Arturia Matrix-12 V User manual

ARTURIA –Matrix-12 V –USER MANUAL 1
USER MANUAL

ARTURIA –Matrix-12 V –USER MANUAL 2
Direction
Frédéric Brun Kevin Molcard
Development
Pierre-Lin Laneyrie (project manager)
Toby Carpenter (lead)
Stefano D'Angelo
Baptiste Aubry
Corentin Comte
Baptiste Le Goff
Valentin Lepetit
Samuel Limier
Germain Marzin
Mathieu Nocenti
Pierre Pfister
Benjamin Renard
Vincent Travaglini
Design
Glen Darcey
Shaun Ellwood
Morgan Perrier
Sebastien Rochard
Sound Design
Jean-Baptiste Arthus
Jean Michel Blanchet
Glen Darcey
Richard Devine
Ed Ten Eyck
Boele Gerkes
Frank Greiner
Victor Morello
Erik Norlander
Greg Savage
Paul Schilling
Stephane Schott
Nori Ubukata
Manual
Antoine Back
Tomoya Fukuchi
Jason Valax
Special Thanks
Paul Beaudoin
Bill Cameron « electrowizard »
Chuck Capsis
Richard Courtel
Dwight Davies
Ben Eggehorn
David Farmer
Jeff Haler
David Harman
Koshdukai
Terrence Mardsen
Ken Flux Pierce
Daniel Saban
Chad Wagner
© ARTURIA S.A. –1999-2016 –All rights reserved.
11 Chemin de la Dhuy
38240 Meylan
FRANCE
http://www.arturia.com

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Table of Contents
1INTRODUCTION .................................................................................................................7
1.1 Oberheim: an overview ........................................................................................................................ 7
1.1.1 Prelude.............................................................................................................................................. 7
1.1.2 Lord of the Ring Modulators............................................................................................................. 7
1.1.3 Technological innovations ............................................................................................................... 8
1.1.3.1 Polyphony .................................................................................................................................................................8
1.1.3.2 Sequencers ...............................................................................................................................................................9
1.1.3.3 Presets ......................................................................................................................................................................10
1.1.3.4 Drum machines ......................................................................................................................................................10
1.1.3.5 MIDI ..........................................................................................................................................................................11
1.2 The Oberheim synth family: a genealogy .......................................................................................11
1.2.1 SEM: the little synth that could ....................................................................................................... 11
1.2.2 The polysynths: rapid growth.......................................................................................................... 13
1.2.3 Crowning achievement: the Matrix 12 .......................................................................................... 13
1.2.4 Where the sound is found…........................................................................................................... 14
1.3 All good things come to an end…for a while ................................................................................14
1.4 Arturia’s secret ingredient: TAE®........................................................................................................15
1.4.1 Aliasing-free oscillators ................................................................................................................... 15
1.4.2 A better reproduction of analog oscillator waveforms................................................................. 16
1.4.3 Direct Filter Circuit Modeling .......................................................................................................... 17
2ACTIVATION AND FIRST START ......................................................................................19
2.1 Register and Activate..........................................................................................................................19
2.2Initial setup.............................................................................................................................................19
2.2.1 Audio and MIDI settings: Windows................................................................................................. 19
2.2.2 Audio and MIDI settings: Mac OS X ............................................................................................... 22
2.2.3 Using Matrix-12 V in plug-in mode.................................................................................................. 22
3USER INTERFACE ..............................................................................................................23
3.1 The virtual keyboard ............................................................................................................................23
3.2 Toolbar....................................................................................................................................................23
3.2.1 Save Preset ..................................................................................................................................... 23
3.2.2 Save Preset As… ............................................................................................................................. 24
3.2.3 Import preset .................................................................................................................................. 24
3.2.4 Export preset................................................................................................................................... 25
3.2.5 Resize window options ................................................................................................................... 25
3.2.6 Audio settings ................................................................................................................................. 26
3.2.7 Preset browser overview ................................................................................................................ 26
3.2.8 MIDI Learn assignment ................................................................................................................... 27
3.2.8.1 Assigning / unassigning controls ..........................................................................................................................28
3.2.8.2 Min / Max value sliders ..........................................................................................................................................29
3.2.8.3 Relative control option..........................................................................................................................................29
3.2.8.4 Reserved MIDI CC numbers .................................................................................................................................29

