|
Thanks to all on this list for the kind help in debugging the Matrix-12.
The kindness and the high level of expertise is really appreciated.
I have learned a lot.
I have also had a little bit of time to play with the Matrix, and I
can see why many people prefer the Xpander. The Matrix-12 is huge in
all manners of the word. It is physically big, heavy, and just the
depth from front of the keys to the rear is staggering. Most other
analog polysynths are small by comparison. Also, the sound when using
all 12 keys are almost over the top. I originally thought that having
an Xpander with "only" 6 voices would be limiting, but now I know that
used in a musical context, that is plenty. Also: the Xpander do not
have to boggle with the dual voice cards, the keyboard and all that.
Thinking about it, I am not really sure I want a Matrix-12, but I must
say that I am getting really interested in getting myself an Xpander.
My music is typically "old school", and I use a lot of analog modular
synths, step sequencers and floating pads, and the Xpander would be
perfect for that kind of music. The depth of modulation is really
good, and I must say that for once the sale pitch is correct: it is
almost like a polyphonic modular synth. I don?t know many other analog
synths that can modulate the VCOs with so many modulators, and have
the modulators being modulated by something else, that in turn are
modulated again. Just having two different LFOs for each of the VCOs
pulse width modulation is already luxury, and when you start using
several moving modulation patchs into pitch, pulse width and VCF
cutoff fluxuation, the livelyness of the sound is just beautiful.
Technically I am also quite impressed with the tuning stability (when
it works...). On the scope I can see how the pitch correction works in
the first few minutes after power-up, and how it works while I am
playing. I know how hard it can be to have analog VCOs track over 5
octaves (I regulary calibrate my own modular VCOs), so yes, I am
impressed by what this machine can do.
I see on the ?net that an Xpander will easily cost me around 3.000
dollars, while a Matrix-12 is only marginally more expensive. Hm. I
will have to do some more repair work before I can even consider
buying one. So one day, then.
Terje Winther
terje.winther@...
|
I think the Xpander would be the most useful for
you Terje since you use so much CV/Gate stuff already.
?
Also, the fact that it has separate outs means it
can be very useful in a live situation.
?
WT
?
toggle quoted message
Show quoted text
----- Original Message -----
Sent: Saturday, July 14, 2012 3:13
PM
Subject: [xpantastic] The pure size of
the Matrix-12
?
Thanks to all on this list for the kind help in debugging the
Matrix-12.
The kindness and the high level of expertise is really
appreciated.
I have learned a lot.
I have also had a little bit of
time to play with the Matrix, and I
can see why many people prefer the
Xpander. The Matrix-12 is huge in
all manners of the word. It is
physically big, heavy, and just the
depth from front of the keys to the
rear is staggering. Most other
analog polysynths are small by comparison.
Also, the sound when using
all 12 keys are almost over the top. I
originally thought that having
an Xpander with "only" 6 voices would be
limiting, but now I know that
used in a musical context, that is plenty.
Also: the Xpander do not
have to boggle with the dual voice cards, the
keyboard and all that.
Thinking about it, I am not really sure I want a
Matrix-12, but I must
say that I am getting really interested in getting
myself an Xpander.
My music is typically "old school", and I use a lot of
analog modular
synths, step sequencers and floating pads, and the Xpander
would be
perfect for that kind of music. The depth of modulation is really
good, and I must say that for once the sale pitch is correct: it is
almost like a polyphonic modular synth. I don?t know many other analog
synths that can modulate the VCOs with so many modulators, and have
the modulators being modulated by something else, that in turn are
modulated again. Just having two different LFOs for each of the VCOs
pulse width modulation is already luxury, and when you start using
several moving modulation patchs into pitch, pulse width and VCF
cutoff fluxuation, the livelyness of the sound is just
beautiful.
Technically I am also quite impressed with the tuning stability
(when
it works...). On the scope I can see how the pitch correction works
in
the first few minutes after power-up, and how it works while I am
playing. I know how hard it can be to have analog VCOs track over 5
octaves (I regulary calibrate my own modular VCOs), so yes, I am
impressed by what this machine can do.
I see on the ?net that an
Xpander will easily cost me around 3.000
dollars, while a Matrix-12 is
only marginally more expensive. Hm. I
will have to do some more repair
work before I can even consider
buying one. So one day, then.
Terje
Winther
terje.winther@...
|
Thats a cool read, Terje !
I love my Xpander since I buyed it as a 1st owner and,
surprisingly, it is one of the most reliable analog synthesizers I
ever owned incl. my Minimoog D.
While I gave up touring w/ the Minimoog already 2nd half of the
80th, Id go on the road w/ the Xpander up today because it didnt
need service much within 24 years.
