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1. e Find the mod in the bottom panel s Mod display e Click the CLEAR button on the right side of that mod as pictured below ARTURIA Matrix 12 V Users Manual 54 4 SINGLE MODE The bottom panel Clear button The SRC and DEST names will be replaced by three dashes and the AMT value will return to O 12 00 4 4 1 3 Quantizing a mod The Quantize feature can be used to force an otherwise smooth modulation transition to happen in steps Imagine a sweeping LFO an envelope a Lever or any other mod source can be made to move in discreet increments rather than gliding through the values Here s a cool example When a mod to the VCO frequency or the filter cutoff is quantized the modulation output can be heard in semi tones You may find an immediate use for that application by setting up a sort of mini sequence that will transpose itself when you play the keys This is interactivity at its best and one gift among many from us to you To quantize a mod select the Modulation Page and then toggle the button with the letter Q next to the clear button 4 5 Page 2 The Page 2 nameplate button reveals important settings such as VCO keyboard tracking LFO trigger modes and pitch bend vibrato assignments for the levers to name a few features Each one is described in section 4 2 so this section will only give a basic overview of what the Page 2 button does Most of what Page 2 offers are on off parameters with buttons that
2. G1 stands for Group 1 the group to which the Voice has been assigned see section 5 2 2 for information about this The cool thing is that those blue arrows will switch the selection from Group 1 to Group 2 etc which calls up the Voice that has been assigned to that Group Then the preset can be edited immediately from the Main page and you didn t have to go back to the Voices page fo select the Voice you want to edit Definitely a time saver there For the full description of each Main page parameter see chapter 4 ARTURIA Matrix 12 V User s Manual 70 5 MULTI MODE 6 PROGRAM CHAIN MODE Matrix 12 V ships with hundreds of great presets both Singles and Multis Eventually you will find yourself returning to certain sounds repeatedly and either using them in your projects or using them as starting points to make your own Singles and Multis So why not put your favorites in one location so you can navigate to them more easily Matrix 12 V provides a feature for just that purpose Program Chain mode It allows you to take any one of the presets either Single or Multi Factory or User and place them in one of 128 locations for quick access What s more you can use MIDI Program change messages to select the presets when Matrix 12 V is in Program Change mode This is a great way to integrate Matrix 12 V into your live rig just send MIDI Program change messages from your controller keyboard and you ll have easy access to you
3. Source Modulate VIB speed from one of two sources Mod Wheel or Pedal Click the field to reveal the choices ARTURIA Matrix 12 V User s Manual 59 4 SINGLE MODE Y Pedal Mod sources for VIB rate Mod Amt The amount of control the Source will have on the VIB speed Click and drag to edit the value The modulation can be positive or negative with a range 63 Wave Six options Triangle Up Down Saw Square Random and Noise no Sample 4 Hold Click the field to reveal the choices Y Triangle Up saw Down saw Square Noise VIB waveform options Lag Click the button to use the Lag generator as an additional mod for the VIB effect Amp The overall output of the VIB section A simple mod is provided Source Modulate VIB output from one of two sources Mod Wheel or Pedal El Mod sources for VIB output Mod Ami The amount of control the Source will have on the VIB output Click and drag to edit the value The modulation can be positive or negative with a range 63 One more thing as with almost every Matrix 12 V parameter everything in the VIB parameter group is MIDl assignable See section 3 3 3 for instructions ARTURIA Matrix 12 V Users Manual 60 4 SINGLE MODE 5 MULTI MODE So you want to play synth bass with your left hand and some funky riffs with the other How about multi timbral sequences or layering two Voices to create The Pad To End All Pads Whatever your musical requirements may be
4. s 2 L em _ ENV2 ENV3 ENV4 ENVS H a 63 DETUNE RE FILTER MODE i SRi mm MIDI Control Setup sm Learning Voicel_Osc2 Fret 3 IL ATION PAGE TRACK eee In ron TRACK RO Tracks pamm KESSD D iS 3 Ni y Ba is Relative E INPUT POINT 1 POINT2 POINTS POINTA POINTS J EN MOISE SRC1 SRC2 SRC3 SRC4 SRC5 SRC6 LO Sea 3 LAO 2 PO ro LFO3 LFO4 LFOS ESIE 3 a 55 TRANGLE 5 RAMP 1 RAMP 2 1A RATE RAMP 3 RAMP 4 WAVE RETRIG A RATI RATI KEYBD to TIME LINEAR T le LEGATO LA A A O REVERB FEEDBACK HF DAMPING DIFFUSION BRIGHTNESS DECAY TIME 111 MN yilas SYNC LINK TIME FEEDBACK a EA suitte PINGPONG 7 DAMPING 1 a cc uu gt at littered ARANA PRE DELAY An example of MIDI assignable controls in the Matrix 12 V Main page In the picture above one of the controls has been selected the VCO2 frequency control A MIDI Control Setup MCS window for that switch now shows the parameter name its Min Max range and whether the control has already been assigned to a MIDI Continuous Controller number CC In this case the control has not yet been assigned if is waiting for a controller on an external device to be activated so if can learn the MIDI CC and establish a relationship between the two You ll notice that as soon as a new assignment is made the contro
5. 31 3 USER INTERFACE Most of the buttons are the on off style such as the oscillator wave selectors Note how the parameter value becomes underlined when active SRC1 SRC2 SACS SACA Note the small green LED in the lower right corner of the VCO2 VOL button pictured above Even if a mod is not in focus on the Modulation Page an LED like that will remain lit inside the mod button of a parameter when if has an active modulation routing FX buttons amp switches In addition to the buttons in the Parameter window the Matrix 12 V has several types of switches in its FX section Some are round white buttons LA SYNC LINK Some of the Delay buttons They re simple on off switches so all you need to do to change their state is click them Other switches have two positions like these from the phaser RATE FEEDBACK DEPTH P RATE FEEDBACK DEPTH SINE AE noise DUAL MODE SINE AN NOISE Two position switches from the Dual stage Phaser ARTURIA Matrix 12 V Users Manual 32 3 USER INTERFACE In this case click inside the track of the switch to change the selection Note also the white button in the middle sometimes an FX module will have more than one type of switch There s also a three position switch Chorus type selector switch That s a picture of the Type selector switch found inside the Analog Chorus And as with the two position switches you ll need to click the track of the switch next to
6. If you ve purchased our products before you know we pride ourselves in faithfully recreating the sound and feel of the original instruments down to the smallest detail Matrix 12 V is no exception to this rule And if this is the first of our products you have owned you are in for a treat The synthesizer upon which this model is based was the absolute pinnacle of analog synthesizer technology at the time light years ahead of the competition We thought you might enjoy a brief look backward at what if took to bring this marvelous instrument to life 1 1 Oberheim an overview 1 1 1 Prelude The 215 century is experiencing a Renaissance in the area of analog synthesizers with many companies offering models of all colors shapes and sizes From towering modular synthesizers dripping with patch cords to Arturia s affordable and innovative MiniBrute series fans of analog synthesis haven t had if so good for decades Back in the early 70s however there were really only two main synthesizer manufacturers with any notoriety Bob Moog and his eponym company and ARP These two companies rode a crest of technological and musical innovations for nearly a decade with a rivalry akin to that of the Beatles and the Rolling Stones some liked one some liked the other and the serious collectors owned both And if seemed the more these companies divided the pie of market share the larger the pie became Then about 1975 riding in like so
7. Lag When enabled the VCO frequency will respond to the settings of the Lag generator This is what enables glide or portamento lt can be cool to have one VCO scoop while the other is static so try enabling Lag for one and disabling if for the other Pitch bend If you want the VCO frequency to ignore lever 1 disable this switch Vibrato Same thing if you want a VCO to ignore lever 2 switch off this parameter These seem like simple parameters being only on off switches But as you can see their settings can have a huge impact on the overall sound and behavior of a Voice 4 2 2 FM FM is an abbreviation for Frequency Modulation Did you know analog synthesizers were doing this form of synthesis long before those famous Yamaha synths The concepts are very similar the FM parameters in Matrix 12 V can put VCO 1 and VCO 2 into a carrier modulator relationship or do a similar thing to VCO 2 and the Filter The FM parameter group contains the following parameters Amp The amount of the FM effect being sent to VCO 1 or the Filter FM Dest Selects the destination for the FM effect VCO 1 or the Filter This is where things become a bit more complicated to describe But it will help to take another look at the Parameter window specifically the thin blue lines connecting VCO 1 and VCO 2 to the FM parameter group We re going to take a close look at what is meant by Oscillator FM In the picture below the red arrow traces o
8. This is why Matrix 12 V offers an unparalleled quality of sound as do all of Arturia s virtual synthesizers TAE combines three major advances in the domain of synthesis 1 3 1 Aliasing free oscillators Standard digital synthesizers produce aliasing in high frequencies especially when using Pulse Width Modulation PWM or Frequency Modulation FM ARTURIA Matrix 12 V User Manual 13 1 INTRODUCTION TAE enables the generation of oscillators which are completely free of aliasing in all contexts PWM FM and at no extra CPU cost Aliasing 2389 hl 13 1 6 897 50 dB at 6 034 Hz 6897 8270 3643 11016 12389 13762 15 136 16 508 17 881 13 254 Linear frequency spectrum of an oscillator modeled with TAE 1 3 2 A better reproduction of analog oscillator waveforms The waveforms produced by the oscillators in analog synthesizers are affected by the presence of a capacitor in the circuits The discharge of a capacitor results in a slight bend in the original waveform most notably for sawtooth triangular and square waveforms TAE reproduces the result of this capacitor discharge in software Below is the analysis of a waveform from one of the five original instruments Arturia s software emulates followed by one made by TAE They are both equally deformed by the low pass and high pass filtering ARTURIA Matrix 12 V User Manual 14 1 INTRODUCTION
9. This job is usually handled by an envelope being triggered by the keyboard which is the most predictable way of controlling how quickly the sound begins and how long if sticks around So why are there two VCAs Wouldn t if be simpler just to control one Simpler yes but also much less flexible For example velocity aftertouch a tracking generator and or a couple of LFOs can be routed to VCA 1 for certain types of level control while still leaving the envelope controlling the overarching output characteristics of VCA 2 In fact between the two VCAs a combined total of 12 mod routings can be set up for the final output stage 6 per VCA With the VCAs serving as the gatekeepers for the output of a Voice that much control can be a good thing 4 2 4 Lag Simply put a lag generator affects the rate of change between two data points In synthesis terms this is offen thought of in relationship to pitch as in this is what controls the soeed and type of the glide between two notes i e the portamento speed or glide time But the output of the Matrix 12 V lag generator can be applied to any number of targets not just pitch and use a source such as an LFO or a Lever not just the keyboard Generally the mod routes are handled through the Modulation Page but the Page 2 button reveals hardwired routings for the VCOs the Filter and the LFOs These are the Lag parameters Input Select the source with the knob or click t
10. CPU meter only reports the processing load related to Matrix 12 V not the combined system load of all programs and plug ins that may running at the same time 3 3 3 MIDI control configurations All knobs levers and switches on the Matrix 12 V can be assigned to external MIDI controllers Almost everything in Multi mode is assignable too Zone selection and the associated MIDI channel Zone voice stealing toggles etc Even the MIDI note range of a Zone can be controlled by an incoming MIDI controller message But before trying any of what follows make sure the MIDI control device you want to use is connected fo your computer and that your DAW and or the Matrix 12 V software are correctly configured to receive MIDI events from that controller See section 2 4 to learn how to go about this 3 3 3 1 MIDI menu ARTURIA Matrix 12 V Users Manual 27 3 USER INTERFACE The MIDI menu on the right side of the tool bar provides access to sets of definable MIDI controller assignments known as configs configurations Click on the arrow to the right of the word MIDI and a drop down menu will appear This menu is composed of two main areas MIDI Controller Configs Copy Current Config Delete Current Config Import Config Export Current Config Default Y KeyLab 49 map Beatstep map MinLab map The first section of the MIDI menu MIDI controller configs is split in two and provides four features e Copy Current Config
11. Case in point look at the parameter group ENV where there are 5 tabs labeled ENVI ENV2 etc This means there are 5 envelopes available for programming a Voice ENV3 ENV4 ENV5 The Envelope parameter group Tab 2 is selected the other tabs are circled ARTURIA Matrix 12 V Users Manual 35 4 SINGLE MODE A quick glance around the Matrix 12 V parameter window will show that tabs are also available for the LFOs 5 per Voice and the Tracking generators 3 per Voice There is no shortage of programming options here 4 1 1 3 Parameters with and without mods The foundations of each parameter group are the parameters themselves But you ll notice some parameters have buttons containing their names and some do not The ones with buttons are available for further tweaking in the Modulation Page see section 4 4 And while the ones without those buttons can t be modulated they can of course be edited right where they are by turning one of the knobs or toggling a switch depending on the parameter One more thing There are some lesser used but very important parameters available on a sort of sub page too These are found by pressing the Page 2 button on the right side of the nameplate PAGE We ll talk about the Page 2 parameters along with the others in section 4 2 4 1 2 The nameplate As mentioned previously the function of the nameplate is to allow easy access to the four different aspects of the bottom panel All four
12. Locks the delay to the current tempo of the DAW and or the rate of the Phaser These are the only two FX modules with a Sync button Link Makes the delay mono after which the top row of Time and Feedback controls are used to adjust the effect Time A clockwise turn increases the delay time a turn in the opposite direction shortens it Feedback Adjusts the Feedback amount Larger values cause the delay to be heard longer Pingpong Hard pans the effected signals so they bounce from left to right ARTURIA Matrix 12 V User s Manual 48 4 SINGLE MODE Damping Higher settings will roll off the high frequency content of the delayed signal more quickly Wet Dry Sets the ratio between the original dry and modified wet signals This digital delay repeats the input signal and creates an echo giving if more space and depth The Time knob offers a range of settings from 4 5 milliseconds to 1 full second 4 3 2 Dual stage Phaser O PHASER STAGE 1 e STAGE 2 SYNC RAIE FEEDBACK DEPTH e RAIE aaar IN a SINE ff NOISE DUAL MODE SINE DB NOISE The following parameters are available independently for both Stage 1 and Stage 2 Rate Sets the speed of the phaser Depth Sets the depth of the phaser activity Feedback Controls the amount of phaser resonance Shape Sine vs noise Stages 1 and 2 share these parameters Sync Locks both stages to the current tempo of the DAW and or the rate of the delay These
