- Though they made their name as plug-in developers, Arturia have branched into the analogue world through their successful MiniBrute and MicroBrute range. They're still developing new plug-ins for the fourth version of their V Collection bundle. Alongside Wurlitzer V and Solina V, undoubtedly the biggest addition to the new synth suite was an emulation of one of the most legendary analogues ever made: the Oberheim Matrix 12.
Tom Oberheim is a synthesizer legend, both for the machines that bear his name and the work he did developing polyphony, ring modulation effects and even the MIDI protocol. (Arturia have already honoured his SEM unit to great effect.) With 12 voices, 24 total oscillators, 15 types of LFO and VCA per voice and 15 variations of filters, the Matrix 12 was an almighty beast and one of the most flexible non-modular analogues ever made. Despite all this power and modulation capability, the unit had very little in terms of hands-on control, using a series of buttons to control the modulation matrix. When I first heard Arturia were modeling this classic, I wondered how they'd approach the interface—re-imagining it for a mouse-led DAW, reducing menu diving or staying true to the original, minimal interface. They've gone for something of a compromise, replacing buttons with knobs, adding pages and introducing a new mod section where you can view up to 20 routings at once.
Modulation is at the core of the Matrix 12 V, with the modulation page taking centre stage of the interface. Click on any parameter— VCO frequency, envelope attack, LFO speed, etc.—and they will automatically be selected as the modulation destination on the modulation page. Now it's up to you what you want to modulate it with—pressure, sustain pedal, LFO, etc.—and dial in the amount of modulation with the knob below. There are some unique modulation sources such as track, which lets you dictate up to five modulation points that an LFO can cycle through, and ramp, which rises from zero to maximum at a linear, dictated rate.
Arturia have done an excellent job of simplifying the process as much as possible on such a complex machine. If you do find yourself lost in endless routings, the mod page allows you to quickly see all modulations at a glance and make quick changes where needed. Anyone used to subtractive synthesis may feel slightly lost at first, but Matrix 12 V rewards experimentation, and you can't really make a wrong move. I routed my sustain pedal to the filter and VCO, so that when I pressed it, the sound slowly fell apart, but when I released it, it instantly snapped back to the original sound. To recreate this on any other synth would have taken a lot of programming, automation and mapping; here, it was fairly straightforward and fun.
The sound of the Matrix-12 is probably easiest to recall on the opening of Prince's classic "1999." Wide, rich and deep sounds are possible when you begin to detune and make the most of the modulation options. Multi mode goes a step further, allowing you activate and edit 12 segregated voices, even loading a different preset on each, with controls for pan, transpose, volume and more. You can even group voices back on the main page so they can be edited together.
The synth excels at pads, keys and brass, but basslines are where it really comes into its own. Often, as you drift into lower registers when pitch modulation is taking place on a VCO, the sound loses definition and a pleasing chorus sound can turn into a warbled mess as wave cycles slow down. With so many VCOs to choose from, so many modulation options and the multi section allowing for easy layering, the Matrix has the rare ability to maintain defined low-end power, colorful mids and highs in a single instance of the plug-in. For very low sub and snappy envelopes, the Matrix won't deliver, but it will give you a wholly unique sound that can quickly inspire. Obviously this kind of power, especially in Multi mode, will have a huge affect on your CPU and that's really where Matrix-12 V deals its biggest blow. I couldn't get more than two instances in a project before running into issues, so this is a plug-in that many of our studio computers will have to catch up to.
If you're not satisfied with what the machine can do via modulation and layering, Arturia have thrown in six retro effects. Analogue chorus, flanger and analogue delay stood out for me as excellent, and they really add to the already authentic retro tones. Disappointingly, unlike some other Arturia synths, it's not possible to use Matrix-12 V as an effect plug-in. I would have loved to run my own audio through these effects units, as they're very high quality and easy to use. Perhaps this is something we'll see on a future update.
It's safe to say the original Matrix-12 is out of reach price-wise for most of us. The Arturia model is not a replacement, though, but a new instrument in its own right. With deep modulation options, multi-timbral features, a high-quality sound and the original presets from hardware, Matrix-12 V is another killer plug-in from Arturia. For retro brass, pads, textured bass or otherworldly sound design, it could become your go-to—if your computer can handle it.
Ratings:
Cost: 4.5
Versatility: 4.8
Sound: 3.8
Ease of use: 3.2