Arturia Matrix-12 V User manual

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USER MANUAL
Version 1.0

ARTURIA Matrix-12 V User Manual -2- 1 INTRODUCTION
Project management
Pierre-Lin Laneyrie
Product management
Glen Darcey
Sebastien Rochard
Programming
Pierre-Lin Laneyrie
Toby Carpenter
Vincent Travaglini
Design
Shaun Ellwood
(decoderdesign.com)
Morgan Perrier
Sound design
Meli Anthos
Frank Greiner
Paul Shilling
JB Arthus
Erik Norlander
Luca Torre
James Bernard
Greg Savage
Noritaka Ubukata
Boele Gerkes
Stéphane Schott
Manual
Randy Lee
1st edition, October 2014
© ARTURIA S.A. –1999-2014 –All rights reserved.
30, chemin du Vieux Chêne
38240 Meylan
FRANCE
http://www.arturia.com

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Table of contents
Table of Contents
Project management..........................................................................................................................................2
Table of contents .................................................................................................................................................3
1INTRODUCTION...............................................................................................................................................6
1.1 Oberheim: an overview ............................................................................................................................6
1.1.1 Prelude...................................................................................................................................................6
1.1.2 Lord of the Ring Modulators ..............................................................................................................6
1.1.3 Technological innovations................................................................................................................. 7
1.2 The Oberheim synth family: a genealogy ...........................................................................................10
1.2.1 SEM: the little synth that could ........................................................................................................10
1.2.2 The polysynths: rapid growth...........................................................................................................11
1.2.3 Crowning achievement: the Matrix 12 .........................................................................................12
1.2.4 Where the sound is found… ............................................................................................................13
1.2.5 All good things come to an end…for a while .............................................................................13
1.3 Arturia’s secret ingredient: TAE®............................................................................................................13
1.3.1 Aliasing-free oscillators .....................................................................................................................13
1.3.2 A better reproduction of analog oscillator waveforms .............................................................14
1.3.3 Direct Filter Circuit Modeling ...........................................................................................................15
2ACTIVATION & FIRST START.........................................................................................................................17
2.1 Register & Activate ..................................................................................................................................17
2.2 Initial setup .................................................................................................................................................17
2.2.1 Audio and MIDI settings: Windows.................................................................................................17
2.2.2 Audio and MIDI settings: Mac OS X ...............................................................................................18
3USER INTERFACE............................................................................................................................................20
3.1 Main window components ....................................................................................................................20
3.1.1 Tool bar................................................................................................................................................21
3.1.2 Page bar .............................................................................................................................................21
3.1.3 Parameter window............................................................................................................................21
3.1.4 Nameplate .........................................................................................................................................23
3.1.5 Bottom panel......................................................................................................................................23
3.2 The tool bar: Managing presets.............................................................................................................23
3.2.1 Select a bank, type, or preset.........................................................................................................24
3.2.2 Saving an edited preset...................................................................................................................26
3.2.3 Import / Export a bank of presets...................................................................................................26
3.3 The tool bar: Advanced features..........................................................................................................27
3.3.1 Panic button: if “Stuck” happens ...................................................................................................27
3.3.2 CPU meter...........................................................................................................................................27

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3.3.3 MIDI control configurations .............................................................................................................27
3.4 Types of controls .......................................................................................................................................31
3.4.1 Variable controls................................................................................................................................31
3.4.2 Buttons & switches.............................................................................................................................31
3.5 What’s a Voice? .......................................................................................................................................33
3.6 How to switch modes ..............................................................................................................................33
4SINGLE MODE ...............................................................................................................................................34
4.1 Front Panel Functions...............................................................................................................................34
4.1.1 Parameter organization ...................................................................................................................34
4.1.2 The nameplate...................................................................................................................................36
4.1.3 The bottom panel..............................................................................................................................36
4.2 Parameter groups ....................................................................................................................................37
4.2.1 VCOs ....................................................................................................................................................38
4.2.2 FM .........................................................................................................................................................40
4.2.3 Filter ......................................................................................................................................................42
4.2.4 Lag........................................................................................................................................................44
4.2.5 Ramps ..................................................................................................................................................45
4.2.6 Envelopes (Env)..................................................................................................................................45
4.2.7 Tracking Generators (Track) ............................................................................................................46
4.2.8 LFOs ......................................................................................................................................................46
4.3 The Effects ..................................................................................................................................................47
4.3.1 Delay....................................................................................................................................................48
4.3.2 Dual-stage Phaser .............................................................................................................................49
4.3.3 Analog Delay .....................................................................................................................................50
4.3.4 Flanger.................................................................................................................................................50
4.3.5 Analog Chorus ...................................................................................................................................51
4.3.6 Reverb..................................................................................................................................................52
4.4 The Modulation Page ..............................................................................................................................52
4.4.1 The MOD list ........................................................................................................................................53
4.5 Page 2 ........................................................................................................................................................55
4.6 Single mode: the Voices page..............................................................................................................56
4.6.1 Voices ..................................................................................................................................................57
4.6.2 Zones ....................................................................................................................................................58
4.6.3 Vibrato (VIB)........................................................................................................................................59
5MULTI MODE..................................................................................................................................................61
5.1 Single mode vs. Multi mode ...................................................................................................................61
5.2 Multi mode: the Voices page ................................................................................................................62
5.2.1 Voices ..................................................................................................................................................62
5.2.2 Groups .................................................................................................................................................64

