41
MATRIX
The
MATRIX
can be used to create special
mixes for recording, delay towers, lobby, back-
stage, nursery “cry” rooms, audio-for-video
feeds, ADA systems, and the like. Think of it as
a “mixer within a mixer.”
Although it may look complicated, the
MATRIX
is simply four separate 12 x 1 mixers.
Its inputs include the eleven mixes:
LEFT
,
RIGHT
,
CTR
, and
SUBS 1
–
8
. Additionally, each
MATRIX
has an external
MATRIX INPUT
.
Each
MATRIX
strip has an input level control
for each of the 11 internal inputs as well as
MASTER
level,
MUTE
and
SOLO
controls. The
external
MATRIX INPUTS
have no indepen-
dent level controls, but
are
controlled by the
MATRIX
’s
MASTER
level.
INPUT LEVEL
Point Before: Respective mix outputs (
LEFT/
RIGHT/CENTER
mixes
and
SUB 1
–
8
mixes
.)
Point After:
MATRIX
mixes
A
,
B
,
C
, and
D
.
Each
MATRIX
has a column of 11 rotary
controls. Adjacent to each of
MATRIX A
’s con-
trols is the name of the mix output feeding each
MATRIX
:
SUB 1
,
SUB 2
,
SUB 3
,
SUB 4
,
SUB 5
,
SUB 6
,
SUB 7
,
SUB 8
,
CTR
,
LEFT
, and
RIGHT
.
(
CTR
is an abbreviation for “
CENTER
.”) Each
control is off with the knob turned fully counter-
clockwise, with unity gain at the “
U
” center
detent, and provides 10dB gain turned fully up.
Creating a
MATRIX
mix couldn’t be easier.
Simply adjust the input level controls as
needed for each mix as it feeds each
MATRIX
.
For instance, using
MATRIX A
and
MATRIX B
to create a stereo mix, use the
MATRIX A
con-
trols for all the “left” mixes (usually
LEFT
,
SUB 1
,
SUB 3
,
SUB 5
, and
SUB 7
) and the
MATRIX B
controls for the “right” mixes (usu-
ally
RIGHT
,
SUB 2
,
SUB 4
,
SUB 6
, and
SUB 8
).
If the ultimate destination for a
MATRIX
out-
put is a device with RCA inputs, like a cassette
deck, we suggest that you use
MATRIX C
and
MATRIX D
, since they have RCA outputs (
TAPE
B OUTPUT
), in addition to the XLR outputs.
MUTE
Point Before:
MATRIX
mix.
Point After:
MATRIX MASTER
level
.
Muting removes the signal from its
MATRIX
OUTPUT
and
AFL SOLO
. The
PFL SOLO
and
PFL
Meter paths are not affected.
Pressing the switch toggles the electronic
mute relay in the signal path’s circuitry. If the
signal is muted, pressing the switch un-mutes
it, and vice versa. An LED adjacent to the
switch glows when muted.
With
ULTRA MUTE
™
, up to ten Banks of
ten different Mute Groups can be configured,
enabling you to mute several signal paths at
once. Not only that, but you can automate the
muting of all the signal paths via an external
MIDI sequencer or via the RS-232
DATA
port connected to a computer. We’ll discuss all
this in detail later on
.
MASTER LEVEL
Point Before:
MUTE
switch.
Point After:
MATRIX OUTPUTS
, (
AFL
)
SOLO
.
Use this control to set or ride the overall
level of each
MATRIX
. The signal is off with the
rotary
MASTER
level control turned fully coun-
terclockwise, unity gain is at the center “
U
”
detent, and turned fully up provides 10dB gain.
SOLO
PFL Point Before:
MATRIX
mix.
PFL Point After:
SOLO
(
MASTER
controls)
PFL
mix (mono).
AFL Point Before:
MASTER
level
.
AFL Point After:
SOLO
(
MASTER
controls)
AFL
mix (stereo).
SOLO
allows you to audition signals through
your headphones without having to assign them
to any of the
LEFT/RIGHT/CENTER
mixes
or
subgroups (
SUB 1
–
8
mixes)
. You can simul-
taneously
SOLO
as many signals as you like.
The SR40•8 features nondestructive solo: En-
gaging
SOLO
does not interrupt any of the
other Channels, buses, or outputs. Not only that,
the
SOLO
system comes in two flavors:
PFL
(Pre-Fader Listen) and
AFL
(After-Fader Lis-
ten, Solo-In-Place).
O
O
O
O
U
+10
O
O
U
+10
O
O
U
+10
O
O
U
+10
O
O
U
+10
O
O
U
+10
O
O
U
+10
O
O
U
+10
O
O
U
+10
O
O
U
+10
O
O
U
+10
U
+10
MATRIX
A
MASTER
A
SUB
1
SUB
2
SUB
3
SUB
4
SUB
5
SUB
6
SUB
7
SUB
8
CTR
LEFT
RIGHT
SOLO
MUTE
A
