The massively powerful Oberheim Matrix-12 has been resurrected at last. Using our TAE™ modeling technology, we are able to recapture this beast of a synthesizer and bring it to you.
The Matrix 12 was the first programmable analog synthesizer that took the best features of a preset voice path and modular flexibility. This bold combination made it a force of nature and something that had not been seen before. It also had a 15 mode filter system that enabled it to have sounds that had never been heard before.
Making The Model
Every point in the signal path is important when modeling the sound of such a revered instrument.
So to establish the proper foundation, we perfectly recreated the tonal characteristics of the original 2 oscillators and their waveforms in Matrix-12 V. And it was equally critical to capture every nuance of its 15 filter modes, so we kept at it until they had been modeled perfectly!
Another factor in defining the complex sound of the Matrix-12 was the amazing number of modulation sources and destinations it provided. This was a level of sophistication previously only available in a fully modular system.
So to complete the emulation we modeled these capabilities also, even surpassing them. With a nearly endless number of possible modulation routings in Matrix-12 V you can create sounds with highly organic qualities not found in other synthesizers.
50 Shades of Sound
A true chamelion of a synthesizer. With its 15 filter modes you can create everything you need from the thin and airy to the brash and bold.
The Power of Perfection
While the Matrix-12 was amazing in itself, we pushed it further by adding a new effects chain for further processing of the sound.
We also expanded the maximum number of modulation routings from 20 to 40, giving you even more creative freedom. Add to this the ability to control all the parameters via MIDI, and now you can do automations in a DAW or manually that could never be done before.
In the mid ‘80s the synth world was being shaken up by three forces: the new sounds of the Yamaha DX-7, digital samplers and low cost, stripped-down synths like the Juno 106 and Korg Polysix.
Oberheim, who had a long legacy of making some of the best-sounding synths, decided there was still a desire and need for a no-holds-barred analog synth. And so the Oberheim Xpander was released in 1984, becoming an instant classic.
In 1985 Oberheim released the Matrix-12, the big brother of the Xpander. It used the same voice architecture as the Xpander, adding another 6 voices and a keyboard. Designed by legendary engineers Marcus Ryle and Michel Doidic, the Xpander and Matrix-12 were revolutionary in their time and still are considered the finest examples of analog polysynths ever made.
A Faithful Reproduction
The Matrix-12 V uses Arturia's powerful TAE® engine to reproduce all the details that make the sound of this legendary analog synthesizer.
The two oscillators of the original Matrix-12 were accurately modeled and recreated. All the waveforms are generated using the aliasing-free algorithms of our TAE® technology. Pulse width modulation, noise and the powerful FM features are there, too.
The Matrix-12 employs a single filter per voice, but provides no fewer than 15 different filter modes. There are four Low Pass and three High Pass modes, plus two Band Pass modes, a Notch filter and a Phase Shift mode. Four other modes are available, each of which combines a 1-Pole Low Pass with other filter modes. This unique selection of filter options is largely responsible for the immense power and scope of the Matrix-12 sound.
More modulation options = more power
The Matrix-12's legendary ""Modulation Matrix"" has been recreated in Matrix-12 V as well. Sources include Five Envelopes, five LFOs, 4 Ramp and 3 Track generators, velocity and pressure, etc.; in total, 27 modulation sources can be connected to any of the 47 destinations. This brainchild of Tom Oberheim’s is a sound designer's dream, and this dream can finally be yours without having to break the bank!
Authenticity With A Twist
The Matrix-12 V offers all the features of the original synth, which on their own would keep you busy for years! But on top of that, we added a few cool enhancements:
Two insert effect slots are provided.
Choose any one of six studio-grade effects for each slot:
• Classic delay
• Analog delay
An Interface Optimized For Software
The original Oberheim Matrix-12, while being fun to program and extremely powerful, was not a great performance synthesizer due to the limited number of controls on the front panel. Our software recreation puts you in direct control over many parameters, and also has a panel that displays all the active modulations contained in your patch.
Single vs Multi
The Matrix-12 V, just like its analog predecessor, is a multi-timbral instrument. In Multi mode, each of the 12 voices can contain a different sound. These sounds can then be split on different zones of the keyboard, individually transposed, played in unison, panned this way and that, and more. The software interface makes this configuration a breeze!
Our redesigned preset browser lets you quickly find just the sound you’re looking for.
Search by name or simply select the appropriate tags to dial in on the exact sonic character you’re looking for. You can mark and recall your own favorites, enter comments, and set up playlists. There’s never been a more intuitive way to manage your library of designer and personal presets.
The user interfaces for all your Arturia instruments are now resizable, making it easy to work with any High Resolution screen, UHD or Retina.
You can decide whether you want to fill the screen with awesome graphic reproductions of classic instrument goodness, scale the window down when you’re working in a DAW and screen real estate is at a premium, or even zoom for detailed work.
• Two oscillators, each offering triangle, sawtooth and variable-width pulse wave with PWM.
• Oscillator 2 also function as a white noise generator.
• Oscillator 1 or the Filter can be frequency modulated.
• Single filter with 15 modes: 4 Low Pass, 3 High Pass, 2 Band Pass modes, Notch and Phase Shift plus four additional "combo" filter modes.
• Ultra-powerful modulation matrix with 27 sources and 47 destinations.
• Sources include 5 envelopes, 5 LFOs, 4 Ramp, 3 Track generators, Velocity, Pressure, Keyboard follow, and more.
• Two insert effect slots with six studio-grade effects available.
• 12 voices of polyphony like the original instrument
• Works in Standalone, VST, VST3, AU, AAX.
• Win 7+ (64bit) PC: 4 GB RAM; 2.5 GHz CPU.
• 1GB free hard disk space
• OpenGL 2.0 compatible GPU
• 10.10+: 4 GB RAM; 2.5 GHz CPU.
• 1GB free hard disk space
• OpenGL 2.0 compatible GPU
Works in Standalone, VST 2.4, VST 3, AAX, Audio Unit, NKS (64-bit DAWs only).
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