Matrix-12 V

How it works

It is an analog subtractive synth like the other polysynths, but with a modulation "switching center": the matrix.

The voice

Two oscillators (pulse, sawtooth, triangle; noise on the second) → multimode filter → two amplifiers in series (VCA 1 and VCA 2). Oscillator 2 can also frequency-modulate oscillator 1 or the filter (analog FM).

The modulation sources

• Envelopes (5, with Delay): shape the evolution over time.
• LFOs (5, 7 waveforms, including sample & hold of any source): cyclical movements.
• Ramps (4): ramps that rise once and stay at maximum, for modulations that fade in slowly.
• Tracking generators (3): reshape a source with a 5-point curve (e.g. non-linear key tracking).
• Lag: slows down changes (portamento, smoothing).
• Performance controls: velocity, aftertouch, levers, pedals.

The matrix

Instead of cables or fixed switches, every parameter with a "mod" button can receive up to 6 modulations by choosing the source, amount (positive or negative) and destination. Modulations can be quantized (to semitones or steps), and you can even modulate the speed and depth of other modulators: this is how a single preset can contain changes of timbre, rhythm and space.

Character and tone

Timbre

Oberheim analog, but more "refined" than the OB-Xa: stable Curtis oscillators, a filter with 15 modes (from classic low-passes to notch and phase-shifter) and above all movement: every note can be run through many independent modulations.

Where it sits in the spectrum

It covers the whole spectrum: the 3–4 pole low-passes are full and warm in the low mids, while the high-passes and combined HP+LP modes allow thin, nasal or "telephone" sounds that sit above 1 kHz without crowding the mix.

Strengths

• Modulation matrix: 27 sources to 47 destinations, up to 40 connections per preset in the Arturia version; even the amounts of other modulations can be modulated.
• 15 filter modes (1–4 pole low-pass, high-pass, band-pass, notch, phase, combinations): timbres impossible on other polysynths.
• 5 DADSR envelopes, 5 LFOs, 4 ramps, 3 tracking generators and one lag per voice.
• Multitimbral: up to 12 different Voices with zones, splits and layers.

Limitations

• Complexity: programming requires a method; the "basic" sound is less immediate than a Prophet's.
• The interface of groups and 0–63 values is less intuitive than dedicated knobs.

Comparisons

• vs Xpander: same engine (the Matrix-12 is effectively two Xpanders with a keyboard).
• vs OB-Xa: less "roaring" but far more flexible and modern in its modulation.
• vs Prophet-VS: both are built for moving sounds, but here the movement comes from analog modulation and filters, not from digital waves.

Architecture

Original (Oberheim Matrix-12, 1985–1988)

• 12 voices, 12-part multitimbral with 6 zones; 61-key keyboard with velocity, release velocity and aftertouch; two levers.
• Per voice: 2 Curtis VCOs (pulse, saw, triangle; noise on VCO 2; sync; FM VCO2→VCO1 or →filter), filter with 15 modes (based on Curtis chips with external switching), VCA 1 and VCA 2 in series.
• Modulators per voice: 5 DADSR envelopes (Delay, Attack, Decay, Sustain, Release, Amp), 5 LFOs, 4 ramps, 3 tracking generators, 1 lag; plus the global VIB.
• Matrix Modulation: 27 sources, 47 destinations (on the hardware, 20 free routings per patch).

The 15 filter modes

Low-pass 1, 2, 3, 4 poles; high-pass 1, 2, 3 poles; band-pass 2 and 4 poles; notch; phase shift; and high-pass + low-pass and notch/phase + low-pass combinations (as in the Xpander diagram).

Signal path (per voice)

VCO 1 + VCO 2 (+ FM) → 15-mode filter → VCA 1 → VCA 2 → per-voice pan and level → master FX.

What Arturia adds (Matrix-12 V2, V Collection 9)

• 40 modulation routings per preset (two pages of 20), with Quantize for each modulation.
• Voices page with transpose, detune, volume and pan (7 positions) for each of the 12 voices; Zones with MIDI channel, assignment mode, voice stealing and keyboard range.
• Multi mode: 12 independent Voices that can be grouped, with different Single presets.
• Master effects: 2 slots with Delay, Dual-stage Phaser, Analog Delay, Flanger, Analog Chorus, Reverb.
• Full MIDI learn, factory presets, TAE emulation of the circuits and the filter.

The controls, one by one

Page bar and global controls

Main / Voices / Program Chain

Main pages: Main for programming the Voice, Voices for voices/zones/VIB, Program Chain for chaining presets.

Master Volume

Global volume of all voices and modes.

Fine Tune

Global fine tuning.

Nameplate: KBD / FX / MOD / PAGE2

Switches the lower panel: keyboard and levers, effects, modulation list, Page 2 parameters.

VCO 1

Freq

Pitch from 0 to 63 semitones; with the mod button it receives up to 6 modulations (LFO for vibrato, envelopes for pitch sweeps).

Detune

Fine tuning -31/+31: small detunings between VCO 1 and 2 for thickness.

