of EQs , compressors , gates , etc . that function just like you are used to in the studio or in a live environment . Much of the terminology is similar , with just a few variants here and there ( groups of outputs are often labeled as ‘ zones ’, etc .), and once you ’ ve mapped a signal path from input to output in the software editor , you can ‘ upload ’ that system design to the hardware matrix and test everything out .
One key benefit of audio matrix devices is their ability to easily take in networked audio and distribute it around a venue , often functioning as a sort of ‘ mixer mixer ’ which can route the outputs of your FOH mix to somewhere else and / or send a remote feed input to FOH for piping in during a service . Rather than taxing your FOH console with these additional tasks , an audio matrix can handle this type of campuswide audio routing with ease . Additionally , basic controls ( like volume and source ) can be distributed across the campus as simple wallmounted interfaces or even controlled via free mobile device apps . Need to shoot your main sanctuary mix over to the front foyer speakers and allow for a volunteer to control the volume with a single volume knob ? Your trusty audio matrix is ready and willing to assist .
Expanding a bit on this concept from an audio input and output perspective , we can use a matrix to take in analog XLR in one room and digitally feed it to a console in the recording studio down the hall while simultaneously sending the signal to the live broadcast console in another room . While this sort of audio over IP ( AoIP ) connectivity is often possible without a dedicated matrix in the mix ( especially if something like Dante is being used across devices ), a matrix can make it much easier to route channels en masse or manage exactly which channels are needed at the time , adding efficiency and cutting down the total number of mixable / networked channels required on each device across the system .
Route 96kHz audio via Allen & Heath SLink , Dante , Waves , etc . with the AHM-64 audio matrix .
house of worship engineers and system designers about how they use and describe their audio matrix applications and I don ’ t think I ’ ve had a chat yet without the phrase ‘ audio Swiss Army knife ’ popping up . I can think of specific instances where folks have deployed the same model audio matrix for opera sound management , rolling church audio cart rigs , mega-church audio networking management , municipal theater console switching , live broadcast comms management , and even as a live recording digital patchbay . Yet from their perspective , that is exactly what the matrix was designed to do . As you look to solve your next inevitable church audio technical challenge , make sure you start your search with at least a quick look at these types of power-packed audio workhorses .
Jeff Hawley A 20-year music industry veteran — equally at ease behind the console , playing bass guitar , leading marketing teams or designing award-winning audio products . He currently heads up the marketing for Allen & Heath in the US .
Lastly , and perhaps most importantly , an audio matrix is designed to be flexible and adapt to ever-changing needs . I ’ ve interviewed many
Where is the mixer ? An Allen & Heath AHM-64 nestled amongst audio I / O and power amps in an outdoor theatrical production environment .