13. Multi mode is the place to go when your plans call for Matrix 12 V to have two or more Single mode presets active at the same time 5 1 Single mode vs Multi mode Visually Single mode and Multi mode seem very similar but functionally they are quite different The focus of Single mode is the Main page where practically every synthesizer parameter known to man resides for the express purpose of creating a Voice The Voice can stand on its own or become the basis around which a Multi is constructed The focus of Multi mode on the other hand is the Voices page As the plural of Voice the name Voices implies that Multi mode enables you to access more than one Voice ata time The potentially confusing part is that there is a Main page in Multi mode and a Voices page in Single mode The advantages to this system though is that there are certain parameters on both pages that are useful in either mode whether you re dealing with a Single preset or a Multi But how do you tell which mode Matrix 12 V is in without loading a new preset that you know is one or the other Here s the fastest way we ve found If you re on the Main page click Voices in the Page bar and look at the name field for the voices If the voice names are greened out and they re all the same Matrix 12 V is in Single mode VOICES FULLHORN VOICES PLAY ZONE TRANS DETUNE VOLUME PAN i pr VOICE 1 2 53 MIn VOICE 2 VOICE 3 The Voic
14. P a Selecting a preset for the Program Chain ARTURIA Matrix 12 V Users Manual 72 6 PROGRAM CHAIN MODE It s a quick process but we recommend that whenever you run across a preset you find Inspiring first record the ideas you re getting into your DAW that s the most important thing and then put that preset into the Program Chain so you can go right to if whenever you want if The presets in the Program Chain list can be selected directly by clicking them with your cursor which is handy when the presets aren t adjacent But if you have a bunch in a row you may find it easier to click the larger buttons on the left side of the Program Chain window TF Ma Co i En LM ji The program select buttons Those buttons are MIDI assignable by the way which means they can learn the MIDI CC number of whatever switches you normally use on your MID controller for program changes See section 3 3 3 to learn more about this feature 6 2 Removing a Preset from the list If you decide you d like to remove a preset from the Program Chain list but you don t want to find a replacement at the moment there s a quick way to do that Simply click the small X to the right of the preset name and that preset will oe removed from the list Py a s Lil ito i i 7 3 Wr AAN I a I LI En wn Click the X to remove a preset from the Program Chain list It s possible to leave the slot blank if you like
15. Presets A famous perhaps apocryphal story about a well known multi keyboardist puts the early days of analog synthesizers in perspective if is said that whenever he came up with a sound he really liked on one of his monosynths designed by Bob Moog he would leave the controls on that synthesizer exactly as they were and go buy another one True or not if is true that back in the day people had to write down the values for every knob and switch if they wanted to recreate a sound later and didn t want to buy another synth Here again Oberheim led the pack in the development of the Programmer 1976 a device that could store and recall any one of 16 presets each containing the parameters for up to eight ARTURIA Matrix 12 V User Manual 8 1 INTRODUCTION SEMs at a time And the SEMs didn t have to have identical settings either so each preset could contain wildly different sounds from SEM voice to SEM voice But the parameter controls on the Programmer also allowed the user to program all eight SEMs at the same time so they would sound like a single instrument if desired Cassette backup was possible too which allowed for the creation of a potentially infinite patch library y aM _ _ 7 ES RE m EA _ a AEMO k p D ROGR D TA AN SELEC i E y Sam gt r A gt iy i Al a i i gt SS SS A E TO O OBERHEIM ELECTRONICS INC The Oberheim Programmer circa 1976 1 1 3 4
16. Select the audio interface e Set the audio output port e Set the buffer size e Set the sample rate e Play atest tone to check your audio configuration e Select which MIDI input port s will be recognized 2 2 2 Audio and MIDI settings Mac OS X The process is similar for Mac OS X Select Preferences from the Matrix 12 V pull down menu Matrix 12 V About Matrix 12 V Preferences a6 Services e Hide Matrix 12 Y 36H Hide Others HH Show All Quit Matrix 12V Q Another window will open with options for connecting audio and MIDI interfaces ARTURIA Matrix 12 V Users Manual 18 2 INSTALLATION 8 ACTIVATION Audio MIDI Settings Device CoreAudio Built in Output Buffer size 512 samples 11 6 ms Sample rate w44100 Hz Play Test Tone MIDI Devices 828x MIDI Port 828x Sync Port Arturia BeatStep WM KeyLab 49 Mac OS X Audio MIDI Settings window The above window shows one of several configuration options The settings indicate the selection of an Arturia controller as one of the MIDI sources while the setting Built in Output means the user will hear the sound of the Matrix 12 V through the computer s speakers as opposed to the external USB audio interface If a different configuration is desired all you need to do is select a different audio device in the drop down menu and then check and uncheck the various MIDI Devices until you have exactly what you need Other options enable you to
17. Single preset to multiple Voices that share that preset For example if Voices 1 through 4 are assigned to the same group and you select a Brass preset for Voice 1 then Voices 2 3 and 4 will also change to the Brass preset They retain their individual Transposition and other settings but they move together when a new preset is selected The default Multi has all 12 Voices assigned to the same group so if is necessary to reassign them To do this click on the Group field next to the Voice you want to change GROUP Assign To G1 Singing_Strings_1 Create New group The Group menu in Multi mode There s only one group available so far so click Create New group at the bottom of the list After this there will be two groups available and you can assign any one of the Voices to either group As soon as one of the Voices has been assigned to group 2 it is possible to select a different Single mode preset for if without affecting the first Voice In the picture below this has been done and Voices 1 and 2 are now independent However Voice 3 is still assigned to group 1 You can assign if to group 2 If you like by following the same process Assign To Gl Singing_Strings_1 Create New group ARTURIA Matrix 12 V User s Manual 64 5 MULTI MODE Selecting a different group for Voice 3 Using this same technique repeatedly if is possible to set up several groups and use them to combine Voices into a single polyphonic syn
18. The Tone knob controls a feedback filtering effect low pass to the left high pass to the right You can set the delay modulation by changing the LFO rate and LFO depth values The Wet Dry slider sets the ratio between the original and modified signals 4 3 4 Flanger MOB FLANGER DELAY TIME DEPTH FEEDBACK Delay Sets the delay time which changes the harmonic content Depth Sets the modulation depth This is set to max out at less than 100 to limit runaway feedback Rate Sets the modulation rate for the delay time Feedback Adds positive or negative feedback for a harsher or ringing sound Double click this control or set it to the 12 00 position for zero feedback ARTURIA Matrix 12 V User s Manual 50 4 SINGLE MODE A flanging effect is created by combining two identical signals delaying one of the signals by a small amount and then modulating the delay time The recombined output produces a sound that sweeps up through the harmonics of the original signal and back down Flanging can create both subtle and extreme effects depending on the Rate and Depth of the modulation With higher Depth settings you will begin to hear changes to the pitch of the sound This is how the circuits in an analog flanger work and we have taken care to recreate these conditions 4 3 5 Analog Chorus O ANALOG CHORUS Type Select one of three chorus types Stereo Width Controls the width of the stereo effect Stereo Rate Sets the s
19. Triangle to potentially abrupt Square Saw Up Down to nearly unpredictable Random Noise Sample Let s look at the waveforms before we talk about the other parameters in the LFO group Triangle On a graph this would look like a ripple on the surface of a pond after tossing in a pebble with a smooth rise and a smooth fall Square More like the teeth of the gears within a clock sudden rise sudden fall with a steady state between transitions Saw up Gradual linear transition from zero to maximum with a sudden return to zero Saw down Gradual linear transition from maximum to zero with a sudden return to maximum ARTURIA Matrix 12 V Users Manual 46 4 SINGLE MODE Random Noise Sample Capable of selecting any value within its range at regular intervals Completely arbitrary data points presented nearly simultaneously at unpredictable intervals Rate does not apply to the Noise selection but Amp controls the level Short for Sample 8 Hold This option reveals the Input parameter where you can choose any one of the 27 mod sources When selected the LFO looks to the input source for its next value at regular intervals It s more predictable than Random but still can be pretty crazy Let s go through all of the other LFO group parameters now Speed Input Retrig Amp Controls the rate of the LFO waveform except for Noise Only available when LFO Wave is set to Sample with 27 source options Allow
20. a 2 pole filter and so on The 4 pole LP filter labeled Low Pass 4P rolls off the audio frequencies more quickly than the Low Pass 1P for example A High Pass filter scoops out the audio starting at the bottom and the 3 pole HP filter has the strongest impact that way But sometimes that isn t what you want so we ve given you two kinder gentler HP filters in the 1 pole and 2 pole versions The other options affect the output signal in various ways so be sure to try them all And once you ve become familiar with the different filter modes you ll probably be able to select one without referring to the built in graphic In that case simply turn the filter mode knob to dial up the one you want Click the Close button to exit without making a change or select one of the graphics and the window will close itself 4 2 3 4 Filter Page 2 As with the VCOs there are other parameters available for the Filter parameter group To access these press the Page 2 button in the nameplate The bottom panel will show the Page 2 parameters for six different parameter groups including those related to the Filter We ll cover only those parameters in this section the rest will be covered with their respective parameter groups Keyboard Tells the Filter frequency to track the keyboard raising the corner point for higher notes and lowering it for lower notes Lag When this is enabled the Filter frequency will be affected by the settings o
21. e choose the memory buffer size a smaller size will increase the CPU load but will reduce latency and vice versa e choose a sample rate between 44 100 Hz and 192 000 Hz You can also play a test tone to make sure the audio interface responds properly Just click the Play Test Tone button and a simple clear tone will play It shuts itself off after one second so if you need to hear it again just click the button a second time ARTURIA Matrix 12 V Users Manual 19 2 INSTALLATION amp ACTIVATION 3 USER INTERFACE In this chapter we will give an overview of the features available to you with Matrix 12 V As with every Arturia product we have gone to great lengths to make the use of this software instrument as simple and as much fun as possible while also striving to make sure you never run out of new things to do with if as your knowledge expands After reading this chapter you should be ready to delve as deeply into the workings of Maftrix 12 V as you would like 3 1 Main window components Matrix 12 V has many features and several modes of operation But if is heloful fo know that each mode has things in common with the others So let s take a look at the broad picture first Matrix 12 V a Fin All Banks All Types Uber_Oberheim Cae ee PANIC 29 MIDI man UBER OBEREN FILTER ENV3 le a DETUNE 7 SRu FILTER MODE Ka MODULATION PAGE TRACK2 TRACK3 DETUNE an INPUT POINTI POINT2 POI
22. it truly set the Oberheim sound apart from the competition The SEM proved to be sort of a Cinderella synth too beautiful to stay in the background for long And so the humble expansion module took center stage as Oberheim Electronics combined an increasing number of SEMs with a keyboard in a single portable package 1 2 2 The polysynths rapid growth Synth followed synth in quick succession each standing on the other s shoulders the two voice TVS 1 1975 the four voice FVS 1 also 1975 and the Eight voice 1977 which are pictured below note the inclusion of the Programmer on the left side of the two larger models The FVS 1 ARTURIA Matrix 12 V User Manual 1 INTRODUCTION E ttt ttet 111 ALT A rer AE pear The last of the Great White Synths the Oberheim 8 voice Not pictured are the increasingly popular OB 1 1978 OB X 1979 OB Xa 1980 OB 8 1983 and Xpander 1984 Each is legendary and worthy of a section of its own Finally Oberheim introduced their flagship the Matrix 12 in 1985 Since it is Arturia s inspiration for Matrix 12 V we ll fake a closer look at this phenomenal instrument in section 1 2 3 1 2 3 Crowning achievement the Matrix 12 Though based on the same voice architecture as its predecessor the Matrix 12 was definitely more than just two Xpanders soldered together In addition to the 5 octave keyboard and two modulation levers some important new features were added wh
23. of the bell like tones you ve heard from analog synths through the years also came from ring modulators So these devices are still in use Initially Tom made a couple of these for some musician friends one of whom was in a psychedelic band called The United States of America Word got around one thing led to another and the next thing he knew he was being contacted by the Chicago Musical Instruments Company CMI CMI wanted Tom to develop a ring modulator which he did the Maestro RM TA Good for them and even better for us this odd little box led directly to the formation of Oberheim Electronics 01234567890 RING MODULATOR 5 HIGH Low PITCH RANGE The Maestro RM 1A circa 1969 The RM 1A was followed by the Maestro PS 1 a phase shifter which also became very popular And for the next five years or so a steady stream of interesting and useful products were designed for CMI by Tom Oberheim 1 1 3 Technological innovations Our main focus in these sections will be the synthesizer products Mr Oberheim brought to life However some of his other contributions to the music world are noteworthy 1 1 3 1 Polyphony Sometimes it s good to be reminded Back in the old days if wasn t possible to play a chord on a synthesizer keyboard You could only play one note at a time But after becoming the official Los Angeles dealer for ARP synthesizers Tom set out to change this His early discoveries with the ARP 2500
24. other major instrument manufacturers and convinced them if was a commercially viable concept The course of the music world was forever changed through the efforts of Tom Oberheim and his colleagues 1 2 The Oberheim synth family a genealogy Few product lines are as diverse as this one even when only considering the synthesizers From a small single voice expansion module to the behemoth Matrix 12 within the space of ten years this company covered a lot of ground But it all started with an innovative little box called the SEM 1 2 1 SEM the little synth that could While selling ARP synthesizers Oberheim began to design a device to help solve a small problem created by his DS 2a sequencer the performer had to surrender control of the synthesizer to the sequencer while if was doing Its thing Few could afford a second modular synth not to mention the added bulk and complexity of carrying around two systems So Tom realized that a small self contained module could provide a cost effective solution complete with oscillators filter and input output connections This unit could be connected to the sequencer while the user played the main synth And so the Oberheim Synthesizer Expansion Module better known as the SEM came into being He enlisted the help of Scott Wedge and Dave Rossum engineers who were pioneers in their own right as founders of E mu Systems Together they unveiled the SEM at the Audio Engineering Society Conventio
