Originally Posted by mpr3 ➡️

What a thought provoking thread... I had to resurrect it.

Regardless of the merits of the SSL Matrix, there are some very progressive thoughts here about the future of hybrid recording consoles. I pray that manufacturers actually pay attention here... so here's my contribution.

In the past, i've owned a Sony DMX-R100, an API Legacy Plus (48 uptown faders), a Neve 8026 mk2 (1073/84 format 24x8x36) and finally a Digidesign ICON D-Control (36).

Here's what I would want from a console / DAW hybrid setup right now:

1. One round trip through the AD DA from tracking to mixing.

2. Maintaining similar levels (gain) from the DAW out the DAs to the mixing console, as they were coming in from the tracking console through the ADs.

3. Motorized analog faders that follow DAW automation (hoping you can get more than 128 steps from a midi track in 2010?).

4. PT fader automation written using the corresponding analog fader while flipped in 'DAW mode' (a la Matrix).

5. Basic DAW transport and edit control (ethernet HUI is fine as long as fader resolution can step in 0.1dB DAW increments?).

6. Base console with 16 dual inline channels (32 inputs), expandable to 32 channels (64+ inputs at mix)

7. HF & LF filters on every channel and buss (no need for EQs or Comps when collecting outboard colors - GAS)

8. 3 ST & 8 Mono busses.

9. 2 ST & 4 Mono FX / Cue sends.

10. Floating 32 x 32 insert matrix across all channels and busses.

If the base unit had 16 faders with no Pres, EQs or Comps, I imagine the price would appeal to a wide spectrum of studios at a time when budgets are forcing productions into the ever growing, high end project studio world.

Looking at the current prices of the Matrix and empty Genesys, I'd guess this would be around $30k street for the base, and $20k for the 16 channel expansion...

Originally Posted by bigbongo ➡️

any news on this ssl matrix system? did it happen?

Originally Posted by jindrich ➡️

An audio engineer recently contacted me asking for some advice in the overall planning of the renovation of his recording studio. This is a privately owned mid studio doing quite a bit of everything like many these days: music tracking and overdubbing, mixing, audio Post, V.O,... etc, with increasingly tighter budgets and often stressing deadlines.

One of the biggest concerns in the planning was, not unsurprisingly, which console to put in (if at all), with all the ITB_vs_OTB and Sound_vs_Recall stuff we all well know.

Almost all currently existing options were considered. On one hand, good old (used) big desks had to be discarded, even after some quite atractive offers, for the obvious reasons of maintenance, electricity and HVAC costs, and anachronistic workflow (it's not the 80's anymore). On the other hand, there was the ICON route, which brings a truly great system, but all things considered it's quite a big of chunk to invest in what's essentially just a software controller, one which is btw tied to a single DAW.
Then there was the new breed of smaller consoles from SSL, API, Portico and Neve, which are all quite nice desks, but somehow they seem to fail in fulfilling all of one engineer's typical needs at some point or another, and all (but SSL) noticeably lack in terms of proper automation, not to mention DAW control.

A fourth corner on this square was (on this particular engineer) a simple fixed obsession, with Neve 80xx series consoles nonetheless. Unfortunately, those are not only extremely expensive nowadays, but they all require a good 24/7 tech in the neighborhood for seamless work. The only good chance on approaching a classic Neve would be trying to find one of those stripped 8014 frames, carefully restore it and fill it with new 1073/1084 modules. Such a feat would go for around €80k (and that prior to fit in any automation system).


Anyway, the 8014 route got us thinking. Why not try to recreate a modern version of it with one of the newer consoles, specially with Neve now reissueing the 2245R?

After some deliberation, the decision went on for SSL's Matrix, because, one, it's by far the cheapest of them all at €16k+VAT and, second, it offers the best automation and DAW control among them (also, how closely the Matrix resembles a classic 8014 in terms of features and workflow, played some role).
Now, an SSL Matrix along with two racks at either side loaded with 16 (in total) Neve 1084 modules would be around €68k (incl VAT), which wasn't too bad for a brand new and automated version of a modern 8014 desk (BA modules instead of Neve were also considered).
But then, further in the argument there was the thought that 1084 modules, unlike 1081s, are a bit limiting when mixing, so perhaps some alternative EQ modules should also be put into the equation, etc, etc.
In the end, the decided setup was as follows:

-SSL Matrix console
-8x 1084 in a 5U rack
-SSL XRACK loaded with 8x EQs
-2x API 3124mb+ preamps (with a twist)



The entire package costs €50k (incl VAT). Now, why this particular combination? The reasons were:

1) It falls nicely within budget and offers both the classic analogue approach, an ITB route, and everything in between. While not as powerful as an ICON, it is on the other hand a multiplatform DAW controller, for both his PTHD and Logic, and the entire analog/digital setup (and a basic patchbay) comes with automation and TotalRecall.

2) The SSL EQs bring more control and a nice contrast to the eight 1084s, while the API pres are also chosen to overcome one of the pet peeves of the SSL Matrix: lack of busses. Each 3124mb+ includes a 4:2 mixer, thus along with the Matrix's REC, MIX (and CUE) busses, the desk becomes a 32:8:8:2 console (16+16 inputs, 4 st returns, 4st busses).

3) Buying separate items instead of a single small desk or an ICON helps to avoid, in these uncertain times and to the engineer's opinion, putting all eggs into a single basket. Residual Values and ROI are to be considered in any business. Also notice how the eight 1084 alone cost more than the console.

4) While not as impressive as an 8014 or 4048 desk, it puts the tools right there just like on such consoles, and it still might be quite good looking when properly assembled (see photos). It also offers a much bettter integrated workplace than any other option out there, and for the odd demaning client still brings the "SSL" and "Neve" names (and its famed quality and great customer service to the studio owner).




Anyway, all this is still in the preliminary phases and the engineer might flip it any other way, but I thought it might be interesting for all of you to see.
-

Originally Posted by mpr3 ➡️

What a thought provoking thread... I had to resurrect it.

Regardless of the merits of the SSL Matrix, there are some very progressive thoughts here about the future of hybrid recording consoles. I pray that manufacturers actually pay attention here... so here's my contribution.

In the past, i've owned a Sony DMX-R100, an API Legacy Plus (48 uptown faders), a Neve 8026 mk2 (1073/84 format 24x8x36) and finally a Digidesign ICON D-Control (36).

Here's what I would want from a console / DAW hybrid setup right now:

1. One round trip through the AD DA from tracking to mixing.

2. Maintaining similar levels (gain) from the DAW out the DAs to the mixing console, as they were coming in from the tracking console through the ADs.

3. Motorized analog faders that follow DAW automation (hoping you can get more than 128 steps from a midi track in 2010?).

4. PT fader automation written using the corresponding analog fader while flipped in 'DAW mode' (a la Matrix).

5. Basic DAW transport and edit control (ethernet HUI is fine as long as fader resolution can step in 0.1dB DAW increments?).

6. Base console with 16 dual inline channels (32 inputs), expandable to 32 channels (64+ inputs at mix)

7. HF & LF filters on every channel and buss (no need for EQs or Comps when collecting outboard colors - GAS)

8. 3 ST & 8 Mono busses.

9. 2 ST & 4 Mono FX / Cue sends.

10. Floating 32 x 32 insert matrix across all channels and busses.

If the base unit had 16 faders with no Pres, EQs or Comps, I imagine the price would appeal to a wide spectrum of studios at a time when budgets are forcing productions into the ever growing, high end project studio world.

Looking at the current prices of the Matrix and empty Genesys, I'd guess this would be around $30k street for the base, and $20k for the 16 channel expansion...