The Matrix 6 was one of the last few synthesizers from Oberheim to come out during the mid-eighties following the classic OB-series. The Matrix 6 utilized high-tech but less expensive digital and midi features and still retained a totally analog sound. It did this by using DCOs (digitally controlled oscillators) to provide stability, programmability and more. All the Matrix synthesizers featured Matrix Modulation which allows for extremely wild virtual patching for almost unlimited range of sounds and modulation capabilities!

The Matrix 6 is a very popular synthesizer today because it offers access to the legendary sounds and power of the Matrix 12, though not as meaty but at a fraction of the cost. The Matrix 6 is also like the Xpander, but with only 6 voices of polyphony and slimmer programming. Each of its 6 voices has a pair of DCOs, a low pass filter, 2 VCA's, 3 envelope generators, 2 LFO's, and 2 ramp gens for a variety of complex analog pads, basses and sounds.

The programmability is vast, but it can be very tedious. As was the growing trend in synthesizers during this time, knobs and sliders were replaced by just a few membrane buttons and a simple data slider. This is accompanied by gobs of programming and patch data written across the face of the unit. Fortunately Midi SysEx is fully supported so you can get patches on-line and transmit them into the Matrix. Access, makers of the Virus, used to make the Matrix Programmer which gives you much more user friendly hands-on controls too. And software editors such as Unisyn make graphic editing possible for much easier programming.

The Matrix 6R (pictured above) is the Matrix 6 without a keyboard, retaining its membrane programming interface. Oberheim later produced the Matrix 1000, which is essentially 1000 patches from the Matrix 6 in a 1-unit rack-module, preset and editable only through SysEx. For professional studio work or live on stage, both the Matrix 6 keyboard and rack-mount are excellent and versatile synths that make a great source of bright and punchy sounds, vintage analog pads, textures and ambient sounds. It is used by Orbital Apollo 440, Jimmy Edgar, Philip Glass, The Grid, Future Sound of London, Astral Projection, The Shamen, Mouse on Mars, Tangerine Dream and Cirrus.

broman

September 17, 2012 @ 11:23 pm

@tom It should be possible. I own M1000 but I bet M6 also must have guitar mode. Simply switch into it and you will have MIDI ch1-6 dedicated to respective voices. Use the same melody on several channels - except slightly detune pitch on every channel to bring it closer to the drift of VCOs. And you will have a really FAT sound. This however requires the usage of DAW. Even more - you can even have 2 or 3 voice unison that way for polyphony. Like you play note1 on 1-2 ch, note2 on 3-4 ch, note 3 on 5-6, note4 on 1-2, note 5 on 3-4 and so on. Requires some time setting it up but totally worth it

Pete

September 15, 2012 @ 1:38 am

Does anyone know what the "Remote" port on the front is for? Is it another MIDI IN, or was it programmer port like the Rolands often had? I can't find anything out there.

Tom

August 31, 2012 @ 11:15 am

I'm trying to find a workaround to get a good unison sound. If you have a M6, you know the sound changes dramatically when in unison mode. I want a nice long release time for some patches, but that gets messy when in poly mode. Is there a way to assign a single voice to a single MIDI channel perhaps?

JimmyGiant

August 5, 2012 @ 10:14 pm

Want to make a 12 voice M6 or a really fat 6 voice layered sound?
Hate those levers and would rather have wheels?
I have a Matrix 6 & 6R. Going up on ebay shortly, email me directly if interested. Thanks.

audioequip704

July 24, 2012 @ 2:11 pm

If anyone is looking for the 6-R, I'm going to put one up on eBay.

If you'd like to make me an offer first, email me.

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