25. purpose save Preset As Please choose a bank a type and a name for the preset Bank Default Type Y Default vano O Mine singles UR Drop down menus to select a new bank or type for the preset Or if you would like to create a new bank or type just highlight the appropriate field and type in a new name Rename the preset and click OK to complete the process 5 3 1 Saving edited Voices in a Multi There s one very important factor when saving a Multi though If while programming the Multi you spent time on the Main page editing one of the Voices in the Multi you will need to save this Voice before you select another Multi or change the Single preset for that Voice ARTURIA Matrix 12 V Users Manual 67 5 MULTI MODE And if you were able to save the Multi without also saving the modified Single preset the next time you selected that Multi it wouldn t sound or work the same But Arturia took steps to keep this from happening So when you begin the process of saving the Multi you will see an area at the bottom of the Save Preset As window that reminds you to save the Single preset as well ave Preset As Please choose a bank a type and a name for the preset Bank Live Type Multi Name M BadPad Bass Save Preset Awesome_bass_2 on group 1 as Awesome bass 3 Cancel Save the edited Single Preset also Click the OK button and your work will be preserved 5 4 Import Export and Mu
26. the desired value Simply clicking the head of the switch itself will probably just re select the present value 3 5 What s a Voice There are two uses of the word voice related to Matrix 12 V To keep them straight we capitalize one Voice and don t capitalize the other voice Here s a definition of each voice A unit of polyphony i e the number of notes that can be played simultaneously Example The Xpander is a six voice synthesizer Voice The collection of synthesizer parameters that make up a preset in Single mode not counting the FX settings Example This Multi was constructed by layering two Voices 3 6 How to switch modes There are three main modes in Matrix 12 V Single Multi and Program Chain However what you see in the Page bar are the words Main Voices and Prog Chain so those aren t what you use to switch between the modes Here s why even though the Main page and the Voices page look pretty much the same in each mode they actually do different things depending on the mode of the selected preset Switching to Program Chain mode is easy no matter which mode you re in just click PROG CHAIN in the Page bar and you re there See chapter 6 to learn about Program Chain mode However to enter Single or Multi mode you must select a preset that is known to be one or the other type And once you are in Multi mode for example selecting a Single mode preset wil
27. 0 3 0 2 0 1 0 1 0 2 0 3 0 4 D 500 1000 1500 2000 2500 3000 Temporal representation of the sawtooth waveform of a hardware synthesizer 0 3 0 2 0 1 0 1 0 2 0 3 0 4 500 1000 1500 2000 2500 3000 Temporal representation of a sawtooth waveform reproduced by TAE What s more the hardware analog oscillators were unstable In fact their waveforms vary slightly from one period to another If we add to this the fact that the starting point for each period in Trigger mode can vary with the temperature and other environmental conditions we see why vintage synthesizers have such a typical sound TAE reproduces the instability of oscillators resulting in a fatter and bigger sound 1 3 3 Direct Filter Circuit Modeling Due to advances in computer processing power TAE can now employ direct filter modeling techniques to achieve unprecedented accuracy in the emulation of a hardware synthesizer s filter By modeling the operation of the individual hardware components of the filter circuit the warm nuances synonymous with analog sounds are recreated ARTURIA Matrix 12 V User Manual 15 1 INTRODUCTION The following graph shows a single example of direct circuit modeling in action The peaks represent the generation of harmonics at multiples of the resonant frequency when a particular filter is in self oscillation mode These harmonics are characteristic of hardware synthesizer filters and are du
28. 8 Activate Once the Matrix 12 V has been installed the next step is to register the software The registration process will require you to enter the serial number and the unlock code you received with the product In order to proceed go to this web page and follow the instructions http www arturia com register Note If you don t have an Arturia account yet you will need to create one The process is quick but it does require that you can access your e mail address during the registration process Once you have acquired an Arturia account you will be able to register the product 2 2 Initial setup At the top of the Matrix 12 V application is a pull down menu lt houses the MIDI settings and various sound selection and output options among other things The location of this menu is slightly different for Windows and Macintosh computers so we ll address them separately 2 2 1 Audio and MIDI settings Windows Click on the Setup gt Audio MIDI Settings menu Setup About Audio MIDI Settings The next window you ll see is the same one that appears when the software starts for the first time ARTURIA Matrix 12 V Users Manual 17 2 INSTALLATION amp ACTIVATION Audio MIDI Settings Device Windows Audio Speakers High Defini Buffer size 448 samples 10 2 ms Sample rate 44100 Hz Play Test Tone MIDI Devices KeyLab 49 Arturia Beatstep Here the pull down menus and boxes allow you to e
29. Drum machines Oberheim introduced the DMX 1981 and DX 1983 which became the foundation for scores of hit records in the 80s and beyond They weren t the first sample based drum machines but soon they added a new twist The Oberheim Prommer 1986 effectively turned the DMX and DX into samplers in all their 8 bit glory All the user had to do was open the drum machine and swap a chip an EPROM being careful to avoid static electricity and not to bend or break any pins E Oberheim E Oberheim The Oberheim DMX and DX drum machines So the Linn LM 1 may have arrived first but the features the Prommer and the price point quickly established Oberheim drum machines as a significant presence in the music industry 1 1 3 5 MIDI Yep MIDI Tom Oberheim helped drive the development of the Musical Instrument Digital Interface protocol a k a MIDI in three ways ARTURIA Matrix 12 V User Manual 9 1 INTRODUCTION First he brought the concept to life by implementing a digital communication bus for his own products the Parallel Buss This enabled devices such as the OB 8 the DMX and the DSX to become a synchronized musically useful sequencing system The home project studio was born second when two other manufacturers took notice of Oberheim s system discussions began regarding a universal protocol that could be adopted by all manufacturers Third and possibly most importantly those three companies pitched this new idea to
30. IP y All types gt Templates b Selecting a new preset for a Voice After that it s very similar to selecting one from the tool bar just navigate to the bank and type you want and make a selection from the presets inside that type You can also use the small vertical arrows next to the Voice name to select a new preset inside the current bank and type 5 2 4 Save button If at some point while programming a Multi you went over to the Main page and made a few tweaks to one of the Voices an asterisk will appear next to its name on the Voices page This means you need to save this Voice before you select another Multi or change the Single preset for that Voice or else you will lose your edits If it s okay to save the edited Single preset on top of the original version then there s a quick way to do that Just click the small green SAVE button next to the Voice name And the Save window you ve seen in Single mode will appear save Preset As Please choose a bank a type and a name for the preset Bank Live Type String Name Singing_Strings Cancel Saving an edited Single mode preset from within a Multi Once you ve selected the Bank and Type and given the preset a new name if desired click OK and the preset will be saved The new preset will show up in the Voice name field and the asterisk will disappear After this be sure to save the Multi itself See section 5 3 to learn the ins and out
31. In that case the incoming MIDI program change message will still be received but Matrix 12 V will ignore incoming MIDI note data until you place another preset in that slot MODE PATCH Bed Te T plea he e l UE F1 LOL EUR PR Mili Ti OO GE IrL fi IF FL Ama Fi ON M An empty slot in the Program Chain list ARTURIA Matrix 12 V Users Manual 73 6 PROGRAM CHAIN MODE 7 END USER LICENSE AGREEMENT 1 General 1 1 In consideration of payment of the Licensee fee which is a portion of the price you paid Arturia as Licensor grants to you hereinafter termed Licensee a nonexclusive right to use this copy of the Matrix 12 V hereinafter the Product All intellectual property rights in the software belong to Arturia SA hereinafter Arturia 1 2 The following editions of the Product are available Demo Standard EDU and NFR Whilst each edition equips the User with the same software the editions vary as regards both the scope of functions activated in the Product and the rights of use granted under this EULA 1 3 By installing the software on your computer you agree to these terms and conditions If you do not approve these terms and conditions you must not install this software 1 4 If you do not approve these terms and conditions please return the complete Product including all written matter packaging and similar material to the dealer from whom it was origin
32. LU Y All Types M_AUTOMAT Factory XPander E _ 88200 Templates A A Selecting a new preset inside the Preset Bank menu In the Preset Bank menu the All Banks option allows you fo navigate directly to any preset type or any preset in any bank This gives you direct access to all of the presets of a given type for example no matter which bank they are in Tarrats intra AM5 F RT E F RT E Factory Matrix 12 i FORTE 1 Factory XPander JUNGLE Me Mult LIMUIDZ Various AN OH W0W M LI Iti 5 a RAMP I E Prog Live SEX SECTION My Presets TIMPANI es singles Projects String TUNNEL Factory User s42 3 Selecting a new preset through the All Banks gt All Types menus ARTURIA Matrix 12 V User s Manual 25 3 USER INTERFACE One more important thing to know When a preset has been modified an asterisk appears next to its name in the tool bar This means you need to save it before selecting another preset or else your changes will be lost 3 2 2 Saving an edited preset To save the changes you ve made and overwrite the current preset click on the Save button in the tool bar It has the icon of a single floppy disk If you want to keep the unedited version of the original program you ll need to give the edited preset a new name So click on the Save as button in the tool bar which looks like two floppy disks on top of each other A pop up window will appear and let
33. NT3 POINT4 POINTS 4 SACI SRC2 SRC3 SRC4 SACS RAMPS TIME 3 3 3 LINEAR RAMP 1 RAMP 2 RAMP 3 RAMP 4 LEGATO RATE RATE RATE RATE Section Name Tool bar Page bar 2 3 Parameter window Nameplate Bottom panel ARTURIA Matrix 12 V Users Manual 20 3 USER INTERFACE 3 1 1 Toolbar Across the top of the main screen of the Matrix 12 V is a narrow strip known as the tool bar This area remains the same no matter which mode you select for Matrix 12 V mm M All Banks All Types Uber_Oberheim e 4 PANIC 29 MIDI This where you ll find most of the basic utility features save or select presets import export files monitor CPU usage etc See sections 3 2 and 3 3 for descriptions of each feature 3 1 2 Page bar Beneath the tool bar is another strip called the Page bar The Main Voices and Program Chain pages are accessed through their respective labels Note that two of these pages Main and Voices have slightly different capabilities depending on the mode of the selected preset The page bar will look a bit different in each mode too but these are the basic items you will always see Also constant to this region are the Master Volume and Fine Tune knobs which are global controls affecting all Voices and modes equally MAIN UBER_OBERHEIM An example of the Page bar in Single mode MULTI AMBROSIUS_1 1G1 MAMA_FROG_BASS_1 An example of the Page bar in Multi mode And of course the nam
34. O 3 LPO LRO LR gt gt AM ENVELOPE L Fi TRAGE RAMIF ENYI ENWZ ENW5 VEDI FREQ VEO PW VEO VOLUME RESET CLOSE RESET The Mod Source list The Mod Destination list Some sources like Envelope have more than one option So do some destinations such as VCO 1 For these you need to be more specific about which source or destination to use so you ll have to click a second item like ENV1 or VCO1 FREQ Once the selection is made the Mod list will close After making your selections use the associated SRC knob at the bottom of the Modulation Page to dial in the modulation level Or if the Mod page is open on the bottom panel you can use the appropriate AMT knob to set the value instead 4 4 1 1 Resetting part of a mod When you re inside one of the lists pictured above you can clear the selection you ve made by clicking the RESET button This will remove that selection from the mod routing and close the list The name of the item you cleared will be replaced by three dashes in the display To reset the modulation amount not the source or destination double click one of the following e the value field on the Modulation Page e the related AMT knob in the bottom panel s Mod field pictured in the next section e the SRC knob immediately below the value on the Modulation Page 4 4 1 2 Clearing a mod If you decide you want to remove the entire modulation route source destination and amount there s a very quick way to do that
35. O LEO ne td Gi et Lau re 46 RS MINS ENOC RSR ee a oi ou 47 E O RP te 48 LIZ DUO Fassa lada A9 AD AMOO DEIA A EE AAA AAA AAA AAA einen AAA 50 ES PIANO ETES RARES AE AS ne OS en E EP a RC en RE 50 5 ANOT MO LE incida 5 ADO ROVER ii 52 AA TS MO QUITO OC Sa ai E A AAA E AA AAA AA A AA 52 BAAN MS Ass ne en soma cactacancart aueccactauascacs apancaasaaeccass sacacaatageeaeteoneesk 53 PASS LA a LOPE a qn E E A E D 59 AG SINdl Mode INe VOICES DOGS EL dde A torse te aile tele T A 56 Aal ON Cartes a de de 57 FO LONC aena e oceans os tne ayanccncinne 58 CRC ci RE RE O a E 59 EEE ELLE 61 Ok AMAS MOGS VS MOMOE ds 61 52 NUITMOde M VO COS DADES NAN olas 62 Dz VV OVC S ai E O 62 iS SE OU SS A o 64 ARTURIA Matrix 12 V User Manual 4 1 INTRODUCTION JAF Salecl Eea a a aa a etais ve Re 65 Jl AIN AS a E D D ere E E E O I A A 66 A AOE a a E E N 67 SO NIB eorn oaa aa a aa at eae a she feud ale eases noe 67 Deo SAMA AN edie a MU Mi ad 67 531 Savino eolica VOICES ITa MU Massana 67 SA IMPOR ADO ana MUI MOG resta 68 539 M lhMode Me Mabe Sn dir end den eine ira 69 Bss 71 Gl BUIdANGINE PTO CFO CNOI sees OE 72 6 2 REMOVING a reset Om nel A oeil 73 a EEA 74 ARTURIA Matrix 12 V User Manual 5 1 INTRODUCTION 1 INTRODUCTION Arturia would like to thank you for purchasing our latest synthesizer model the Matrix 12 V We are confident it will prove to be an extremely valuable addition to your music production studio
36. RIG LEGATO RATI RATE RATE RATI 4 A A o But the following sections should help you familiarize yourself quickly with the layout of Matrix 12 V 4 1 1 1 Parameter groups ARTURIA Matrix 12 V Users Manual 34 3 USER INTERFACE Built into the layout of the Parameter window is a top down User interface that starts with parameter groups which are delineated by thick blue lines such as those for VCO 1 and FILTER shown below FILTER DE TUNE SAM FILTER MODE The VCO and Filter parameter groups In the pictures above the Frequency Detune Pulse Width waveform and Volume parameters are all part of the VCO1 parameter group Likewise the Filter frequency Resonance Mode and both VCA settings are part of the Filter parameter group Here s a list of all the parameter groups in Single mode We ll cover each group and its parameters in section 4 2 However the Modulation Page is a bit different so if gets its own section 4 4 Also keep in mind that many of those parameter groups have additional members that are available when you press the Page 2 button These will be described along with their colleagues in section 4 2 4 1 1 2 Tabs The next level of organization are the tabs inside certain parameter groups For example you can only see one envelope tracking generator and LFO at a time but the tabs beneath the blue bars alert you to the fact that there are more than one of these parameter groups available
