video uploads by GForce Software
https://www.gforcesoftware.com/product/oberheim-matrix-12/
Playlist:
1. GForce Oberheim Matrix-12 With Alex Ball
2. GForce Oberheim Matrix-12 – Patch Playthrough
3. GForce Oberheim Matrix-12 Walkthrough
“The Oberheim Matrix-12 is the synth you’ve asked us for more than any other, and it’s here. Oberheim’s most ambitious analogue synthesiser, reborn with modern power.
The Matrix-12 gave Vangelis, Depeche Mode, The Orb and Technotronic some of the thickest pads, sweeps and basses ever recorded. Twelve voices, a fifteen-mode filter and Matrix Modulation, with the routing map printed on the panel because no screen could show it.
This is the only official Oberheim Matrix-12 and Xpander software instrument, created with Oberheim and Marcus Ryle, the original designer. We modelled the oscillators, filter and envelope shapes against the hardware, then made the matrix visible. Drag from any source to any knob and watch the Flow diagram and Mod Matrix show exactly how each voice is built.
Six keyboard zones with micro arpeggiators, full MPE, four Macros, onboard delay and reverb, and over 570 patches, including 190+ originals from the Matrix-12 and Xpander. The deepest synth Oberheim ever made is now the easiest to understand.
Presented by Alex Ball.
Analogue Soul. Digital Power.”
I Own a Matrix-12. GForce Got Closer Than I Wanted.
video upload by Vulture Culture
“I own an Oberheim Matrix-12. GForce and Oberheim have made the first official plugin version of it, so I put the two side by side and tried to break both.
What I found:
VCO drift is identical, which is the thing people actually want from an analog emulation.
Filter FM is where plugins usually fail, Arturia in particular, and it is the most impressive thing here.
All fifteen filter modes are very close, though you generally have to push the resonance further on the software to match.
There are real differences in the noise, in oscillator brightness and in the envelope and LFO times. Some of those might be my 41 year old unit rather than their model.
It does not sound exactly like my hardware. It might sound exactly like the hardware they modelled it on.
DISCLOSURE: GForce paid me to design some of the factory presets for this plugin. They did not ask or pay me to make this video, and they have no control over what I say in it.”
The most ambitious analogue synthesiser Oberheim® ever made, Matrix-12, reborn with modern power.
Twelve voices, a fifteen-mode filter and Matrix Modulation, with the routing map printed on the panel because no screen could show it. Rare, heavy and costly to keep alive ever since.
This is the only official Oberheim® Matrix-12 and Xpander software instrument, reimagined.
Official Oberheim, With Marcus Ryle
The only official Oberheim Matrix-12 and Xpander software instrument, created with Oberheim and Marcus Ryle, one of the Matrix-12’s original designers.
Over 570 Patches Included
Over 570 Patches Included
Over 570 patches, including 380+ new patches and 190+ original Matrix-12 and Xpander patches.
Expression That Plays Like Hardware
Expression That Plays Like Hardware
Velocity, release velocity, pressure with rise and fall, full MPE with per-patch timbre curves, and four global Macros.
The Real Oberheim Experience.
Vangelis, Depeche Mode, The Orb and Technotronic all reached for the Matrix-12, and it earned a reputation for the thickest analogue pads, sweeps, basses and textures ever recorded.
Created in collaboration with Oberheim and Marcus Ryle, one of the original designers, who worked alongside the team throughout, GForce modelled the oscillators, filter, and envelope shapes against the hardware. The goal was simple and non-negotiable: sound like a Matrix-12.
A Simple Path, Deeply Modulated.
Each voice has two VCOs with triangle, saw, and pulse; the second adds noise and hard sync, feeding a filter with fifteen modes: one-to-four pole low pass, high pass, band pass, notch, phase, and the classic combinations, then two VCAs in series.
Simple on purpose. The complexity is in what moves it.
The Matrix, Made Visible.
Five envelopes, five LFOs, four ramps, three trackers and a lag processor inside every voice, alongside a dedicated vibrato. Keyboard, velocity, release velocity, pressure, pitch bend and mod wheel, plus full MPE.
A random value on every note, so no two voices ever land in quite the same place. Any source can reach any destination, including itself. Drag a crosshair from a source and drop it on a knob. Six modulation slots per parameter, each bipolar, each with quantise. A green corona on the knob shows exactly where the sound will go.
Three Views Of Every Voice.
Flow draws a live diagram of the voice: the audio path in blue, and every modulation source appears as you connect it, highlighting the whole chain when you touch a control.
The Mod Matrix lays out every connection as a grid you can sort, filter and edit. The Visualiser shows you the sound itself. Every module has its own scope, filter curve, envelope shape or tracker graph, and you can grab and drag them directly.
Twelve Voices, Six Zones.
Single mode plays all twelve voices as one instrument with polyphony, unison, detune and spread on the panel. Multi mode makes every voice its own timbre, with six keyboard zones that can overlap, each with its own voice allocation, MIDI channel and micro arpeggiator.
Solo, copy, paste, lock and disable per voice; load a single voice from any patch; and use Relative Edit to move a whole zone at once.
Legendary Depth. Effortless Programming.
GForce focused on the programming experience. The Matrix-12 is still a monster of a synthesiser, with modulation possibilities that can feel awe-inspiring, but assigning multiple modulations on the original hardware navigating its complexity; now it’s fast and intuitive.
The result is a legendary instrument that’s far more accessible to sound designers, without sacrificing any of its depth or complexity.
Enhanced Where It Counts.
GForce transformed the Matrix-12 workflow with drag-and-drop modulation, Flow diagram, Mod Matrix, and per-module visualisers, making modulation instantly accessible. Per-voice load, copy and lock, Relative Edit, and a fully resizable interface streamline twelve-voice editing.
New features include six micro arpeggiators (one per keyboard zone), tempo-synced ramps with linear-to-exponential curves, smoothing on every LFO shape, and a four-step LFO tracker mode. Full MPE, four global Macros, stereo delay, and matrix reverb with per-voice sends in Multi mode complete the instrument.
