Building on the success of the MC8 switching matrix, Sound Sculpture has released the Switchblade matrix switching system which doubles number of inputs and outputs that can be connected to the unit to 16 each and offers 8 programmable relays through 4 stereo jacks which can mimic the action of push on/push off or momentary push on/release off footswitches for such things as guitar amp reverb switching.

While the unit will immediately appeal to guitarists as a sharp way of reconfiguring a rig, its use extends well into the realms of studio automated routing and expanding desk aux sends, for example, and any other application that requires fast and efficient rerouting and mixing of numerous inputs and outputs.

Cosmetic and operational tweaks to the Switchblade over the MC8 include a larger better-lit LCD, 75 programmable presets and a wider programmable gain range plus MIDI continuous controller influence on gain. Apart from more than twice the number of unbalanced standard jack sockets on the back of the 1u not a lot else has changed externally. A Mode button on the front panel steps through menus, Select moves a cursor (unfortunately still only in one direction) around the screens, and Up/Down increment buttons alter values.

The MIDI in port permits the unit to be driven by a MIDI pedal board while a MIDI Out allows daisy chaining to effects units, set to receive on different channels, for patch change information which can be programmed into a Switchblade preset along with its routing and gain data.

The 75 presets can be arranged into 20 banks of ten for performance purposes and their selection can also be performed from a momentary mechanical footswitch although this seems like a very unsophisticated and unlikely way of controlling such a sophisticated unit.

Set up

This area of the unit concerns itself with the creation of names for all devices connected to the in and outs - something that was missing on the original MC8. It's here that you also set MIDI channels where applicable and the receiving channel of the Switchblade.

This really must be done prior to programming presets as this determines what the unit will present in its menus, for example, and once it is done connections will become clearer as the names of the units involved will be displayed.

While this is a time-consuming process, especially if you can fill up 16 ins and outs, hindered by an erratic cursor it pays to be accurate and descriptive as the more information you put in the easier life will be afterwards in programming. It also means that once you've effectively customised the Switchblade to your rig and connections you can forget all about the physical side of the unit and get onto the creative side of patching and mixing.

It's here that you also enter the crossfade time between presets, variable from 0 to 1000ms, and set MIDI channels.

For later reference the Set up menu is also the location for a nice simple preset Copy page and the area in which the entire memory contents can be dumped or loaded externally. ProgrammingFrom an operational point of view it's worth grasping the principle that in Switchblade everything is internally routed to everything else but what actually activates a route is the programmable gain level. The basic state is no gain, or Off, and the connection is made by turning the gain on. Any programming is performed on the current preset in memory, there is no buffer in which you can experiment and then decide to Save somewhere else.

The unit passes audio while being programmed allowing complex strings and parallel combinations of effects to be heard as they are created. The display presents you with a named source input and a named destination output with a variable input gain setting for the transactions thus it goes further than simple routing as signals can be mixed together by input gain. You can rest assured that any noise build up that results from this is derived from the connected devices and not the Switchblade which is about as silent as they come. Intelligent use of gain at different stages of a configuration helps to improve matters.

Dealing in the single connections that the LCD shows you can become a little mind-boggling if you're determined to employ all 32 jacks worth of connections in one mega patch. You really have to be alert and on top of what you're doing or risk sending the wrong things to the wrong destinations without realising it immediately. It's something of a knack if you're into daisy chaining your entire rig as is going back and unpicking connections.

Patch change commands for connected processors are also programmed while editing.

In use

One trick possible on the Switchblade is to employ MIDI continuous controller data to adjust gain settings dynamically. In its most basic form this can functions as a type of swell pedal operating between user-defined start and end gain values. A more advanced application is to use the same controller to influence two gains in two different connections with one of them inverted relative to the other. Continuous controller data will then effectively balance between the two signal paths permitting, for example, a clean guitar tone to an amp to be melded with a chorus tone on the pedal.

This may seem to take Switchblade into multi-effects territory but its approach has the benefit of being significantly simpler to program in this respect than your average effects unit is.

Other tricks possible include the ability to set the change between the two aforementioned signal paths to be swept automatically on an internal LFO, variable from 250ms per cycle to 10 seconds per cycle, or a multi pan which uses four LFOs working relative to each other but at different speeds for more complicated arrangements. While these permit intricate auto pans to be realised they've got to be of relatively limited use in comparison to the continuous controller mode. However, all are zipperless.

On the downside the rackmount holes are too small to take M6 screws but I was looking at an early model. The front panel LEDs which indicate the unit's mode while bright are recessed and very directional so can be viewed clearly only from directly in front of the device in bright light.

Conclusion

For all intents and purposes once a Switchblade is plugged up with it's connections named and MIDI channels selected the fiddley stuff is done. Operationally it's worth bearing in mind what the alternative is - repatching everything physically and resetting levels? I don't think so.

It's a very good way of experimenting with a rig and adding value to it by trying different combinations of effects in a manner that would verge on the tedious and unrewarding if you had to rewire just to try something out for fun. In this light it's positively fast.

It's a shame some of the connectors are not balanced but bearing in mind the variety of sources that can be plugged in over the -42dB to +6dB of gain available - what the hell.

Switchblade has dozens of applications away from its core target of guitar rigs for which it is ideally suited. It's not cheap but combined with just about any basic MIDI pedal board on the market you're still talking about substantially less than half of what you would gladly pay for a name custom job. Add a really clever pedal board and you're really cooking with gas.