37. This duplicates the current config allows you to give if a new name and places if at the bottom of the config list Changes made to this config can be exported to your computer or a memory stick for transter to another computer e Delete Current Config The current config is indicated by a check mark in the bottom portion of the MIDI menu If you select Delete Current Config a confirmation box will open in the middle of the Matrix 12 V main window Either click Cancel to abort the process or click OK to proceed The deleted config will be removed from the list in the MIDI menu but it will still exist in the folder to which it was exported previously If can be imported later if needed e Import Config A config which has been exported can be loaded into Matrix 12 V through this process You can import contigs from another user who has already mapped the controls for a particular MIDI controller for example e Export Current Config Use this feature to export your configs one by one to a folder on your computer or to an external memory device USB stick hard drive etc This can serve two purposes as a backup in case a config is accidentally deleted and as a way to share your configs with other users The lowest section of the MIDI menu contains the list of existing configurations The one with the check mark to the left of its name is the current config To select a new one click on its name 3 3 3 2 Assigning MIDI contr
38. This will increase or decrease the value of the selected parameter while displaying the new values in the virtual display near the control Most Main page parameters display their values constantly but other controls do not Here are two examples k ail Esi GLEAN Master Volume 0 486 The Master Volume parameter being edited A Mod amount being edited A similar action is used to edit a lever click on it and drag the cursor up and down However the response for Lever 1 is different than the response of Lever 2 Lever 1 will retain its new position until it is moved again while Lever 2 will spring back to center the same way a traditional pitch bend wheel would 3 4 1 1 Fine adjustment There are two parameter values for which the controls are able to make both coarse and fine adjustments the Master Volume and the Fine Tune controls both found on the Page bar To take advantage of this drag the cursor while holding the Control key or by holding the right click first and then dragging the cursor 3 4 1 2 Parameter reset To reset a parameter value to its default setting double click on the knob This will set it to the center position immediately this works only on some parameters 3 4 2 Buttons amp switches You may have noticed that Matrix 12 V has lots of buttons They re small but mighty with an impact on the sound that ranges from subtle to severe Parameter window buttons ARTURIA Matrix 12 V User s Manual
39. USER MANUAL Matrix 12 V Version 1 0 Pxrturia ARTURIA Matrix 12 V User Manua 1 INTRODUCTION Project management Pierre Lin Laneyrie Product management Glen Darcey Sebastien Rochard Programming Pierre Lin Laneyrie Toby Carpenter Vincent Travaglini Design Shaun Ellwood Morgan Perrier decoderdesign com Sound design Meli Anthos Frank Greiner Paul Shilling JB Arthus Erik Norlander Luca Torre James Bernard Greg Savage Noritaka Ubukata Boele Gerkes St phane Schott Manual Randy Lee Ist edition October 2014 ARTURIA S A 1999 2014 All rights reserved 30 chemin du Vieux Ch ne 38240 Meylan FRANCE hitp www arturia com ARTURIA Matrix 12 V User Manual 2 1 INTRODUCTION Table of contents Table of Contents FOIS Mandan a de a 2 TOCO COS en 3 A astas 6 TM PENEI de ES A oo E o eer eer E 6 PR e Eo ET 6 MPA Lo re lee RING oo AA e e oe a A 6 als TESMMSIOAICA ANOVA east opio 7 1 2 The Oberheim synth family a genealogy s sesssssssessssresesrrrreeressssesssssrssssttreeressssssssssesesstrreeeeressessssees 10 kal SEM Mele synti thar Could a ec en 10 1 2 2 The polysynths rapid DOWN iii 1 1 2 3 Crowning achievement the Matrix 12 corsa 12 k24 Wher ne OOo a A 13 1 2 5 All good things come to an end TOR a while ica ios 13 1 3 Arturia s secret ingredient TAE cra ii is 13 PSA loc ge Estos a MAA 13 1 3 2 A better reproduction of analog oscillator waveforms 14 Sor DICE Aler Cre
40. WAVE INPUT RETRIG LEGATO HAT RATE RATI HATE iS A e D y The parameter window of the Main page See chapter 4 for a complete description of Single mode and how to make the most of the Main page there pter 5 will provide the details about how the Main page interacts with Multi mode 3 1 3 2 The Voices page As with the Main page the Voices page exists in both Single and Multi modes But what it does in each mode is quite different In Single mode its parameters affect what happens with a single Voice But in Multi mode its parameters can be applied to up to twelve Voices at once each with ts own settings VOICES SPLITTIN IMAGE EA RS OS ZONES mn Ss PLAY ZONE TRANS DETUNE VOLUME PAN INPUT CH MODE LOW HIGH VOICE 1 Zi Hi 53 LEFT CH Ur Dis VOICE 2 2 Ht 63 VOICE 3 Y VOICE 4 4 Ht An example of the Voices page in Single mode VOICES MULTI AMBROSIUS_1 NCS r E RE PLAY GROUP ZONE TRANS DETUNE VOLUME PAN INPUT CH MODE LOW HIGH s 1 COM 71 m m c mi f 1 HIN TP A m 127 VOICE 1 i IAT rKkuu DO de Li Li 3 Peake Ai ia ib ud ic ft rm VOICE 2 e KRIS STRING i Ze 5 53 mii 2 CHE REARSSIS D VOICE 3 3 FUUL SUUROELF KO 2 Hee x LH Uni HIGH g m pa VOICI 4 4 f vu sf HEF A HF ha g An example of the Voices page in Multi mode To access these features select Voices in the Page bar and refer to seci or depending on the mode of the selected preset ARTURIA Mat
41. ach of the 12 voices the ability fo have two mono voices stacked on the right side of the keyboard with the other 10 voices layered and detuned on the left side etc Plus the Voices page houses the VIB parameter group So there are a lot of features to discuss here We ll go through the Multi mode Voices page in section 5 2 So now let s take a look at the Parameter groups on the Voices page and see what they can do in Single mode The first step is to select a preset that s a Single not a Multi If you re not sure then click the word Voices to access the Voices page You should see a page that looks like this VOICES SPLITTIN IMAGE VOICES ZONES PLAY ZONE TRANS DETUNE VOLUME PAN INPUT OH MODE HIGH m m c3 ccT D 3 VOICE 1 Zi He Ler Un Cis VOICE 2 VOICE 3 VOICE 4 A portion of the Voices page in Single mode With the name of the Single preset in the Page bar and also greened out in the display column to the left But if what you see looks like this instead VOICES MULTI AMBROSIUS_1 VOICES ZONES PLAY ZONE TRANS DETUNE VOLUME PAN INPUT CH MODE HIGH m A mim hji INi Pit 127 j Pri AL ET Ww j T lt VOICE 1 FROS_BASS _ zi VOICE 2 ARIS STRIMOLE Ze VOICE 3 3 FOOL _YOURSELF_STRG a ls lg j 7 rm VOICE 4 ROUNDABSUT LL 4 D An example of the Voices page in Multi mode then Matrix 12 V is in Multi mode not Single mode Select one of the Single presets f
42. ally bought within 14 fourteen days after the day of purchase For purchases from the Arturia Online Store please contact Arturia on the internet website www arturia com support askforhelp purchase 1 4 Arturia reserves all rights not expressly granted in the EULA 2 Right of use 2 1 The Product is protected by copyright The Licensee may not lease loan or sub license the software The Licensee is not authorized to modify the software 2 2 Owning any product provided to the Licensee as Standard version grants the Licensee a non exclusive right to use the Product in perpetuity including commercial purposes The Licensee can activate the Product on up to five computers as long as only one installation is used at any given time The Licensee must register the Product to Arturia to get access to client support and to activate his Product An internet connection is required to register and activate the Product either on the computer on which the Product is installed either on another device able to exchange files with the computer on which the Product is installed Owning a license of the Products entitles the Licensee to get access to the future updates of this Product 2 3 Any Products provided to you as NFR Not For Resale version grants the Licensee a non exclusive right to use the Product for a limited period of time The Product shall only be used for demonstration testing and evaluation purposes NFR Products must not be
43. and later modifications of the 2600 allowed duophonic performance on these synths i e two notes could be played at once ARTURIA Matrix 12 V User Manual 7 1 INTRODUCTION After this a voice race began with two then four then five or six and eventually eight voices becoming the standard for commercially available analog synthesizers But the roots of this modern reality trace back to the early days of Oberheim Electronics 1 1 3 2 Sequencers About 1975 Oberheim introduced the DS 2a a monophonic sequencer with a 144 note memory Well it seemed like a lot at the time The beauty of this device was that it allowed users to enter notes from a keyboard in real or step time as opposed to dialing them in with a knob Memory was shared by up to three sequences which could be played back individually or chained and played back one after the other Unfortunately there was no way to preserve the sequences for later use all memory would be lost when the unit was powered down The Oberheim DS 2a circa 1975 Another limitation with the DS 2a is that it would hijack the synth to which if was attached rendering if unplayable by the user during playback But this limitation led Oberheim to develop his Synthesizer Expansion Module the beloved Oberheim SEM And again the DS 2a paved the way for sequencers with more memory and polyphonic capabilities including the Oberheim DSX and products from other manufacturers 1 1 3 3
44. ar to what the Lag processors can do process an incoming signal and reshape it according to the Track settings One way to visualize their function is to think of them like an FX insert when configured correctly they will exist between the source and destination of a mod routing Let s say you have set up a simple mod route with LFO 1 as the source and VCO 1 Frequency as the destination Now instead of this direct connection choose LFO 1 as the Track 1 input and change the mod source from LFO 1 to Track 1 Now the LFO will pass through the Tracking generator on its way to VCO 1 Frequency The Track points are evenly spaced so in the case of an LFO Point 1 affects the initial stage of the LFO Point 2 affects the value at 4 of the way through the LFO cycle Point 3 affects the value at the halfway point and so on until Point 5 which affects the final stage of the LFO cycle Then the process begins again You can shape some interesting peaks and valleys in the modulation routing even with a simple triangle wave as the Track input source The input can be any one of the 27 modulation sources and the Point values are from 0 63 Negative modulation directions are achieved through the Modulation Page 4 2 8 LFOs LFO is the easy way to say Low Frequency Oscillator Matrix 12 V has five of them available per Voice which can make for some very interesting modulation routings Each LFO has seven waveform choices that range from rounded
45. are the only two FX modules with a Sync button Mode Single means Stage 1 is on the left side and Stage 2 is on the right With Dual both stages process both sides the Phaser output is mono Mix Alters wet dry mix The phase shifter was one of the most popular effects used with electric instruments in the 1970s It works by splitting the incoming signal changing the phase of one side and recombining it with the unaffected signal This creates a notch comb filter which can be swept through the frequency spectrum causing the signature whooshing sound of the phase shifter The sweep is caused when the phase of the affected half is modulated by an oscillator with the frequency determined by the Rate control The Depth knob sets the amplitude for the action of the filtering while Feedback amplifies certain harmonics ARTURIA Matrix 12 V User s Manual 49 4 SINGLE MODE 4 3 3 Analog Delay O ANALOG DELAY DELAY TIME Delay Sets the delay time The delay is mono for authenticity FB Tone Changes feedback filtering FB Amount Adjusts Feedback LFO Depth Sets the amount of delay time modulation which follows a sine wave LFO rate Controls the modulation rate Mix Alters wet dry mix This analog style delay reproduces the sound of the old solid state units that used analog bucket brigade circuits The Delay knob allows you to select a time between 4 5ms and 1000ms The Feedback Amount knob sets the feedback level
46. assured the Matrix 12 V filters provide just about anything you could want from an analog filter Turning the knob changes the location of the corner point s of the filter revealing and or hiding frequencies in the audio range depending on the selected filter model 4 2 3 2 Filter Resonance Res To emphasize the corner point s at which the audio signal is being filtered raise the resonance level The higher it goes the more obvious a filter sweep becomes to the point of whistling as certain frequencies are emphasized by the more powerful filter modes Self oscillation is possible when the resonance is at maximum so be careful not to destroy any audio components like your ears 4 2 3 3 Filter Mode Sometimes it helps to have a visualization of something that affects the audio realm The following graphic actually opens up as a window inside Matrix 12 V when you click in the Filter Mode value field It shows all 15 of the Matrix 12 V filter modes ARTURIA Matrix 12 V User s Manual 42 4 SINGLE MODE DS FILTER MODE BE LOW PASS TF LOW PASS ZP LOW PASS SF LOW PASS dF PFP NOTCH gt im A 4 MGH PAS TP MGH PATS 2 HIGH PRES qe BAND PASS 2P E OF Tiere A 541104 MG i LL E SPHASE 1 LOW CLOSE The Matrix 12 V Filter mode selection window with Band Pass 4P selected The graphic helps illustrate the concept that a 2 pole filter is steeper than a 1 pole filter of the same type and a 3 pole filter is steeper than
47. e of the current preset is always in the middle of the Page bar lf you see an asterisk after the name it means the preset has been edited In this case be sure to save your changes before selecting a new preset see section 3 2 2 Single mode parameters are covered in chapter 4 For Multi mode see chapter 5 And for Program Chain mode see chapter 6 3 1 3 Parameter window The center section in each mode is called the Parameter window It has a very different appearance depending on the page and mode you have selected 3 1 3 1 The Main page Chances are high that you ll soend a majority of your Matrix 12 V time on the Main page both in Single and Multi modes The other pages are very useful and have lots of great features but the Main page is at the center of it all ARTURIA Matrix 12 V User s Manual 21 3 USER INTERFACE NO SS FILTER eo A SSS SS l 1 f 7 i 0 puse 53 es a Lr GA ev ewvs ENV4 ENV5 N H 5 DETUNE FILTER MODE qu L myn 4 is gt MODULATION PAGE 3 RE nue Di __TRACK1 TRACK2 TRACKS r pa 7E bme mu VIBRATO 14 12 2 4g 56 t i D st SYNC H DETUNE y j INPUT POINT 1 POINT2 POINTS POINT 4 POINTS i b b A SAC1 SRC2 SRC3 SACA SRC5 SRC6 A 2 LFO S i EE 0 ooa LFO3 LFO4 LFOS ose ve wt KEYBOD O TIM 3 x 3 3 14 SAMPLE VEL D el LINEAR l RE INPUT RAMP 1 RAMP 2 RAMP 3 RAMP 4 i
48. e to the non linear behavior inherent to their analog circuitry Anomalies such as these add to the richness and warmth of the sound produced by the filter But you ll notice there are two lines on the graph Those are the superimposed frequency domain plots for both one of Arturia s virtual instruments and the hardware filter being emulated They are practically indistinguishable both on the graph and to the human ear The direct recreation of this analog circuitry causes the same characteristics of the sound to be present thus giving the user a truly analog sound EH IH EH 26H SSH 5007H BSH TOMA GWSH SIGH ESS TEH GH GET WIRE Comparison of harmonics generated by the filter circuits in self oscillation of TAE and a hardware synthesizer So here s the bottom line when you bring together a bunch of music lovers who also have a deep understanding of the characteristics of electronic circuits you wind up with Arturia And Arturia now offers you our most impressive software model yet the Matrix 12 V We take great satisfaction in knowing this great synthesizer will helo you explore previously unknown musical territory ARTURIA Matrix 12 V User Manual 16 1 INTRODUCTION 2 ACTIVATION 2 FIRST START Matrix 12 V works on computers equipped with Windows 7 or 8 and Mac OS X 10 7 or later You can use the stand alone version or use Matrix 12 V as an Audio Units AAX VST2 or VST3 instrument Nea 9 Audio Units 2 1 Register