I only had to replace a CEM signal generator many years ago and
now a few tact switches need replacement too.
I collected all kinds of parts for refubishing my Xpander and it
will be done somewhere this year even it plays like the 1st day.
In fact, it was in the hands of roadies twice a year for many
weeks, traveled in trucks and planes, in the cold and in the heat
and it never failed in a studio or on a stage.
Its a super reliable piece of gear and also my VFD displays shine
bright up to now.
The smaller form factor of the Xpander makes it more reliable than
the Matrix-12 because the case of the Matrix-12 isnt the most
stiff and stable one.
Circuit boards bend on transport.
I shortly aquired a Oberheim XK, already w/ a better PSU and chips
in sockets, which now waits for tact switches replacement since
Ive found the switches.
Ive connected it to the Xpander and, yes,- the behaviour of that
keyboard is perfect for the Xpander so I can say, both offer what
the Xpander lacks,- the action, the levers and a arpeggiator I had
in my Oberheim OB-8.
The 6 voices are enough for any music, even 4 voices in a Oberheim
4-voice were enough to play any chord we know in the diatonic
system.
The modulation page in the Matrix-12 offers better overview for
modulation sources and destinations, thats true, but I can live
without it.
The detune page is another story,- but my workaround is a good
analogue stereo modulation device offering fat chorus for these
sounds.
P.ex. a old Rocktron Prochorus is a 6 voice analogue tap delay in
1st order and these taps are modulated by a LFO.
Theres a feedback circuit too for the flanging type stuff,- but
the best is, you can place each of the taps to left, right or
center individually in the stereo field.
So, when using the Xpander voice panning in addition,- the result
is pretty similar to what comes out of a Matrix-12, the
voiceboards stacked and detuned.
Can also be done w/ digital multi FX units like a Digitech Studio
400 or similar.
Dont underrate youd get CV/GATE inputs for each voice in a
Xpander and w/ the Matrix-12 you wont.
Owning the Minimoog featured w/ CV/GATE outputs, is breeze to link
1 voice of the Xpander to the Minimoogs keyboard and plying w/
sounds which were formerly created w/ a Minimoog and a Oberheim
SEM module.
And there are the single outputs for each voice youd need a
hardware option for the Matrix-12 if you want that.
best
PeWe
Am 14.07.2012 15:13, schrieb Terje Winther:
toggle quoted message
Show quoted text
Thanks to all on this list for the kind help in debugging
the Matrix-12.
The kindness and the high level of expertise is really
appreciated.
I have learned a lot.
I have also had a little bit of time to play with the
Matrix, and I
can see why many people prefer the Xpander. The Matrix-12
is huge in
all manners of the word. It is physically big, heavy, and
just the
depth from front of the keys to the rear is staggering.
Most other
analog polysynths are small by comparison. Also, the sound
when using
all 12 keys are almost over the top. I originally thought
that having
an Xpander with "only" 6 voices would be limiting, but now
I know that
used in a musical context, that is plenty. Also: the
Xpander do not
have to boggle with the dual voice cards, the keyboard and
all that.
Thinking about it, I am not really sure I want a
Matrix-12, but I must
say that I am getting really interested in getting myself
an Xpander.
My music is typically "old school", and I use a lot of
analog modular
synths, step sequencers and floating pads, and the Xpander
would be
perfect for that kind of music. The depth of modulation is
really
good, and I must say that for once the sale pitch is
correct: it is
almost like a polyphonic modular synth. I dont know many
other analog
synths that can modulate the VCOs with so many modulators,
and have
the modulators being modulated by something else, that in
turn are
modulated again. Just having two different LFOs for each
of the VCOs
pulse width modulation is already luxury, and when you
start using
several moving modulation patchs into pitch, pulse width
and VCF
cutoff fluxuation, the livelyness of the sound is just
beautiful.
Technically I am also quite impressed with the tuning
stability (when
it works...). On the scope I can see how the pitch
correction works in
the first few minutes after power-up, and how it works
while I am
playing. I know how hard it can be to have analog VCOs
track over 5
octaves (I regulary calibrate my own modular VCOs), so
yes, I am
impressed by what this machine can do.
I see on the net that an Xpander will easily cost me
around 3.000
dollars, while a Matrix-12 is only marginally more
expensive. Hm. I
will have to do some more repair work before I can even
consider
buying one. So one day, then.
