Removal

Follow instruction #1 for removal of the base plate, unscrew and slide the rear panel backwards to gain access to buscards.

Unplug loom G from the channel buscard to allow easy access to the centre section buscard.

The buscard is locked to the centre section modules with four plastic retaining clips, one at each corner.

To remove the card, press the tabs on two adjacent clips and pull the card upwards slightly so that the clips do not lock
back in place, repeat for the remaining two clips. Lift the buscard clear and unplug the remaining looms.

When fitting the replacement buscard ensure that all four locking clips are in place and that all cards fully inserted.

Matrix2 Owners Manual

147

Appendix G - Service

14 - Centre Section Module Replacement

Remove the knob caps and retaining collar from the channel module to be replaced.

Follow instruction #1 for the removal of the base plate, unscrew and slide the rear panel backwards to gain access to
buscards.

Follow the instruction for the removal of 629511X1 centre buscard.

The faulty module will be attached to the buscard, fit the replacement assembly to the buscard and reassemble.

148

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Appendix G - Service

15 - 629516X1 Router Replacement

Follow instruction #2 for removal of the rear connector panel.

Remove the connecting looms.

Using a #1 Pozi-drive screwdriver, remove two fixing screws.

Remove the retaining nuts from each of the boards D type connectors using a 5.5mm nut spinner.

Lift the assembly clear.

Matrix2 Owners Manual

149

Appendix G - Service

16 - 629505XA CPU Replacement

Remove the SD memory card from the console.

Follow instruction #2 for removal of the rear connector panel.

Remove the 9-way D-type retaining nuts from the GPIO and XRACK/DIAG connectors on the rear panel.

Remove all looms connected to the 629505XA assembly.

Remove four pan Pozi screws.

Lift the assembly clear of the console.

Fit the replacement card and reassemble.

Refit the SD memory card.

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Appendix G - Service

17 - 629505XB Digital Interface Replacement

Follow instruction #2 for removal of the rear connector panel.

Remove the pan Pozi screws holding the 629505XB assembly in to the 629505XA CPU.

Disconnect loom P.

Remove the screws from the AES and S/PDIF connectors on the rear panel.

Remove the faulty assembly and transfer the plastic pillar to the replacement part.

Fit the new assembly and reassemble.

Matrix2 Owners Manual

151

Appendix G - Service

18 - 629515X1 Centre Section Rear Replacement

Follow instruction #2 for removal of the rear connector panel.

Remove the 9-way D-type retaining nuts from the GPIO and XRACK/DIAG connectors on the rear panel.

Remove all looms connected to the 629505XA assembly.

Remove four pan Pozi screws holding the 629505XA assembly in place and remove the assembly from the console.

Remove the remaining D-Type retaining nuts from rear of consoles centre section.

Unplug all looms connecting to the 629515X1 assembly.

Unscrew the three plastic pillars.

Replace the 629515X1 assembly and reassemble.

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Matrix2 Owners Manual

Appendix G - Service

19 - 629503X1 Channel Display Replacement

Follow instruction #2 for removal of the rear connector panel.

Remove the connecting looms from the meter assembly.

Note that the 629503X1 assembly uses a picoflex connector. To remove this connector grip the connector body firmly
and pull directly away from the assembly, pulling the connector at an angle may damage the plastic locating pins.

Remove the 10 nuts holding the assembly in place using a 5.5mm spanner or nut spinner.

Fit the replacement assembly and reassemble.

Matrix2 Owners Manual

153

Appendix G - Service

20 - 629512X1 C/S LCD Meters Replacement

Follow instruction #2 for removal of the rear connector panel.

Remove looms AA and Q from the meter assembly.

Note that looms AA and Q use a Picoflex connector. To remove this connector grip the connector body firmly and pull
directly away from the assembly, pulling the connector at an angle may damage the plastic locating pins.

Remove the four nuts holding the assembly in place using a 5.5mm spanner or nut spinner.