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3.2.9 MIDI controller configuration.......................................................................................................... 30
3.2.10 The lower toolbar............................................................................................................................ 30
3.3 The Preset Browser................................................................................................................................31
3.3.1 Searching presets ........................................................................................................................... 31
3.3.2 Using tags as a filter........................................................................................................................ 32
3.3.3 The Preset Info section.................................................................................................................... 33
3.3.4 Preset selection: other methods..................................................................................................... 34
3.3.4.1 Selecting a preset by its Type ..............................................................................................................................35
3.3.5 Playlists ............................................................................................................................................ 35
3.3.5.1 Add a playlist..........................................................................................................................................................35
3.3.5.2 Add a preset...........................................................................................................................................................36
3.3.5.3 Re-order the presets ..............................................................................................................................................36
3.3.5.4 Remove a preset ...................................................................................................................................................36
3.3.5.5 Delete a playlist......................................................................................................................................................36
3.4 Overview of the main window components..................................................................................37
3.4.1 Page bar......................................................................................................................................... 37
3.4.2 Parameter window......................................................................................................................... 38
3.4.2.1 The Main page .......................................................................................................................................................38
3.4.2.2 The Voices page ....................................................................................................................................................38
3.4.3 Nameplate ..................................................................................................................................... 39
3.4.4 Bottom panel.................................................................................................................................. 39
3.5 The tool bar: Managing presets ........................................................................................................40
4SINGLE MODE..................................................................................................................41
4.1 Front Panel Functions...........................................................................................................................41
4.1.1 Overview of the parameter organization...................................................................................... 41
4.1.1.1 Parameter groups ..................................................................................................................................................41
4.1.1.2 Tabs ..........................................................................................................................................................................42
4.1.1.3 Parameters with and without mods....................................................................................................................43
4.1.2 The nameplate ............................................................................................................................... 43
4.1.3 The bottom panel........................................................................................................................... 43
4.1.3.1 Virtual keyboard.....................................................................................................................................................43
4.1.3.2 FX ..............................................................................................................................................................................44
4.1.3.3 Mod ..........................................................................................................................................................................44
4.1.3.4 Page 2......................................................................................................................................................................44
4.2 Parameter groups ................................................................................................................................45
4.2.1 VCOs............................................................................................................................................... 45
4.2.1.1 VCO Frequency (Freq)..........................................................................................................................................46
4.2.1.2 VCO Detune ...........................................................................................................................................................46
4.2.1.3 VCO Pulse Width (PW) ..........................................................................................................................................46
4.2.1.4 VCO waveform ......................................................................................................................................................46
4.2.1.5 VCO Volume ..........................................................................................................................................................47
4.2.1.6 Sync (VCO 2 only)..................................................................................................................................................47
4.2.1.7 VCO Page 2............................................................................................................................................................47
4.2.2 FM ................................................................................................................................................... 47

