The 16-channel console offers dual summing inputs, aux sends and additional returns, providing more than 40 summed inputs to mix output. Matrix is also a 16+1 fader, four-layer DAW controller that uses an Ethernet connection for single-cable, high-speed workstation control for most popular DAWs, including Pro Tools, Logic, Live and Reason. An integrated, recallable, software-controlled 32x16x16 analog routing matrix eliminates the need for external patchbays, bringing outboard analog processing into a DAW workflow. Matrix also offers independent main and mini monitor outputs, an Artist Monitor output with independent EQ and source selection, three external monitor inputs with source summing and a front panel iJack input.

A Mac and Windows compatible application provides platform-independent project management and routing control, including FX chains and routing set-ups to simplify patching outboard units through the router.

Matrix will be available worldwide through selected SSL Resellers in May 2008 with a MSRP of $25,995.

For more information, visit www.solid-state-logic.com.

For more information on new products announced at Winter NAMM 2008, click here.

GLOBALSTOR GOES RED AT NAB 2008 WITH DEBUT OF EXTREMESTOR-DI REDe STORAGE SERVER

AVIOM UNVEILS NEW 6416M MIC INPUT MODULE WITH REMOTE CONTROL OPTIONS AT NAB 2008

Coming in June: The Class of 2008
Mix is now accepting submissions for our annual design feature: The Class of 2008. We’ll feature photos and descriptions of some of the hottest studios that have opened in the past year. If you know of a studio that belongs in this year’s Class, write to Barbara Schultz at Mix at bschultz@mixonline.com. Submissions are due March 26.

Register Today for Remix Hotel Miami 2008!
Remix Hotel Miami is heading to the National Hotel in South Beach March 27-30. Get all the latest news and updates at www.remixhotel.com, and don’t forget to register!

Central Region AES Student Summit April 4-6
Webster University in St. Louis, Mo. will host the second annual Central Region AES Student Summit April 4-6, which will feature guest speakers Bob Heil, founder and president of Heil Sound Ltd., and top mastering engineer Bob Katz. The summit will offer panels, tutorials, demos, networking opportunities and more. Students may pre-register for $20. For more information and to register, go to www.webster.edu/aes.

AES Nashville Presents C2 Conference April 18-19
The AES Nashville Section has developed the C2 (Capturing Creativity) conference and gear expo for achieving professional results in personal studios, scheduled for April 18 and 19 at the Musician’s Hall of Fame and Museum. Participants will include leading producer/engineers Jeff Balding, Chuck Ainlay, Russ Long, Pat McMakin and Bil VornDick, and Lynn Fuston of 3D Audio. Early registration is open through April 4 and is $149 for AES members, $199 for non-members, $59 for non-member students and $39 for student members. For more information, visit www.aesnashville.org/c2con.htm.

Waves On Tour Presents Eddie Kramer
Waves' "Studio Classics Collection Experience" is an educational tour that is visiting cities across the U.S. during March, April and May. Renowned producer/engineer Eddie Kramer and Waves product specialists are presenting lectures and demonstrations of Waves' Studio Classics Collection plug-in bundle, which comprises Waves' SSL 4000, V-Series and API Collections. For the latest tour updates, click here.

Mix Nashville 2008
Join the editors of Mix on May 20-21, 2008 for an intensive look at Nashville, the hottest recording market in the country today. The place where studio meets live. Where country reigns and rock and blues come to play. Where churches and clubs sit side by side, both pumping out quality sound. Two days of studio, live, songwriting, production. Two days of networking, demos, education and performance. Be sure to visit Mix's special Nashville event page at http://mixonline.com/ms/nashville08.

Kohrs used the Horizon exclusively on fiddles, all second guitar overdubs, and female harmonies. "On the female harmonies, the Horizon helped the soft voices cut through the hard-hitting vocals of Jim and me, without having to EQ all the body out of them,” Kohrs explains. “For me, that’s a lot of finite EQ work I never have to do with the Horizon tube microphone. On the fiddle, it helped the lower, sweet, woody tones speak through a barrage of midrange instruments, like the banjo and resonator guitar, and brought out the clarity. Aaron Till said he had never heard his fiddle so well-recorded."