Fit the replacement assembly and reassemble.

154

Matrix2 Owners Manual

Appendix G - Service

21 - VU Meter Replacement

Follow instruction #2 for removal of the rear connector panel.

Remove the spade connectors from the rear of the VU meters making note of which is the positive terminal.

Remove the three fixing screws and lift the VU PCB clear.

Using a 6BA nut spinner or spanner remove the two brass fixing nuts from the rear of the VU meter to be replaced.

Fit the replacement part and reassemble.

Follow the calibration procedure on the next page.

Matrix2 Owners Manual

155

Appendix G - Service

22 - 5.1 Surround Card Removal

Follow instruction #2 for removal of the rear connector panel.

Locate the surround card at the left end of the rear panel.

Remove the single ribbon connector from the surround card as indicated below.

Remove the four M3 retaining screws from the rear panel as shown in the lower diagram.

Withdraw the card through the aperture in the rear panel, taking care not to catch the ribbon cable on the frame edges.

EXT1,2 (C, SW, LS, RS)

MON, MINI (C, SW, LS, RS)

CUE ST, FX OUT 1-4

FX RETURNS 1-4

156

Matrix2 Owners Manual

REC, MI

REC,

Appendix G - Service

VU Meter calibration
Route a calibrated 0 VU source to the left Mix insert return. Alternatively, connect a level meter to the consoles Mix
bus output, route a tone to the Mix bus and set the master fader to give a reading of 0 VU on the output.

Deselect the Mix insert sum function.

Deselect the VU meter 10dB function.

Locate the VU meter trim pot at the rear of the console. Using a trim tool, or small flat blade screwdriver, adjust the trim
pot to align the left VU meter needle with the 0 VU legend.

Repeat for the procedure for the right meter.

Matrix2 Owners Manual

157

Appendix G - Service

Signal Flow Drawings

The following two pages of the Matrix Hardware Signal Flow Block Diagram depict how the various sub assemblies within Matrix
interconnect and which audio functions they perform.
Different coloured blocks are used to distinguish the assemblies. The number shown in the top left hand corner of each block is
the partcode of the assembly.
All function shown outside of a coloured block are performed by the 629515X1 assembly.
The channel and centre section buscards which provide the consoles bus structure have been omitted for clarity.

158

Matrix2 Owners Manual

Appendix G - Service

Matrix Internal Wiring Diagram

The following diagram depicts all of the consoles internal wiring connections. Each connection on the drawing is marked with a
connector name shown within italic braces, {}, which is the name found printed on the assemblys PCB, adjacent to the connector
and a loom reference which is physically labeled on each cable within the console.
The exception to this are the ribbon cables on the LCD displays, these cables do not have a loom reference.

Matrix2 Owners Manual

159

Appendix G - Service

160

Matrix2 Owners Manual

www.solidstatelogic.com

Solid State Logic

International HQ: Begbroke, Oxford, England OX5 1RU Tel +44 (0)1865 842300 Email [email protected]
France: 7 bis, rue de la Victoire, 93150 Le Blanc Mesnil, France Tel +33 (0)1 48 67 84 85 Email [email protected]
Italy: Via Timavo 34, 20124 Milano, Italy Tel +39 0392 328094 Email [email protected]
New York: 320 West 46th Street, New York, NY 10036 Tel +1 212 315 1111 Email [email protected]
Los Angeles: 3700 Wilshire Boulevard, Suite 720, Los Angeles, CA 90036 Tel +1 213 249 9229 Email [email protected]
Japan: 3-55-14 Sendagaya, Shibuya-Ku, Tokyo 151-0051 Tel +81 (0)3 5474 1144 Email [email protected]
2012 by Solid State Logic. All Rights reserved under International and Pan-American Copyright Conventions. Solid State Logic and SSL are trademarks of Solid State Logic.
All other 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. Solid State Logic has a policy of continual product enhancement and reserves the right to alter specifications without notice. E&OE. 20.07.12.

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