PW

Pulse width 0–63, 32 = 50% square: values toward the extremes are thinner and more nasal; modulatable (PWM).

Wave

Pulse, Saw, Tri.

Volume

Oscillator output level, modulatable (tremolo, timbre changes with sync).

VCO 2

Sync

Locks VCO 2 to VCO 1: sweeping the frequency of VCO 2 (by hand or with an envelope) gives screaming or sparkling timbres.

Freq / Detune / PW / Volume

Same as for VCO 1.

Wave

Pulse, Saw, Tri, Noise (noise for wind, percussion, breath sounds).

VCO Page 2 (for VCO 1 and 2)

Keyboard

The frequency follows the keyboard or not (off = fixed drone).

Lag

The VCO responds to the Lag generator (portamento): turn it on for just one VCO for a partial 'scoop'.

Pitch bend

The VCO responds to the pitch-bend lever or not.

Vibrato

The VCO responds to the lever/VIB vibrato or not.

FM

Amp

Amount of FM from VCO 2 (triangle) to the destination; at 0 it has no effect unless modulated.

FM Dest

VCO 1 (FM between oscillators: new harmonics and bells) or Filter (filter FM: 'grunge' grit, better with high resonance).

Filter

Freq

Cutoff (or center) of the filter; modulatable.

Res

Resonance up to self-oscillation (in notch mode it deepens the 'hole').

Mode

15 modes selectable with a graphic window: LP 1–4 poles, HP 1–3 poles, BP 2/4 poles, notch, phase, HP+LP and notch/phase+LP combinations.

VCA 1

First amplifier (0–63), usually fixed or modulated by velocity, LFO, tracking.

VCA 2

Second amplifier in series, usually controlled by the main envelope: to produce sound you need VCA 1 > 0 and a modulation on VCA 2.

Filter Page 2

Keyboard

Cutoff key tracking.

Lag

The cutoff follows the Lag (stepped sweep if Legato is off).

Pitch bend

The bend lever also moves the filter.

Vibrato

The vibrato also moves the filter.

Lag

Input

Source to slow down (keyboard for portamento, but also LFOs or levers).

Rate

Lag speed (modulatable).

= Time

With linear response, the same time for any interval.

Linear

Linear curve (on) or exponential (off).

Legato

Off = stepped response (chromatic glissando) instead of continuous.

Ramps (1–4)

Rate

Rise speed of the ramp (from 0 to maximum, then it stays): great for fading in vibrato or filter slowly.

Page 2: Trigger

Single or multiple trigger.

Page 2: LFO Trigger / Gated / LFO select

Ramp retriggered by an LFO (1–5 or VIB), also only while the key is held.

Env (1–5)

Delay

Delay before the attack.

Attack

Rise time.

Decay

Fall time to the Sustain.

Sustain

Held level.

Release

Release time.

Amp

Overall depth of the envelope.

Page 2: Reset

Restarts from zero on every trigger.

Page 2: Freerun

Runs through all stages even if you release the key.

Page 2: DADR

Removes the Sustain stage.

Page 2: Trigger / LFO Trigger / Gated / LFO select

Single or multiple; retriggerable by an LFO for rhythmic envelopes.

Track (1–3)

Input

One of the 27 sources to reshape.

Point 1–5

0–63 values of the 5-point equidistant curve: creates non-linear key tracking, deformed LFOs, 'threshold' velocity.

LFO (1–5)

Speed

Speed (not for Noise).

Wave

Triangle, Square, Saw up, Saw down, Random, Noise, Sample (S&H of a source).

Input

Source to sample when Wave = Sample.

Retrig

Starting point of the cycle at retrigger (0 = beginning).

Amp

Output depth.

Page 2: Lag

Smooths the corners of the wave (useful on square).

Page 2: Retrig Mode

Single trigger, multiple or Off (free run).

Modulation Page and MOD list

Mod buttons under the parameters

Bring the parameter to the foreground in the Modulation Page with its modulations.

Source / Amount / Destination

40 routings per preset (pages 1–20, 21–40): source among 27, bipolar amount, destination among 47.

SRC / AMT

Knobs for the amount of each modulation.

Q (Quantize)

Makes the modulation stepped (in semitones on pitch or filter): transposable mini-sequences.

CLEAR / RESET

Clears a routing or only the source/destination; double-click resets the amount.

FX (2 master slots)

Delay: Sync, Link, Time, Feedback, Pingpong, Damping, Wet/Dry

Digital delay 4.5 ms–1 s.

Dual-stage Phaser: Rate, Depth, Feedback, Shape (per stage), Sync, Mode Single/Dual, Mix

Two phasers, separate per side or in mono series.

Analog Delay: Delay, FB Tone, FB Amount, LFO Depth, LFO Rate, Mix

Mono BBD delay 4.5–1000 ms with feedback tone.

Flanger: Delay, Depth, Rate, Feedback

Flanger with positive or negative feedback.