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4.2.2.1 Filter FM ....................................................................................................................................................................49
4.2.3 Filter................................................................................................................................................. 50
4.2.3.1 Filter Frequency (Freq) ..........................................................................................................................................50
4.2.3.2 Filter Resonance (Res) ...........................................................................................................................................50
4.2.3.3 Filter Mode ..............................................................................................................................................................50
4.2.3.4 Filter Page 2 ............................................................................................................................................................51
4.2.3.5 VCAs ........................................................................................................................................................................52
4.2.4 Lag .................................................................................................................................................. 52
4.2.5 Ramps ............................................................................................................................................. 53
4.2.6 Envelopes (Env) .............................................................................................................................. 54
4.2.7 Tracking Generators (Track)........................................................................................................... 54
4.2.8 LFOs................................................................................................................................................. 55
4.3 The Effects..............................................................................................................................................56
4.3.1 Delay............................................................................................................................................... 57
4.3.2 Dual-stage Phaser .......................................................................................................................... 58
4.3.3 Analog Delay.................................................................................................................................. 59
4.3.4 Flanger............................................................................................................................................ 59
4.3.5 Analog Chorus................................................................................................................................ 60
4.3.6 Reverb............................................................................................................................................. 61
4.4 The Modulation Page..........................................................................................................................61
4.4.1 The MOD list .................................................................................................................................... 62
4.4.1.1 Resetting part of a mod........................................................................................................................................63
4.4.1.2 Clearing a mod ......................................................................................................................................................64
4.4.1.3 Quantizing a mod ..................................................................................................................................................64
4.5 Page 2 ....................................................................................................................................................65
4.6 Single mode: the Voices page..........................................................................................................65
4.6.1 First of all: What’s a Voice? ............................................................................................................ 65
4.6.2 The Voice page.............................................................................................................................. 66
4.6.3 Voices ............................................................................................................................................. 67
4.6.4 Zones............................................................................................................................................... 68
4.6.5 Vibrato (VIB).................................................................................................................................... 69
5MULTI MODE ....................................................................................................................72
5.1 How to switch modes ..........................................................................................................................72
5.2 Single mode vs. Multi mode ...............................................................................................................72
5.3 Multi mode: the Voices page............................................................................................................73
5.3.1 Voices ............................................................................................................................................. 74
5.3.2 Groups ............................................................................................................................................ 75
5.3.3 Selecting a single............................................................................................................................ 77
5.3.4 Zones............................................................................................................................................... 78
5.3.5 VIB ................................................................................................................................................... 78
5.3.6 Saving a Voice into a Single Preset................................................................................................ 79
5.3.7 Saving a Multi ................................................................................................................................. 80
5.4 Import / Export ......................................................................................................................................80

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5.5 Multi Mode: the Main page ...............................................................................................................80
6END USER LICENSE AGREEMENT ..................................................................................82

ARTURIA –Matrix-12 V –USER MANUAL 7
1INTRODUCTION
Arturia would like to thank you for purchasing our 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.
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.

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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 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.

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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).
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.

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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 Minimoogs, he would leave the controls
on that synthesizer exactly as they were and go buy another Minimoog.
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 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!

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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.
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

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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 a Minimoog 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:
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.

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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
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.
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.

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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 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.
1.3 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

ARTURIA –Matrix-12 V –USER MANUAL 15
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.
1.4 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:
1.4.1 Aliasing-free oscillators
Standard digital synthesizers produce aliasing in high frequencies, especially when
using Pulse Width Modulation (PWM) or Frequency Modulation (FM).
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
Aliasing

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Linear frequency spectrum of an oscillator modeled with TAE®
1.4.2 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.
Temporal representation of the “sawtooth” waveform of a hardware synthesizer

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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.
1.4.3 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.
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.

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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.

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2ACTIVATION AND FIRST START
2.1 Register and Activate
Matrix-12 V works on computers equipped with Windows 7 or later and Mac OS X
10.8 or later. You can use the stand-alone version or use Matrix-12 V as an Audio
Units, AAX, VST2 or VST3 instrument.
Once 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 email address during
the registration process.
Once you have acquired an Arturia account you will be able to register the product.
2.2 Initial setup
2.2.1 Audio and MIDI settings: Windows
At the top left of the Matrix-12 V application is a pull-down menu. It contains various
setup options. Initially you will need to go to the menu and choose the Audio Settings
option to get sound and MIDI flowing in and out.

ARTURIA –Matrix-12 V –USER MANUAL 20
Matrix-12 V main menu
You will then see the Audio MIDI settings window. This works in the same way on both
Windows and Mac OS X, although the names of the devices available to you will
depend on the hardware you are using.