49. es or sound effects 6 Data Protection Arturia attaches great importance to compliance with legislation on data protection The User data collected are used exclusively for performing its contractual obligations No data is passed on to third parties Further information can be obtained from our Privacy Policy at www arturia com privacy 7 Limited Warranty Arturia warrants that the physical media on which the software is provided is free from defects in materials and workmanship under normal use for a period of thirty 30 days from the date of purchase The Licensee s invoice shall be evidence of the date of purchase Any implied warranties on the software are limited to thirty 30 days from the date of purchase Some states do not allow limitations on duration of an implied warranty so the above limitation may not apply to the Licensee in this case All programs and accompanying materials are provided as is 8 No Liability for Consequential Damages Neither Arturia nor anyone else involved in the creation production or delivery of this Product shall be liable for any direct indirect consequential or incidental damages arising out of the use of or inability to use this Product including without limitation damages for loss of business profits business interruption loss of business information and the like even if Arturia was previously advised of the possibility of such damages Some states do not allow limitations on t
50. es page in Single mode In Multi mode the Voices page has several more options so it should be easy to tell in that case But eventually you ll know at a glance that Matrix 12 V is in Multi mode even when you re on the Main page The only difference is in the Page bar MULTI AMBROSIUS_1 1G1 MAMA_FROG_BASS_1 The Main page view of the Page bar in Multi mode ARTURIA Matrix 12 V Users Manual 61 5 MULTI MODE Note the word MULTI and the name of a Multi in the middle of the Page bar plus the term G1 and the name of a Single preset surrounded by blue arrows We ll describe those things later but those factors indicate that Matrix 12 V is in Multi mode But in Single mode the Page bar only has the name of a Single preset in the midale like so MAIN UBER_OBERHEIM The Main page view of the Page bar in Single mode All other parameters on the Main page are the same in either mode so if is always possible to switch to the Main page and edit the parameters of a Voice And since the focus of Multi mode is the Voices page that s where we ll begin 5 2 Multi mode the Voices page When you load a Multi preset if will default to the Voices page The Zones and VIB sections are identical to the ones you see on the Voices page in Single mode the only noticeable difference on the Voices page in Multi mode are on the left side of the window VOICES PLAY ZONE TRANS DETUNE VOLUME PAN Lie 74 Pm a VOICE 1 rm Sun mo
51. f the Lag generator Note when the Lag section s Legato setting is off you may hear the filter sweep in a jagged stair step manner But if that sounds interesting try it Pitch bend If you want Lever 1 to sweep the Filter frequency enable this switch Vibrato Likewise switch on this parameter to allow Lever 2 to sweep the Filter frequency Though these are basic on off controls you can see that their settings can have a significant impact on the overall sound and responsiveness of a Voice 4 2 3 5 VCAs ARTURIA Matrix 12 V User s Manual 43 4 SINGLE MODE As with the VCOs VCA 1 and VCA 2 are basically identical so we ll cover them both in this section The main difference between them is that they are wired in series in other words VCA 1 comes first in the signal path and VCA 2 comes last The VCAs are the final stage in getting the signal out of Matrix 12 V and into the world a journey that began with the VCOs traveled through the VCF and now needs to be allowed to pass through these two parameters Assuming no mods are active if both VCAs are set to zero then no sound will be heard But simply raising their levels isn t always a good idea when the output is wide open and not being shaped in some way if means any note that has been played will come on and stay on So the thing to do when starting out is to set VCA 1 to a value higher than 0 63 is max and use at least one mod routing to control the VCA 2 level
52. fferent output levels for the voices which could be handy when layering transposed voices so you can get the balance just right Pan Choose one of seven stereo positions per voice to give the Voice a bit of motion This could be extra cool with percussion or a sound effect Click the field and a window will open to display the options mie Wp Left Lf1 Y Mid Rtl Rt2 Right The per voice pan positions ARTURIA Matrix 12 V Users Manual 57 4 SINGLE MODE 4 6 2 Zones ZONES INPUT CH MODE HIGH ele EM 1 ODnTOTC Liens Awirte The Zones parameter group in Single mode The first thing to notice are the Zone numbers in the left most column 1 6 indicating which Zone will be edited by the parameters to the right The per voice Zone assignments themselves are handled in the Voices parameter group over to the left see section 4 6 1 Here s what s possible with the Zone parameter group Input Ch Assign the Zone to MIDI Channel 1 16 or Omni Mode Determines how voices will be triggered The first three modes are polyphonic Rotate Reassign Reset and the last three are monophonic Uni Low Uni High Uni Last Click the field and a window will open with the choices A check mark indicates the current mode MODE OnToOomrE RATE Rotate Reassign Reset Uni Low Uni High Uni Last Note assignment modes Below is a description of how each mode behaves Rotate Each new note will play the voices assi
53. figure heavily into what a Voice can do so the buttons to select them are conveniently located They are pictured above in section 4 1 1 3 4 1 3 The bottom panel Selecting the various buttons in the nameplate reveals different features of the Main page These buttons are not available on the other pages only the virtual keyboard will be seen there 4 1 3 1 Virtual keyboard The virtual keyboard lets you play a sound without connecting an external MIDI device just click a key to hear the active Voice Drag the cursor across the keys to hear a glissando odiados The Matrix 12 V virtual keyboard and Levers Note also the Levers to the left of the virtual keys Lever 1 is available as a modulation source while spring loaded Lever 2 is usually dedicated to pitch bend purposes Either can be routed to other destinations on the Modulation Page though 4 1 3 2 FX ARTURIA Matrix 12 V User s Manual 36 4 SINGLE MODE When the FX button is pressed the bottom panel will reveal the two FX modules associated with the current preset if any ANALOG CHORUS O PUTNE ol amr 7 DELAY OOOO TO TIME If none are present it s a simple thing to add them Section 4 2 will walk you through the process Keep in mind that these are master effects only two are available at one time in any of the modes This means that all the Voices in a Multi will share two FX modules not twenty four 4 1 3 3 Mod This is the very heart of the
54. gned to that Zone one after the other and then they ll loop 1 2 3 1 2 3 etc Reassign Checks each new note to see if any voice in that Zone is already playing if If so the note will be retriggered using the same voice If not it ll grab the next higher voice if it s available ARTURIA Matrix 12 V Users Manual 58 4 SINGLE MODE Reset Plays the voices assigned to the Zone in numerical order always starting with the first voice If consecutive staccato notes are played it ll use the first voice each time if two legato notes are played it will use the first voice then the second and so on But when either of those notes ends it ll start over with the lowest numbered available voice Uni Low The voice s will be triggered by the lowest note played in the Zone If the note is held and a higher note is played the voice s will stay on the current note if a lower note is played the voice s will change to that note Also known as low note priority Uni High The voice s will be triggered by the highest note played in the Zone If the note is held and a lower note is played the voice s will stay on the current note if a higher note is played the voice s will change to that note Also known as high note priority Uni Last A combination of high and low note priority The voice s will be triggered by the last note played in the Zone whether it is above or below the previous note V steal Voice stealing helps maxim
55. he length of an implied warranty or the exclusion or limitation of incidental or consequential damages so the above limitation or exclusions may not apply to the Licensee in this case This warranty gives the Licensee specific legal rights and the Licensee may also have other rights which vary from state to state ARTURIA Matrix 12 V Users Manual 76 7 END USER LICENSE AGREEMENT
56. he value field and select one that way Rate Sets the rate of the Lag effect The mod button allows a source to vary the Lag rate Time Only functions when Linear response is selected It works like this Equal time is selected with keyboard as the inout When middle C is played and then the C one octave up is played let s say the time if takes the pitch to reach the upper is 1 second If you then played two notes 5 octaves apart the glide time from one fo the other would also be 1 second even though the distance is bigger Linear Choose the lag curve here when this is lit the response is Linear when unlit the response follows an Exponential curve Legato Legato provides a smooth gradual response When deselected the result is a stepped response In terms of pitch the result would be a chromatic scale between two notes not a pitch bend ARTURIA Matrix 12 V Users Manual 44 4 SINGLE MODE Again you are free to insert the Lag generator between any mod source and any mod destination 4 2 5 Ramps What a ramp generator does is provide a simple mod source that can be routed positively or negatively to affect a mod destination such as VCO Frequency or the rate of an LFO The source rises from 0 to maximum in a linear fashion then remains at its maximal value There are four independent Ramp sources each with its own rate control and Page 2 settings You can specify whether the Ramp will rise only once after it
57. ile a few significant hardware features were not included But at an original retail price of almost 5 000 no doubt some shortcuts were necessary to keep this marvelous synth within the reach of more musicians So on the downside the Matrix 12 lost the individual CV gate and output jacks per voice the latter being available as an upgrade But on the plus side the Matrix 12 gained some extra MIDI functionality and a per voice detune parameter in the Multi Voice setup section which you will be very glad to know we included in Matrix 12 V The Oberheim Matrix 12 To maintain basic patch compatibility with the Xpander each of the Matrix 12 s dual oscillator voices boasted the same 15 mode voltage controlled filter VCF five envelopes and five low frequency oscillators LFOs as well as a Lag processor for portamento etc three tracking ARTURIA Matrix 12 V User Manual 12 1 INTRODUCTION generators and four ramp generators i e modulation delays which added up to a lot of programming options On top of that the Matrix Modulation section allowed almost any imaginable sort of control over the final sound from small refinements to radical routings that could completely disfigure the sound if desired mods could be modulating the sources of other mods etc And as usual with Arturia our Matrix 12 V offers you all of the original features and many many more 1 2 4 Where the sound is found The list of albums made using the
58. int downward making the connection to VCF You can trace the connection to the Filter section by following those little blue lines in the Parameter window as we did with the connection to VCO 1 ARTURIA Matrix 12 V Users Manual 41 4 SINGLE MODE In a nutshell Filter FM in Matrix 12 V uses the VCO 2 Triangle waveform to turn the filter into an oscillator This effect is best heard with a high Filter Resonance value and you may want to try different filter types and filter frequencies to get a feel for what is happening You may enjoy hearing the direct output of VCO 2 at the same time but for now leave it set to zero There s a particular grunge caused by Filter FM that you ll want to hear clearly And of course your friendly neighborhood Modulation Page stands ready to control the VCO 2 frequency in any number of ways 4 2 3 Filter This parameter group contains one of the most distinctive features of the Matrix 12 V sound Rather than merely offering the requisite Low Pass High Pass Band Pass filters in 2 or 4 pole options it offers some very unusual filter types as well There are 15 filter modes in total As sound sculpting tools the filter parameters rival the oscillators for flexibility Take a look at the parameters 4 2 3 1 Filter Frequency Freq This is probably the first knob anyone tries on any synth How do the filters sound The amount and type of change you hear depends on a number of factors but rest
59. ion 4 3 MOD The Mod lists i e lists of modulation routings This is explained in section 4 4 1 PAGE2 The Page 2 parameters These are not often changed when programming a sound but their functions are important The various choices are covered along with their respective parameter groups in section 4 2 3 2 The tool bar Managing presets ARTURIA Matrix 12 V Users Manual 23 3 USER INTERFACE Presets can remember the settings for any Single or Multi you create with Matrix 12 V When saving a preset you have the opportunity to designate the bank and type to which it belongs so make as many banks as you need and fill each one with as many types and presets as you like The type designation can help you categorize your presets into groups such as Leads Pads etc There s no limit on the number of presets within a type so use these features in the way that works for you Matrix 12 V ships with several banks of factory presets each containing a number of types and presets These cannot be overwritten but they are great starting points for creating new presets Then you can use the SAVE AS feature to save the changes as your own presets 3 2 1 Selecta bank type or preset The bank type and preset selections are permanently displayed in the tool bar LA Vici Min Factory Matrix12 Multi M_WARRIOR To choose a new preset in the current Bank and Type click on the Preset Name field A drop dow
60. is triggered by the keyboard and then wait for another trigger or be triggered repeatedly by an LFO Suggested experiment Try routing these to the rate or amplitude of an LFO with the LFO routed to the VCOs This is tons of fun and at one extreme can provide a beautiful subtle shift in vibrato the other extreme will set new standards for aural insanity You ll only see the Rate parameter for each Ramp until you click the Page 2 button Use the Tabs to select between Ramps 1 4 on Page 2 Trigger Selects single or multiple trigger response LFO Trigger Allows a Ramp to be triggered by a specific LFO When clicked it reveals the other parameters Gated Instructs the Ramp to be triggered by an LFO only when a key is being pressed LFO select Offers a choice of Ramp triggers LFO 1 5 or VIB The VIB parameters are found on the Voices Page and will be defined in section 4 6 3 4 2 6 Envelopes Env If it weren t for envelopes it would be very difficult fo achieve any subtlety when programming every sound would simply turn on and off There s a way to do that too when needed that s what a Gate does Every sound in the universe has an envelope Some are more complex than others but most have at least four of the five stages offered by each of the five Matrix 12 V envelopes Delay Specifies the time that will elapse before the envelope begins Attack Controls the rapidity of the onset of the envelope once it starts instant lazy sl
