In their description, ADDAC System states that the 814 is designed for easy expansion, and has a photo of four of them next to each other. A 6x6 stereo matrix mixer is already bigger than most, and a 24x24 (or more) might warp minds. Mostly because a matrix mixer, even a 4x4, while completely usable and interesting, often suffers from one major malady, exponentially so, when you get into double digit channel amounts. Namely, they can be confusing. What's patched into the input of Channel 1? Where is Channel Z's output going? Yep, you're about to go on a point-to-point cable journey in search of answers. Doubly so when you're dealing with a stereo matrix mixer, which is on the bench here.
ADDAC System's 814 tries to mitigate this problem as best as it can, and does so in a few simple, but effective ways. First, for both ins and outs there is a white space on the module to write in the to's and fro's so it's easy to keep track of what's patched where. 814 also uses multi-color knobs for fast identification. There's a diagonal white row of knobs that signifies that the routing of the input is the same output, for use in feedback generation. While I find matrix mixers really useful in a utilitarian sort of way—they're great for honing parameter amounts as well as auditioning various pathways—being creative with feedback paths always leads me to interesting places. Even in matrix modules where I've forgotten how it's all patched up (again…no problem with 814 on this account!), running sound sources through various effects, and piling them on top and feeding back into one another is always good fun.
The other rows of knobs—alternating black and red—help to make quick identification and playability by having some visual color separation. It's obvious that ADDAC System has felt the pain of staring at a module full of identical knobs—something like trying to discern tree genera in the middle of a dark, dense forest—and felt the pain.
Another way 814 helps is by addressing the knob/jack paralysis that is caused by a sea of knobs and jacks and jungle of cables is with a dedicated, discrete module (included) that houses all inputs and outputs, which is connected to the main module via ribbon cable. This enables one to place the patched up in/out module away from the main module, so there's a clear, clean space with which to tweak and explore. It's these thoughtful additions and flourishes that make it a pleasant working experience.
With those important, yet utilitarian, aspects out of the way, it's time to pontificate, albeit much more briefly, on the enjoyment of a stereo matrix mixer. It's almost a meditation, this thinking about the various ways of stereo routing, whether it's a true stereo signal or a copied mono signal (814's left inputs are normalled to the right on each channel), and being able to send each side of a signal into a different filter, effect, VCA, or whatnot is a great way to get some interesting stereo spread. But you can do that with most any stereo mixer, so... Aah, but a matrix mixer means you can send the signal back into itself for immense feedback looping. You need to pay close attention because it's easy for it to run away and blow out eardrums, but chaining and feedbacking a single stereo signal with any chain possible through the six channels available can be monumental, immense. Again, it's helpful to be able to write the signal origins on the module itself to keep track of everything, but it's so fun to tweak something early in the chain, to see how it affects everything further down the line. When you do this, there's so much seasoning to taste that it's as easy to get lost in the sound as it is to craft something utterly unique, and I really loved crafting slowly undulating drones with 814. Stacking three slightly detuned oscillators (very Moog-y) in the first three channels, running through various slowly modulated filter, eq, and effects combinations, fed back into themselves and finally into again a slowly modulated (via WORNG's Vertex stereo VCA) WORNG Soundstage. Such a good time. Experimenting in the stereo space can be incredible, and with a handful of VCAs, loads of LFOs, and effects, 814 is primed for spatial supremacy.
While 814 is perfect for audio signals, it's DC coupled, so it can be used for creating complex modulation as well. At first, I had a hard time wrapping my head around using it for this purpose, not being able to let go of the idea that complex modulation always equals randomness. Whatever the reason, this is my internal hangup, and using 814 for modulation was time well spent. It was interesting to patch in LFOs of different frequencies into the top four channels while feeding themselves back into each other in the bottom half. Like with the audio experiment, with a slight tweak upstream, all havoc could break loose downstream, and it was important to use a light touch. What I found really interesting was to use basic LFOs (sine, triangle, pulse) of a related tempo (½, ¼ time) and mix/feedback/tweak. Using it on a 1V/Oct input for a VCO, to easily hear the resulting pitch change, or as the CV input on a VCA for the same reason, was interesting and using 814 as a controller in this way, to sculpt the modulation, made me think that maybe ADDAC System's hubris in suggesting a 24x24 stereo version, multiple 814's all chained up, might not be so far fetched.
While it might seem at first that a 6x6 (or larger) stereo matrix mixer might be overkill if your system doesn't take up an entire wall, merely because it's bigger than most, the endless amounts of feedback and routing possibilities means that 814 can find a home in any stereo lover's rig.
Price: $419

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