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5.2.3 Selecting a single...............................................................................................................................65
5.2.4 Save button ........................................................................................................................................66
5.2.5 Zones ....................................................................................................................................................67
5.2.6 VIB.........................................................................................................................................................67
5.3 Saving an edited Multi.............................................................................................................................67
5.3.1 Saving edited Voices in a Multi ......................................................................................................67
5.4 Import / Export and Multi mode ............................................................................................................68
5.5 Multi Mode: the Main page ...................................................................................................................69
6PROGRAM CHAIN MODE ...........................................................................................................................71
6.1 Building the Program Chain ...................................................................................................................72
6.2 Removing a Preset from the list .............................................................................................................73
7END USER LICENSE AGREEMENT ................................................................................................................74

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1INTRODUCTION
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.
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 it took to bring this marvelous
instrument to life.
1.1 Oberheim: an overview
1.1.1 Prelude
The 21st 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 it 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 it seemed the more these companies ‘divided the pie’ of market share, the
larger the pie became.
Then about 1975, riding in like something 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.
It 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

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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 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-1A). Good for
them, and even better for us: this odd little box led directly to the formation of Oberheim
Electronics.
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” it 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 and later modifications of the 2600 allowed
duophonic performance on these synths (i.e., two notes could be played at once).

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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 it was attached,
rendering it 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 Presets
A famous, perhaps apocryphal story about a well-known multi-keyboardist puts the early days of
analog synthesizers in perspective: it 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, it 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

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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.
The Oberheim Programmer, circa 1976
1.1.3.4 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!
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.

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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 other major
instrument manufacturers and convinced them it 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 it 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 Convention 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:

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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. It 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 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 TVS-1 The FVS-1

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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 take 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 while 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

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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 various Oberheim synthesizers could fill an encyclopedia. They
have certainly filled the airwaves over the years:
Styx –The Grand Illusion
Rush –Moving Pictures
The Police –Synchronicity
Prince –1999
Queen –The Game
Jean Michel Jarre –Magnetic Fields
Bruce Hornsby & The Range –The Way It Is
Madonna –Madonna
Tangerine Dream –Exit
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 spot-on emulation of analog hardware. 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).

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TAE®enables the generation of oscillators which are completely free of aliasing in all contexts
(PWM, FM…), and at no extra CPU cost.
Linear frequency spectrum of a current well-known software synthesizer
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.
Aliasing

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Temporal representation of the “sawtooth” waveform of a hardware synthesizer
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.

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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 due 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.
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 help you explore previously
unknown musical territory.

ARTURIA Matrix-12 V User's Manual -17- 2 INSTALLATION & ACTIVATION
2ACTIVATION & FIRST START
3
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.
2.1 Register & 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. It 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 > Audio MIDI Settings menu:
The next window you’ll see is the same one that appears when the software starts for the first time:

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Here the pull-down menus and boxes allow you to:
•Select the audio interface
•Set the audio output port
•Set the buffer size
•Set the sample rate
•Play a test tone to check your audio configuration
•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:
Another window will open with options for connecting audio and MIDI interfaces:

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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:
choose the memory buffer size (a smaller size will increase the CPU load but will reduce
latency, and vice versa)
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.

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3USER INTERFACE
4
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 it as your knowledge expands. After reading this chapter you should be ready to
delve as deeply into the workings of Matrix-12 V as you would like.
3.1 Main window components
Matrix-12 V has many features and several modes of operation. But it is helpful to know that each
mode has things in common with the others. So let’s take a look at the broad picture first.
Section
Name
1
Tool bar
2
Page bar
3
Parameter window
4
Nameplate
5
Bottom panel