61. ize the voice allocation within a Zone For example if five voices have been assigned to a Zone and all five notes are playing what happens if a sixth note is played Ordinarily nothing the sixth note is ignored But with V steal enabled the first note that was played is stolen and made available to the sixth note So on the plus side V steal means every note played within the Zone will be heard However the downside is that if the Voice has a long release time then after a note is released it is at risk of being cut off abrupily if a new note arrives Low Click and drag the value to set the lower MIDI note range for the Zone High Click and drag the value to set the higher MIDI note range for the Zone 4 6 3 Vibrato VIB The VIB section provides a modulation source that is sort of like having an LFO 6 However if doesn t have as many options available as LFOs 1 5 Here are the LFO features that are missing from VIB e One less waveform Sample amp Hold is not available e No Retrig setting the VIB waveform always starts from the beginning when triggered e Single trigger only no Multiple trigger setting or freerun Capability e No Mod buttons VIB parameters are not available as destinations on the Modulation Page Now let s focus on the positive Here s what the VIB section does provide Speed A rate control with a range of 0 to 63 click and drag to edit the value A simple mod routing Is provided
62. l being edited will turn red ARTURIA Matrix 12 V User s Manual 29 3 USER INTERFACE A controller assignment can be removed by clicking the UNASSIGN button The word UNASSIGNED will fhen be shown in the MIDI Control Setup window for that control Here s another example Looking closely you ll see a black rectangle around the knob being edited lt has been assigned to a MIDI CC and will respond to those messages when received MIDI Control Setup Learning Voicel Filter Mode MIN MAX ASSIGNED TO CC 18 Ch 1 Is Relative VNASSIGN FILTER MODE A black rectangle outlines the edited knob Note the inverted Min Max values in the MCS window Once you have finished linking the controls to your controller you have completed making a new config Be sure to use the Export function described in section 3 3 3 1 to back if up To close the MIDI Control Setup window and exit Assign mode click the MIDI button again 3 3 3 3 Minimum maximum controller ranges Values for minimum and maximum operational range can be set for each assignable control After this the control will still receive the full range of its assigned MIDI CC but will scale its response so these values are spread out within the min max range of the control In other words if the Min value is set to 50 and the Max value is set to 100 e MIDI CC value of 0 will result in a value of 50 for the selected Matrix 12 V parameter e MIDI CC value of 127
63. l take you back to Single mode ARTURIA Matrix 12 V Users Manual 33 3 USER INTERFACE To learn what each page does in each mode see their respective chapters Single mode Is in chapter 4 and Multi mode is in chapter 5 4 SINGLE MODE Single mode is where it all begins and it s really important to understand the available features So now we re going to take a look at each parameter group and how they interact with one another 4 1 Front Panel Functions At first glance Matrix 12 V seems deceptively simple compared to modular synthesizers There are no patch cables for one thing However beneath the straightforward front panel over 1 000 parameters are available for sculpting the sound and behavior of this marvelous instrument 4 1 1 Parameter organization When you first move to a new city its buildings streets lights and signs present themselves all at once which can seem bewildering But eventually the sights will become organized in your mind often with the aid of a map And at first Matrix 12 V may resemble an aerial view of a small city at night FILTER m o par re reves ENV3 ENV4 ENV5 W arr DETUNE SAR FILTER MODE MODULATION PAGE TRACK sa eee TRACK1 TRACK2 NECTIMOQT DOT j y 30 gg JIBRATO iS ic co 30 DETUNE INPUT POINT 1 POINT 2 POINTS POINT 4 POINTS SRC2 SACS SACA SRC6 RAMPS LFO3 LFO4 TIME 3 3 3 3 y SAMPLE VEL LINEAR INPUT RAMP 1 RAMP 2 RAMP3 RAMPA INPUT RET
64. lick the words SELECT EFFECT ARTURIA Matrix 12 V Users Manual 47 4 SINGLE MODE O SELECT EFFECT None Delay Phaser Analog Delay Flanger Analog Chorus Reverb Make a selection and its FX module will appear in the bottom panel either on the left half or the right depending on which one you chose We ll take each of the Effect menu choices one at a time starting from the top The first one is labeled None Selecting this option will close the current FX module and the Effect menu removing that FX device from the signal path But None isn t the option to use when you want to hear the sound without the FX unit temporarily You ll notice every FX device also has a bypass button in its upper left hand corner which is the quickest way to remove the FX module from the mix There is also a Wet Dry slider which controls the percentage of the original signal that passes through to the output Moving this all the way to Dry will remove that effect from the output One more thing All FX parameters are MIDI assignable which means they learn the controllers on your external USB MIDI device For information about this process refer to the section on configs What follows is a description of each available FX device 4 3 1 Delay DELAY aly lus y lt 2 mn i tlir 5 sync LINK TIME FEEDBACK sue PINGPONG DAME ING sitir gt J frrr rrrabar rara l O ps lt Sync
65. light when activated When a parameter is on its name will be Underlined in the display if if is not underlined the parameter is off VCO 1 SEYBORRD ENV2 ENV3 ENV4 ENV5 LFO2 LFO3 LFO4 LFOS DROR ior TRIG ANANN EINGI E DRC LAG RETRIG MODE SINGLE VCO 2 KE YBORRO LAG TCHBEND VIBRATO MULT LFOTRIG RAMP FILTER RAMP2 RAMP3 KEYBOARD LAG TCHBEND VIBRATO ADVANCED PARAMETERS The Page 2 window in the bottom panel As with the Parameter window blue bars identify parameter groups and tabs are used to access parameter sets such as LFO 1 5 and Ramp 1 4 None of the Page 2 parameters are available as destinations in the Modulation Page so they do not have additional buttons beneath their names ARTURIA Matrix 12 V Users Manual 55 4 SINGLE MODE All Page 2 parameters are MIDI assignable though see section 3 3 3 if that s what you d like to do Page 2 will remain in the bottom panel until one of the other nameplate buttons is selected KBD FX or MOD or until one of the other pages is selected Voices or Program Chain 4 6 Single mode the Voices page Note the differences between the terms Voice and voice are described in section 3 5 The Voices page has fewer features in Single mode than if does in Multi mode which is to be expected since you can only work with one Voice at a time But if still is capable of enhancing that Voice quite a bit Options include independent panning and transposition for e
66. lti mode The process of exporting and importing banks or presets is fairly straightforward click the appropriate button and then either 1 navigate to the folder where the items are or 2 create a folder where they will be We went over the basics of this process in section 3 2 3 But what bears special mention is what happens when you export a Multi preset by itself As we mentioned in the previous section each Multi is dependent on its associated Voice presets in order to sound and function as it did when you saved if The same is true when a Multi is exported especially since the idea is fo import if into the computer of another Matrix 12 V user So we set things up so when you export a single Multi what actually happens is that a new bank is created not just a Multi the new bank contains the exported Multi and all of its internal Voices This self contained matrix file can then be transported to another computer with full assurance that it will present itself to the other user exactly as you created if If you are on the other side of this transaction and want to know how to import a Multi someone sent you here s how to do it e Place the matrix file you were given in a folder on your computer e In Matrix 12 V click the Import button e Navigate to the folder where the matrix file has been placed e Click OK and the new bank and presets will appear in your preset lists For example here s how that looked when we did it Pic
67. mething out of an American Western film came a wave of white faced synthesizers by the name of Oberheim In addition to their unique appearance they offered a different set of features and a fresh sound that ranged from creamy to brash Bands around the world began appearing onstage and in the studio with these instruments and many a memorable song and solo were built around them But we re getting ahead of ourselves A lot of brainstorming and hard work had to happen before musicians were able to get their hands on a polyphonic Oberheim synthesizer like the Matrix 12 Here s a bit of the background 1 1 2 Lord of the Ring Modulators The mid 1960s were a time when all musical boundaries began to be challenged Unusual applications for electronic circuitry were at the heart of that as artists looked for That Sound the one that would set them apart from the crowd lt was then Tom Oberheim first made a name for himself through his version of an electronic device called a ring modulator These somewhat simple circuits had been used in radio receivers ARTURIA Matrix 12 V User Manual 6 1 INTRODUCTION for a long time but when applied to a signal in the audio range the results were often other worldly Case in point if you have watched enough of the popular BBC show Doctor Who you probably know about his nemeses the Daleks Their ominous alien drill sergeant voices owe much to the ring modulator Exterminate Exterminate And many
68. n in Los Angeles in May 1974 The SEM was also a great way to expand the sound of Bob Moog s monosynths or an ARP Odyssey by using their Control Voltage CV and Gate connectors to trigger the SEM Pictured below Is Arturia s SEM V our reverently rendered DSP model of the SEM ARTURIA Matrix 12 V User Manual 10 1 INTRODUCTION SYNTHESIZER EXPANDER MODULE CO 1 VCO 2 V VCF FREQUENCY FREQUENCY FREQUENCY RESONANCE 0 0 MODULATION MODULATION NOTCH eo L SYNC MODULATION K FREQ Pw FREQ ENVI LFOT LFO2 ENV2 LFO1 LFO2 pa LFOI LFO2 PULSE WIDTH PULSE WIDTH e VCO 4 10 90 M ENV2 ATTACK e SUSTAIN ENV 1 ATTACK DECAY SUSTAIN 2 o Pe oi ELECTRONICS INC el The center panel of Arturia s SEM V modeling software Patch cables had been replaced by internal connections giving the unit a clean and simple appearance But on close inspection you will see there is a lot of power behind that pretty face Among other things people began to take notice of the SEM because of its innovative filter section lt had lowpass highpass and bandpass filters like the Big Boys but there was something new a continuously variable filter control with lowpass on one side highpass on the other and a notch filter at the 12 00 setting This became known as a multi mode filter and
69. n menu will appear with a list of the available presets in that group Or if you know which preset you want inside that group and don t need to look at the list simply use the Previous Next arrows to cycle through the choices Either way as soon as the preset has been chosen the new sound will be available for your MIDI controller or your sequencer 2PSTRING AMS II AIR REZZ Y AMS II AMS II Selecting a new preset To choose a different type of preset in the same bank click on the Preset Type button the middle one of the three A drop down menu will appear with a list of the types of presets contained in the same bank Brass Basses efc Each type listed in the menu contains a sub menu with its own list of preset names Follow the arrows to choose the desired preset from within these sub menus ARTURIA Matrix 12 V User s Manual 24 3 USER INTERFACE All Typr Pr All Types Briefcase brass Factory Full_brass_1 Lead Multi Full brass 3 Multis Toccata_intro Selecting a new preset inside the Preset Type menu To choose a preset in another bank click on the Preset Bank button the left most of the three A drop down menu will appear with a list of the available banks within which sub menus exist for the preset type and preset name Navigate to the preset name level to choose a new preset l M_5TH TOTO k5 All Tynes Toccata _ intro 4 p M STHERASS All Banks ioe M_AARON 9 Factory TOCCATA_INTRO M_AMBROSIA E
70. ne of the paths for the output of VCO 2 thanks to a hardwired connection it has to the FM input To hear this effect most clearly set the VCO 2 VOL parameter to zero B iJ DETUNE INPUT VCO 2 being fed into the FM input ARTURIA Matrix 12 V User s Manual 40 4 SINGLE MODE As you trace the blue line past the red arrow and through the FM AMP box note the connection from FM DEST to OSC 1 in the second blue box This establishes the connection to VCO 1 courtesy of the FM DEST switch which we ll describe later There s a problem though the input Amp amount is set fo 0 So you won t hear an effect on the sound unless one of its active mod routings is pushing the FM input level in a positive direction Here s a larger picture that traces the path of the FM signal to VCO 1 after raising the Amp amount DE TUNE DETUNE FM output being fed into VCO 1 That ladies and gentlemen is how Oscillator FM works The frequency of VCO 2 affects the VCO 1 waveform in ways that are impossible with normal additive synthesis or even Oscillator sync And Using a mod routing to change the VCO 2 frequency with an envelope for example will cause the harmonic content of VCO 1 to change over time in ways an analog filter would not be able to produce either Filter FM A similar path exists between the FM output and the Filter section Simply press the FM DEST toggle button at the bottom of the FM parameter group and the blue line will po
71. ols Almost every control in Matrix 12 V is available for external MIDI control levers buttons knobs and the controls for each FX parameter In addition to the obvious things like sweeping the filter frequency with a certain knob you can assign a MIDI controller to handle the job of switching ARTURIA Matrix 12 V Users Manual 28 3 USER INTERFACE between the FX modules for example or even changing the modulation sources and destinations in the Modulation Page Of particular interest is the ability to link external controls to the six knobs in the Modulation Page As you probably know what these knobs do depends on which modulation target is in focus 1 e which one has been selected with its mod button So if you were to dedicate six faders on your MIDI controller to these knobs then you would have the ability to edit the modulation amounts of whichever mod routings are visible in the Modulation Page display If you re ready to try some assignments click the MIDI button in the tool bar not the pull down arrow to its right the button itself The highlighted letters of the MIDI button mean the Matrix 12 V software has entered assign mode At this point all MIDI assignable controls will be highlighted in purple Matrix 12 V has a lot of these Matrix 12 V m M All Banks All Types Megadrone_1 NA AT L PANIC 29 MIDI V gt X MAIN MEGADRONE_1 RE _______LO Tr Tae Al a Put SE a FF LPF
72. ow etc Decay Once the envelope reaches its peak this tells tt how quickly to fall to the Sustain level Sustain The envelope will remain at this plateau until the note is released Amp The overall depth of the envelope The Page 2 button provides some very important parameters which define the basic characteristics of each envelope Reset Reset will cause the envelope to start again each time a new trigger event occurs ARTURIA Matrix 12 V Users Manual 45 4 SINGLE MODE Freerun Forces the envelope through all of its stages when triggered regardless of whether the source gate has closed for example even after the key has been released DADR Further simplifies the envelope by removing the Sustain stage Trigger Selects single or multiple trigger response LFO Trigger Allows an Env to be triggered by a specific LFO When clicked it reveals the other parameters Gated Instructs the Env to be triggered by an LFO only when a key is being pressed In this case once the Release stage begins the LFO input will cease which is a cool option LFO select Offers a choice of Env triggers LFO 1 5 or VIB Remember the Tabs allow you to make a selection between Envelopes 1 5 and the mod buttons will bring their parameters into focus in the Modulation Page for the creation of mod routes We ll cover the VIB function in section 4 6 3 4 2 7 Tracking Generators Track There are three Track parameter groups per Voice and what they do is simil