Analog Chorus: Type, Stereo Width, Stereo Rate, Chorus Rate, Amount, Delay, Wet/Dry

Three models (simple, medium, complex).

Reverb: Gain, HF Damping, Brightness, Diffusion, Decay Time, Feedback, Pre-Delay, Wet/Dry

Reverb with pre-delay up to 2 s.

Bypass / Select Effect / None

Quick bypass or removal of the slot. The FX are shared by all Voices.

Voices page: Voices

Play

Turns each voice on/off; it turns green when sounding.

Zone

Assigns the voice to one of the 6 zones or directly to a MIDI channel.

Transpose

Per-voice transposition from -3 to +2 octaves in semitones.

Detune

Per-voice detuning -31/+31: stack slightly different voices for huge pads.

Volume

Per-voice level.

Pan

One of 7 stereo positions per voice.

Group / Voice name / arrows / Save (Multi only)

Groups that share the same Single preset, Voice selection and saving.

Voices page: Zones (1–6)

Input Ch.

MIDI channel 1–16 or Omni.

Mode

Rotate, Reassign, Reset (polyphonic); Uni-Low, Uni-High, Uni-Last (monophonic with priority).

V. steal

Voice stealing: the new note steals the oldest one (risk of cut-off tails).

Low / High

Keyboard zone limits for splits and layers.

Voices page: VIB

Speed

Global vibrato speed (0–63).

Source + Mod Amt (Speed)

Mod Wheel or Pedal modulate the speed, amount ±63.

Wave

Triangle, Up/Down Saw, Square, Random, Noise.

Lag

Applies the Lag to the vibrato.

Amp

Vibrato depth.

Source + Mod Amt (Amp)

Mod Wheel or Pedal control its depth.

Virtual keyboard and levers

Spring-loaded lever (pitch bend)

Pitch bend; the VCOs and the filter follow it according to their Page 2 (Pitch bend switch).

Modulation lever

Free source in the matrix (Lever) and vibrato control (Vibrato switch in Page 2). The Arturia manual numbers the levers somewhat inconsistently: check on the panel which one is the spring-loaded one.

Sound design tips

Method

• Program in layers: first the static sound (VCO, filter, VCA 1 and an envelope on VCA 2), then one modulation at a time, listening to the effect. With 40 routings it is easy to lose control.
• Use VCA 1 for "level" modulations (velocity, tremolo, tracking) and VCA 2 for the main envelope: separating the roles keeps the preset readable.

Filter

• Mode as the first timbral choice: 4-pole LP for basses and warm pads; 2-pole LP for open brass; 1–2 pole HP for light pads that stay out of the bass; BP for nasal and vocal sounds; notch and phase for movement when modulated slowly.
• Env vs Freq: with high envelope modulation, keep Freq low; with high-pass modes, a positive envelope makes the sound thinner (the opposite effect from low-pass).
• Resonance and key tracking: with high resonance, turn on Keyboard in the filter's Page 2, otherwise the peak stays fixed and some notes boom.
• Filter FM: adds grit and aggression; use small amounts and consonant VCO 2 intervals so you don't lose the pitch.

Envelopes and timing

• The envelopes' Delay is valuable: a second envelope with a 300–800 ms delay on the filter makes held notes "bloom" without changing the attack.
• Release and tempo: with 12 voices and Rotate modes, long releases pile up; at fast tempos prefer Reassign or releases under 1 s.
• Envelopes retriggered by an LFO (Page 2) at tempo create rhythmic patterns: keep their Amp moderate so they don't cover the dynamics.

Modulation

• Quantize on VCO Freq with a slow LFO or a ramp creates transposable arpeggios and sequences; use small intervals (low amounts) to stay tonal.
• Ramp → LFO Amp: vibrato that grows over time, more natural than fixed vibrato.
• Tracking generator on velocity: a threshold curve (low points flat, high points steep) for accents only when you play hard.

Frequencies and mix

• Multilayer pads in Multi pile up at 200–600 Hz: give each layer a role (one dark LP, one bright HP) instead of stacking two full LPs.
• The 7-position Pan per voice helps separate layers without chorus.

Common mistakes

• VCA 1 at zero or VCA 2 with no modulation: silence or notes that never stop.
• Too many routings on the same parameter: the value saturates and the modulation "disappears."
• Zones overlapping unintentionally in Multi: doubled notes.

Presets to recreate

In genres and records

• '80s–'90s synthpop and electronic pop: Depeche Mode and Technotronic are among the documented users; pads, basses and leads.
• Soundtracks and new age: Vangelis uses it for pads and expressive layers.
• Ambient, chill-out and atmospheric electronic: The Orb; textures that move with 5 LFOs and 5 envelopes.
• Industrial and hard electronic: Gravity Kills; aggressively filtered and modulated sounds.
• Rock and AOR: wide pads and brass under the guitars.
• Sound design, trailers, video games: modulation matrix, 15-mode filters and multitimbrality.
• Electro, IDM and techno: quantized stepped modulations, filter FM, notch and phase filters.