73. peed of the stereo effect Chorus Rate Adjusts the speed of the chorus Amount Controls the depth of the chorus Delay Sets the amount of delay applied to the input signal Wet Dry Changes the balance between the input signal and processed signal A chorus module recreates the sound of multiple takes of an instrument being combined in a mix Even with the best of performances there are always differences in tuning or timing and when taken to either extreme the results can range from slow and lush to a wobbling quick vibrato The speed of the effect is set by the Chorus Rate knob while its depth and width are controlled by the Amount and Delay knobs respectively The resulting frequency blur is different for the left and right halves of the signal which allows us to derive a stereo signal from a mono signal The difference between the two halves then can be set with the Stereo width with the speed of the left right rotation under the control of the Stereo rate knob The Wet Dry control sets the ratio between the input signal and the treated signal while the Type switch selects between three different chorus models simple medium and complex ARTURIA Matrix 12 V Users Manual 51 4 SINGLE MODE 4 3 6 Reverb FEEDBACK TIME HF DAMPING DIFFUSION BRIGHTNESS DECAY TIME PRE DELAY Gain Sets the input level of the signal going into the Reverb HF Damping Rolls off high frequencies gradually in the reverb Brightne
74. power of Matrix 12 V Here you can route any one of 27 sources to any one of 47 destinations and do it 40 times over The refinements and spur of the moment decisions the Modulation Page puts at your disposal are listed here in the bottom panel almost spreadsheet style when the Mod button is clicked As powerful as this section is if is quite easy to use To learn more see section 4 4 4 1 3 4 Page 2 The Page 2 button reveals a second page of Voice parameters These actually play a support role to their respective parameter groups VCOIT Filter etc VCO 1 KEYBOARD ENV2 ENV3 ENV4 ENV5 LFO2 LFO3 LFO4 LFOS DADR i gg RETRIG MODE SINGLE L LRG Rio AU SINGLE VCO 2 KEYBORRO LAG TCHBEND VIBRATO MULT LFOTRIG RAMP FILTER RAMP2 RAMP3 RAMPS SESBORRD LAG TCHBEND VIBRATO ADVANCED PARAMETERS There are tabs here too meaning the envelope modes can be set differently for each of the five envelopes in the Voice for example See the appropriate parameter group in section 4 2 for a description of each Page 2 parameter 4 2 Parameter groups ARTURIA Matrix 12 V User s Manual 37 4 SINGLE MODE Let s start by focusing on one of Matrix 12 V s parameter groups and get a feel for how Single mode works Note For the examples in the rest of chapter 4 we will assume you have already selected a Voice in Single mode not from the Main page in Multi mode 4 2 1 VCOs VCO stands for Voltage Controlled Oscillator
75. r favorite Matrix 12 V sounds on stage To get started working with Program Chain mode locate the PROG CHAIN label on the right side of the Page bar and click if PROG CHAIN The Prog Chain label in the Page bar This will bring up an entirely new display with row after row of blank columns and boxes There are 128 of them in all which works out well since the MIDI spec allows for 128 program change messages within a bank Singles and Multis can be placed side by side in the list as you see below ARTURIA Matrix 12 V User s Manual f ls 6 PROGRAM CHAIN MODE CHAIN STEP MODI PATON C 3c JANN gt Vi 5070775 v gt 2 3 Le 5 5 8 4 222 TL TES m SOUNTRAK SWEEPER m POWERBRS adi Gn ad 2 CCC MONT QT GG Gar Gr GG Fr r m4 m4 m4 Po M4 PP md PO md m4 FO F md 4 moe ee ON PA Lu PA Pm 1 4 PA PA Sia NC DC DC DC DC DC MR DC KR DC DC DC KKK KKK gt sa 20 A A 2 o An example of the Program Chain page 6 1 Building the Program Chain To select presets for inclusion in the list click the Patch name field and navigate through the preset banks the same way you would in Single mode or Multi mode STEP MODE PATCH STEP MODE PATCH All Banks Factory Y Factory Matrix 14 actory XPander Templates Various User Projects singles i Studio b 54 55 55 2 3 5 B g Ta 13 ig 5 E E ig 20 i I Puri Pu Li E Lu ry
76. rix 12 V Users Manual 22 3 USER INTERFACE 3 1 3 3 Program Chain This mode is both very basic and very useful Whether you are playing live or collecting your favorite presets Program Chain mode allows you to select them easily by sending MIDI program change numbers between 1 and 128 or 0 127 in some cases VOICES PROG CHAIN tr o3 _ MODE PATCH MODE PATCH STEP MODE PATCH Puy U o i ON ON ON ON DR EE uu Lis Lis Lis Lis Lis ru u C2 LO o d DA CIMA DO d D LA L ad SINGLE FOOL YOURSELF STRG x 900 Ou LC Uy The Program Chain may contain a mixture of Single and Multi presets To enter Program Chain mode click PROG CHAIN on the far right edge of the Page bar You can get there from either of the other two modes See chapter 6 to learn how to set up a Program Chain 3 1 4 Nameplate The nameplate is the springboard for bottom panel functions when Matrix 12 V is on the Main page ave j O i 14 ss atl NE 7 1 w AL l LYN A YA An Cutaway view of the nameplate Each button on the right side of the nameplate will change what is seen in the bottom panel They are described briefly in section 3 1 5 below and given full coverage in section 4 1 3 3 1 5 Bottom panel The nameplate has four buttons which alter the contents of the bottom panel Main page only KBD Keyboard Click it and the virtual keyboard and levers show up FX Effects which are detailed in sect
77. rom the Factory banks so what we re describing and what you re seeing are the same thing ARTURIA Matrix 12 V Users Manual 56 4 SINGLE MODE When you re ready see the next section We ll start with the parameter group labeled Voices and work our way across the screen 4 6 1 Voices VOICES FULLHORN VOICES PLAY ZONE TRANS DETUNE VOLUME PAN Fi m C3 mir VOICE 1 i 53 wire VOICE 2 VOICE 3 The Voices parameter group in Single mode Note unless otherwise indicated click and drag to edit a parameter value double click to reset Play Normally on red by default these turn green when a particular voice has been triggered You can also click them to disable a voice so if will not play Zone This field is used to assign a voice to one of the six Zones where its note range keyboard mode and other settings can be defined You can also select one of the 16 MIDI channels for a voice and bypass the Zone parameters We ll define what a Zone Is in section 4 6 2 Transpose Allows you to change the pitch of a voice in chromatic increments within a range of 2 3 octaves You could use this for semi random octave jumps for example Detune With this you could put some voices slightly flat and others slightly sharp or make them way out of tune The range is 31 fo 31 and in combination with the Transpose parameter you could set the pitch of a voice to pretty much whatever you want Volume This parameter sets di
78. s fj s S att VOICE 2 An example of the Voices page in Multi mode Notice the Group column and the green Save button neither of which are there in Single mode All of the other features are the same in each mode except for the ability to select a new Single preset for each Voice Multi mode has this and Single mode does not We ll go over those features carefully in this section of the manual The Voices page is divided into three parameter groups Voices Zones VIB with each section offset by a thick blue line Let s focus on each parameter group one at a time 5 2 1 Voices In Multi mode each of the Voices in Matrix 12 V can be assigned its own Single preset But it doesn t stop there each Voice can be transposed detuned and panned independently and then placed into a Group and Zone which may or may not contain any of the other Voices Most of the features in the following screen shot are already familiar ARTURIA Matrix 12 V Users Manual 62 5 MULTI MODE VOICES PLAY VOICE l i HH C 1 55 dt So ZONE TRANS DETUNE VOLUME PAN 7 4 a VOICE 2 VOICE 3 VOICE 4 VOICE 5 VOICE 6 VOILE 7 VOICE 8 VOICE 9 VOICE 10 VOICE 12 The Voices parameter group in Multi mode The focus here will be mainly on the features that are unique to Multi mode Follow the links to the sections where these are covered in greater detail Note unless otherwise indicated click and drag to edit a parame
79. s of this process ARTURIA Matrix 12 V User s Manual 66 5 MULTI MODE 5 2 5 Zones The Zones parameter group allows you to specify MIDI channel response MIDI note range monophonic and polyphonic keyboard modes and enable voice stealing These settings will be in effect for any Voices that have been assigned to a given Zone There s lots of information about how to work with Zones in section 4 6 2 5 2 6 VIB The VIB section is identical to the one in Single mode It provides a modulation source very similar to LFOs 1 5 although if doesn t have as many options available The VIB section is covered extensively in section 4 6 3 5 3 Saving an edited Multi As soon as you change one of the Multi parameters an asterisk will appear next to the name of the Multi This is to remind you to save the Multi before selecting another one or else you will lose the edits you have made The process is basically the same as that described in section 3 2 2 Saving an edited preset click either the single disc icon to overwrite the original file or click the double disc icon to keep the original preset the way if was and save a renamed copy of your latest edits If you started with a Factory preset then the Save Preset As window will open automatically no matter which icon you click After the window opens the first thing you might want to do is select a new bank or type for the preset There s a drop down menu in each field for this
80. s you to specify the starting point of the LFO for the first five waveforms A setting of O means the LFO will start from the beginning of its cycle while values of or higher will cause the LFO to be triggered from somewhere in the middle of its cycle Determines the overall LFO output that will be sent to the target Press the Page 2 button for the final two parameters in the LFO group Lag Retrig Mode The LFO Lag parameter can be used to round off the edges of the LFO waveform This will be most noticeable when using a Square wave LFO and least noticeable when using the Triangle waveform It is actually not related to the Lag processor and has a predetermined impact If a greater Lag effect is desired the LFO can be routed through the Lag processor directly and then routed to the VCO through the Modulation Page See section 4 2 4 for information about the Lag processor Selects single or multiple trigger response Off provides the LFO with a freerun setting Remember to use the Tabs to select LFOs 1 5 and the the mod buttons will bring their parameters into focus in the Modulation Page so you can create one or more mod routes The VIB function will be covered in section 4 6 3 4 3 The Effects To add one of the effects to a Matrix 12 V sound in Main mode click the FX button in the nameplate The bottom panel will reveal two drop down menus either of which will show you the available Effects choices when you c
81. scribed in section 3 4 1 1 4 2 1 3 VCO Pulse Width PW This control affects only the Pulse wave form changing if from thin to full and then fo a sort of inverted thin in a range from 0 to 63 with 32 as the midpoint The value of 32 is a full square wave with a 50 duty cycle and the requisite hollow sound caused by the presence of only the oda numbered harmonics Note again the presence of a Mod button meaning the pulse width can be modulated by a source such as an LFO This is a great way to bring a sound alive by causing its harmonic content to shift constantly As long as we re giving out programming tips you may want to use an additional static mod such as the keyboard to tame the PW modulation in the lower frequency ranges Or not 4 2 1 4 VCO waveform There are three choices here for each VCO pulse saw triangle and a fourth for VCO 2 noise Here s a brief description of each Pulse A square wave See the previous section 4 2 1 3 for ifs description Saw i e Sawtooth When unfiltered it is sort of brash or buzzy and great for leads that cut through Tri a k a Triangle It s a simple pure waveform akin to a sine wave Noise VCO 2 only Random frequencies all at once great for wind effects electronic drums etc 4 2 1 5 VCO Volume This governs the output level of the oscillator And it s equipped with a Mod button so the VCO can fade in and out as desired This effect can cause a
82. ss Controls the high frequency content of the input signal Diffusion Masks or reveals individual reflections within the reverb Decay Time Determines the length of time the reverb takes to fade out Feedback Adjusts the number of reiterations of the reverb effect that occur after the pre delay time Pre Delay Controls the onset of the initial burst of reverb by delaying if for Up to 2 seconds Wet Dry Allows you to decide the balance between the input signal dry and the effect wet In summary we think you ll find that these six FX modules provide some extremely useful effects for building great analog synth sounds Have fun 4 4 The Modulation Page You ll notice many items in the Parameter window have buttons containing their names These are found just beneath the parameter value When one of these buttons is clicked its name will appear in the top line of the Modulation Page and any existing modulation routes and amounts will be automatically displayed in the next two lines ARTURIA Matrix 12 V User s Manual 52 4 SINGLE MODE YP LPF FILTER MODE MODULATION PAGE DESTINATION LFO TRACK 53 La 2 SRC1 SRC2 SRC3 SRC4 SACS SAC6 In the above picture the VCO 1 Frequency mod button has been selected bringing that parameter into focus in the Modulation Page We can see that both LFO 1 and Tracking Generator l are selected as modulation sources although the mod level for the Track 1 mod Is set to O so it Is ha
83. subtle tremolo or an intermittent chorusing for example depending on how the two VCOs are interacting lt can also cause subtle or radical timbral shifts if VCO 2 is also synced to the frequency of VCO 1 More about that in the next section 4 2 1 6 Sync VCO 2 only Sync stands for synchronize and when this button is pressed the relationship of the two VCOs changes drastically Rather than being completely independent the Sync button slaves the waveform s of VCO 2 fo VCO 1 and forces them to output a single complex waveform Lower the frequency of VCO 1 to zero and experiment with changing the frequency of VCO 2 either manually or by means of a mod routing envelopes can be loads of fun here The resultant timbral shifts are unlike anything else a synthesizer can produce ranging from a controlled scream or an aggressive biting tone to a subtle shimmer depending on the mod source and amount 4 2 1 7 VCO Page 2 There are other less glamorous parameters available for the VCO parameter groups To access these press the Page 2 button in the nameplate The bottom panel will show the Page 2 parameters for six different parameter groups two of which are identical VCO 1 and 2 We ll cover only those parameters in this section the rest will be covered with their own parameter groups ARTURIA Matrix 12 V User s Manual 39 4 SINGLE MODE Keyboard This decides whether the VCO frequency will change when different keys are played
84. ter value double click to reset Play Group Voice name Select arrows Save Zone Trans Detune Volume Pan ARTURIA Matrix 12 V Users Manual 63 5 MULTI MODE The buttons enable disable Voices and indicate Voice activity Only available in Multi mode this function links multiple Voices for quicker edits More details are available in section 5 2 2 Show the names of the Single mode Presets used for the Voice s Section 5 2 3 shows how to select a new Preset for a Voice These will move up and down through the presets within the current type selected for the Voice Provides a quick way to save an edited Voice Section 5 2 4 will take you through the process Used to assign a Voice to one of the six Zones where its note range keyboard mode and other settings can be defined Or select one of the 16 MIDI channels and bypass the Zone parameters Zones are described fully in section 4 6 2 Allows you to change the pitch of a Voice in chromatic increments within a range of 2 3 octaves Tune a Voice flat or sharp The range is 31 to 31 and can be used in combination with the Transpose parameter Use this to adjust the output levels tor each Voice Each Voice can be placed at one of seven positions in the stereo field Click the field and a window will open to display the options The Voice pan positions 5 2 2 Groups A group is a combination of Voices that simplifies the process of assigning a new
85. ters as long as only one installation is used at any given time The Licensee must register the Product to Arturia to get access to client support and to activate his Product An internet connection is required to register and activate the Product either on the computer on which the Product is installed either on another device able to exchange files with the computer on which the Product is installed These Products are exempt from upgrade or crossgrade offers and cannot be purchased with or exchanged for vouchers or coupons Furthermore as an owner of an educational Product you are not entitled to any vouchers that ship with the standard version of the Product 2 5 Any Products labelled or otherwise provided to you as a Demo version grants the Licensee a right to use the Product only for demonstration and evaluation purposes These Products must not be used for commercial purposes and must not be resold or transferred These Products are exempt from upgrade or crossgrade offers and cannot be exchanged for vouchers or coupons 3 No Unbundling Bundles product bundles are an association of software and hardware or software only products can only be resold transferred as a whole The individual components of a bundle must not be resold transferred separately 4 Resell 4 1 Renting or lending the licensed Software to a third party is expressly forbidden Apart from that and if not provided otherwise within this EULA 4 2 E
86. th Let s take another look at this graphic from the previous section and analyze what s happening VOICES PLAY ZONI TRANS DE TUNE VOLUME PAN Ya 3 m mim T4 VOICE 1 at DMD i ic id c Vite VOICE 2 VOICE 3 VOICE 4 VOICE 5 VOICE 6 VOILE 7 VOICE 8 VOICE 9 VOICE 10 VOICE 11 VOICE 12 The Voices parameter group in Multi mode e Voices 1 and 2 are in group 1 so they share the same Single mode preset But Voice 1 is an octave lower than Voice 2 and slightly quieter They ve been assigned to Zone 1 also e Voices 3 7 5 Voices are in group 2 and sharing one Single mode preset But each Voice Is slightly detuned from the others and panned to a different location in the stereo field All five Voices are assigned to Zone 2 e Voices 8 12 5 Voices are in group 3 sharing a Single mode preset But in addition to different Transpose Detune Volume and Pan settings they are also assigned to MIDI channel 3 not a Zone so they will resoond to incoming MIDI data on that channel without being additionally constrained by the settings of a Zone You can create up to 12 groups inside the Multi so there are lots of other possibilities too 5 2 3 Selecting a single If you d like to select a new Single mode preset for a Voice inside the Multi all you have to do is click inside the name field for that Voice ARTURIA Matrix 12 V User s Manual 65 5 MULTI MODE All Banks Factory Factory Matrixl2
87. the most basic building block of sound in an analog synthesizer The quickest way to make a large change in the tone of a Voice Is through Its waveforms In this section we ll cover some of the simpler ways to do that In the upper left hand area of the Parameter window is a blue bar labeled VCO 1 All of the parameters under that bar are part of the VCO 1 parameter group You can see from the picture below that the parameters are almost identical for VCOs 1 and 2 so we ll describe them all in this section m 5 DETUNE The VCO 1 amp 2 parameter groups The Page 2 VCO parameters are exactly the same for both oscillators The Page 2 parameters for VCO 1 amp 2 We ll cover these at the same time as the other VCO parameters Here s what they do 4 2 1 1 VCO Frequency Freq The fundamental pitch of the oscillator is set here with a range of 0 63 semitones chromatic steps Click the button just below the value and the VCO frequency parameter will come into focus on the Modulation Page Any one of 27 mod sources can then modulate the oscillator frequency a lot or a little in a positive or negative direction 4 2 1 2 VCO Detune ARTURIA Matrix 12 V User s Manual 38 4 SINGLE MODE This is literally a fine tune control able to gently nudge the oscillator frequency flat or sharp in smaller increments Its range is 31 to 31 and if is capable of even more precision by holding the control key while adjusting the value as de
88. tured below is how the Bank list looked prior to importing a Multi from a different computer ARTURIA Matrix 12 V Users Manual 68 5 MULTI MODE Y All Banks Factory Factory Matrix 12 actory XPander Templates Various Projects All Users Banks ank Live The Bank list before importing a Multi Notice that in the User section only four banks are listed Live Projects Singles and Studio After going through the Import process the Bank list shows a new bank My_Presets All Banks factors LE MY MULTI Factory Matrixl2 Factory XPander TRANS DETUNE VOLUME PAN Templates Various All Types h Projects singles studio Multis b The Bank list after importing a Multi and inside that bank are the Multi My Multi and the presets it contains Bass 3 Brass 1 Lead 1 and Pad 1 5 5 Multi Mode the Main page The Main page in Multi mode is almost identical to the Main page in Single mode with only two exceptions Both exceptions are found in the Page bar not in the Parameter groups The differences are in the very middle of the Page bar ARTURIA Matrix 12 V Users Manual 69 5 MULTI MODE MULTI AMBROSIUS_1 161 MAMA_FROG_BASS_1 The center of the Page bar on the Main page in Multi mode Difference 1 The word MULTI is followed by the name of the current Multi preset Difference 2 The name of the Voice being edited is between a pair of blue Previous Next arrows The
89. u MONA ease enan aN SAna AEE SES aN Saan Saias sts 15 OE E E E a 17 Za ROT E ACUM O a EE E 17 22 411111 EST LU aese pie 17 2 2 Audio and MIDI settings NON a ee add dadanan atti 17 2 2 2 Audio and MIDI settings MAC OS X essssesssssssrrrrrrrrrrressssssssssrrcttttrrrrsesssssssseeeeetttrreeeressssssseeeeeeeee 18 E E A E E 20 adl MON MAN COMORES EEREN 20 Ao A O E E R 2 A ss ae a dan enero 21 RS o o A eceeneda acess ceetcla ares oeacearanete 21 A OO An e o ROO In ere eee 23 Sl BOOM DON une 23 S22 MIS TOC OOF Mandgng Proso o icono 23 32l e Reno sa HA emo del PR r E ONTE 24 SHANE eos o A o O In LENEE ROTET REEE 26 3 2 93 Import Export a bank of PISO Sri aia iii iii 26 339 la TOO bar o epa Te CUI ES PP PP UOO Deo eP EPA 27 Sl Pame DUO IP SUE MAP SNS aaa 27 o Pe oa 27 ARTURIA Matrix 12 V User Manual 3 1 INTRODUCTION Sd IMIDE CONMTFOMEOnTOUROMNON Ss ia RA tester a AA 27 SA WOES O CONTO Saa 31 Sak a A ae a a n a 3 A BUTON ee Se e cae eset sere 3 30 VVC SiG NOIRS opero 33 2o BON NO MIE MOSS uri S 33 cias 34 al AS AN o ici 34 Ape Parame Ol dando 34 Ak NSCS OI Sra 36 Aiko HVS OOM OM ANS RS a ii 36 42 O SS A OURS SR RS nn md tante nent dant ion on iii 37 a A O O NR nctaaae 38 A I tae ee ee a st itt ne Nec 40 ao ae ee Rees eS Ko Seem eE Oe NORTE E Oe est Tan reed ee 42 OU E aa eons T a testa entenbnauses 44 A REINO iia 45 AO E OEE EN a O A 45 ADT TOC kKINOGenNerO OAI OCR RSR RS RS TE 46 R
90. used for commercial purposes and must not be resold or transferred The Licensee can activate the Product on up to five computers as long as only one installation is used at any given time The Licensee must register the Product to Arturia to get access to client Support and to activate his Product An internet connection is required to register and activate the Product either on the computer on which the Product is installed either on another device able to exchange files with the computer on which the Product is ARTURIA Matrix 12 V User s Manual 74 7 END USER LICENSE AGREEMENT installed NFR Products are exempt from update upgrade or crossgrade offers and cannot be purchased with or exchanged for vouchers or coupons Furthermore as an owner of a NFR Product you are not entitled to any vouchers that ship with the standard version of the Product 2 4 Any Products labelled or otherwise provided to you as an Educational version grants the Licensee a non exclusive right to use the Product in perpetuity The Product shall only be used by students or those working in educational institutions This definition includes students faculty staff and administration attending and or working at an educational institutional facility private public schools colleges universities and similar These Products must not be used for commercial purposes and must not be resold or transferred The Licensee can activate the Product on up to five compu
91. various Oberheim synthesizers could fill an encyclopedia They have certainly filled the airwaves over the years Styx The Grand Illusion Jean Michel Jarre Magnetic Fields Rush Moving Pictures Bruce Hornsby amp The Range The Way It Is The Police Synchronicity Madonna Madonna Prince 1999 Tangerine Dream Exit Queen The Game Van Halen 1984 This is only a small percentage of the songs styles and artists fueled and driven by Oberheim products They have clearly proven themselves as great creative tools to say the least 1 2 5 All good things come to an end for a while It s a sad truth that no matter how excellent a company s products are they sometimes find it hard to stay afloat Alas this was true of Oberheim Electronics as well which changed hands a number of times beginning in 1985 Tom stayed on board for a couple of years and then struck out on his own founding another company called Marion Systems Then in 2009 he announced he would be revising and reissuing some of his most famous early synthesizers starting with the SEM He followed that in 2014 with the Two Voice Pro Look for these products and more at tomoberheim com 1 3 Arturia s secret ingredient TAE TAE True Analog Emulation is Arturia s outstanding technology dedicated to the digital reproduction of the analog circuits used in vintage synthesizers TAE s software algorithms result in soot on emulation of analog hardware
92. ving no impact on VCO 1 These assignments and values can be altered or removed and more can be added if mod routings are available In the example above there are four unused mod routes As for the buttonless parameters the ones that can t be used as modulation destinations can still be edited by their respective controls and also can be controlled by incoming MIDI data See 3 MIDI control configurations to learn about this 4 4 1 The MOD list Another way to view the modulation routings is to press the MOD button in the nameplate This will change the bottom panel to display the Mod list Modulation routings 1 20 Note that there are two tabs on the far right side of the Mod list 1 20 and 21 40 This means you have 40 modulation routings available for each Single mode preset and also means that you will probably never run out of them LEVER 2 FILT FREQ VCO FREQ RAMP 3 ENV 2 VCR2 Q RAMP Y KEYBD TRACK Modulation routings 21 40 ARTURIA Matrix 12 V User s Manual 53 4 SINGLE MODE The controls are arranged in groups of three Source Amount and Destination There are a lot of Sources and Destinations so when you click one of them a window will open to show you the options MM MOD SOURCE HA LEVER 1 LEVER 2 PEDAL 1 PEDAL 2 VIBRATO D e ba ba E RETARDO LAC WELOUGAT Y FUEL VELGI T Y PRESSURE LE ES DDR 9 gt VCO 1 VEU 2 FM GER LG ENW 1 ENV 2 EHV 4 ENV 4 ENV 5 LPO 1 LAO 2 LP
93. will result in a value of 100 for the Matrix 12 V parameter e MIDI CC value that falls between 1 and 126 will result in a value somewhere between 50 and 100 on the Matrix 12 V parameter Note that a squashed range such as in the example above means there won t be a 1 1 correlation between the motion of the MIDI controller and the response of the Matrix 12 V parameter it may take two or more adjacent values of the controller before the Matrix 12 V parameter will change It is also possible to invert the Min and Max values so the parameter responds backward as in the picture in the previous section This comes in handy when dealing with drawbars if the external MIDI controller doesn t have a drawbar mode Arturia s controllers do if you ll pardon the hint ARTURIA Matrix 12 V User s Manual 30 3 USER INTERFACE 3 4 Types of controls The Matrix 12 V Main page has two basic types of controls variable and switching Let s take a look at each 3 4 1 Variable controls A variable control determines the value of a parameter when if is moved from one position to another Matrix 12 V has two types e Knobs also known as pots or encoders these make up the majority of the controls found in Matrix 12 V e Levers these are only visible when KBD has been selected in the nameplate You ll find them to the left of the virtual keyboard To edit a knob for example click on it and drag if up and down
94. with other users And while you can only import an entire bank at once it s possible to export either an entire User preset bank or just one preset at a time To do this click on the preset bank export button in the tool bar of the program which looks like this ARTURIA Matrix 12 V Users Manual 26 3 USER INTERFACE Select the type of export you want to perform bank or preset and a window will appear allowing you to choose a destination folder and name for the item you are exporting Again Multi mode presents some new situations since each Multi needs to travel with its associated Voice presets or else it won t sound or work the same So when you export a single Multi what you ll actually wind up with is a self contained bank containing that Multi and any of the Voices if needs More about this in section 5 4 3 3 The tool bar Advanced features 3 3 1 Panic button if Stuck happens PANIC If there is an Interruption to the MIDI data being received by your computer you can end up with notes that become stuck This means they have not yet received a Note Off message If this happens click the PANIC button in the Matrix 12 V tool bar and the stuck notes should stop 3 3 2 CPU meter The CPU meter gives real time feedback as to the amount of processing power being used by Matrix 12 V at any given moment In addition to the numerical value there is a level meter that lights up as the load increases Note The
95. xcept if otherwise stated within this EULA Licensee may resell the software to a third party or transfer the software permanently free of charge provided the third party agrees in writing with this EULA and Licensee ceases all use of the software completely removes all installed copies of the software from his computers and if the software was not purchased via download deletes or transfers the original media delivered with the software to the third party In addition Licensee is required to de register the purchased software with Arturia more information available on www arturia com 5 In case a sound library is part of the purchased Product the following shall apply in addition to the EULA The provided samples instruments and presets can be used for commercial or non commercial music and audio Productions without the prior permission from Arturia under the terms of this Agreement The usage of this Product in particular samples instruments and presets for the creation of a sound library or as a sound library for any kind of synthesizer virtual instrument sample library sample based Product or other ARTURIA Matrix 12 V Users Manual 75 7 END USER LICENSE AGREEMENT musical instrument is strictly prohibited Individual samples sound sets or audio loops may not be distributed commercially or otherwise standalone Furthermore these samples sound sets or audio may not be repackaged in whole or in part as audio samples sound librari
96. you choose a new name and location for the edited preset Factory presets can t be overwritten of course So If that s what you started with clicking the Save button will automatically open the Save as menu so you can save the edited preset and rename it etc By the way you may want to develop a naming system right away that will help you keep track of which of your original presets are a single Voice and which are Multis It s easy to tell the Factory presets apart because each kind has a dedicated folder but it is possible for you to label your own Singles and Multis as being the same Type and then place them into the same Bank This sort of flexibility is a good thing as long as you know at a glance what you re about to select Multi mode brings up some additional scenarios such as the need to save a Voice that was edited inside a Multi We ll go over that in section 5 3 1 3 2 3 Import Export a bank of presets It is possible to import or export entire banks of Matrix 12 V presets To import a bank click on the bank import button on the tool bar After clicking this button a window will appear so you can choose the bank to import look for the matrix extension Choose the desired bank and click Open The new bank of presets will automatically appear among the available banks You can also export your own Voices and Multis as a means of backing them up using them on another computer or sharing them

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