Terje Winther
terje.winther@...
|
Thanks! Very interesting to read about the Xpander. The seperate outputs and CV/gate pr. voice input is very intriguing for me. I can see a lot of uses for that in my modular setup, as well as an extension for my minimoog. And of course for great polyphonic chords. I already have a MIDI master keyboard and one of those Roland CV keyboards, and I am building myself a polyphonic MICI-CV controller, so the possible uses are endless. Having a master keyboard with an arpeggiator seems like a good idea. I mostly rely on analog step sequencers, and since they can interface directly with the Xpander, that would be a lot of creative fun. Two of the moog modular sequencers equals 6 rows of notes, the same as the Xpander inputs. Seems to be a perfect match!
I see the occasional Xpander for sale here and there, but noticed in several ads a reference to various versions of the Xpander. I tried to find more info regarding this, but all I could find was details about different versions of the internal ROM chips for voices, cassette interface and frontpanel (?) It may be that the various "versions" they are refering to are 110V and 220V versions, or are Japanese, European and American Xpanders different? It seems to be the same voice cards on all of them.
One last question: is there a monophonic alternative on the Matrix-12, where all 24 VCOs are played monophonically in unison?
Terje
Den 14. juli. 2012 kl. 16.06 skrev PeWe: ?
That?s a cool read, Terje !
I love my Xpander since I buyed it as a 1st owner and, surprisingly, it is one of the most reliable analog synthesizers I ever owned incl. my Minimoog D.
While I gave up touring w/ the Minimoog already 2nd half of the 80th, I?d go on the road w/ the Xpander up today because it didn?t need service much within 24 years.
I only had to replace a CEM signal generator many years ago and now a few tact switches need replacement too.
I collected all kinds of parts for refubishing my Xpander and it will be done somewhere this year even it plays like the 1st day.
In fact, it was in the hands of roadies twice a year for many weeks, traveled in trucks and planes, in the cold and in the heat and it never failed in a studio or on a stage.
It?s a super reliable piece of gear and also my VFD displays shine bright up to now.
The smaller form factor of the Xpander makes it more reliable than the Matrix-12 because the case of the Matrix-12 isn?t the most stiff and stable one.
Circuit boards bend on transport.
I shortly aquired a Oberheim XK, already w/ a better PSU and chips in sockets, which now waits for tact switches replacement since I?ve found the switches.
I?ve connected it to the Xpander and, yes,- the behaviour of that keyboard is perfect for the Xpander so I can say, both offer what the Xpander lacks,- the action, the levers and a arpeggiator I had in my Oberheim OB-8.
The 6 voices are enough for any music, even 4 voices in a Oberheim 4-voice were enough to play any chord we know in the diatonic system.
The modulation page in the Matrix-12 offers better overview for modulation sources and destinations, that?s true, but I can live without it.
The detune page is another story,- but my workaround is a good analogue stereo modulation device offering fat chorus for these sounds.
P.ex. a old Rocktron Prochorus is a 6 voice analogue tap delay in 1st order and these taps are modulated by a LFO.
There?s a feedback circuit too for the flanging type stuff,- but the best is, you can place each of the taps to left, right or center individually in the stereo field.
So, when using the Xpander voice panning in addition,- the result is pretty similar to what comes out of a Matrix-12, the voiceboards stacked and detuned.
Can also be done w/ digital multi FX units like a Digitech Studio 400 or similar.
Don?t underrate you?d get CV/GATE inputs for each voice in a Xpander and w/ the Matrix-12 you won?t.
Owning the Minimoog featured w/ CV/GATE outputs, is breeze to link 1 voice of the Xpander to the Minimoog?s keyboard and plying w/ sounds which were formerly created w/ a Minimoog and a Oberheim SEM module.
And there are the single outputs for each voice you?d need a hardware option for the Matrix-12 if you want that.
best
PeWe
Am 14.07.2012 15:13, schrieb Terje Winther:
? Thanks to all on this list for the kind help in debugging the Matrix-12.
The kindness and the high level of expertise is really appreciated.
I have learned a lot.
I have also had a little bit of time to play with the Matrix, and I
can see why many people prefer the Xpander. The Matrix-12 is huge in
all manners of the word. It is physically big, heavy, and just the
depth from front of the keys to the rear is staggering. Most other
analog polysynths are small by comparison. Also, the sound when using
all 12 keys are almost over the top. I originally thought that having
an Xpander with "only" 6 voices would be limiting, but now I know that
used in a musical context, that is plenty. Also: the Xpander do not
have to boggle with the dual voice cards, the keyboard and all that.
Thinking about it, I am not really sure I want a Matrix-12, but I must
say that I am getting really interested in getting myself an Xpander.
My music is typically "old school", and I use a lot of analog modular
synths, step sequencers and floating pads, and the Xpander would be
perfect for that kind of music. The depth of modulation is really
good, and I must say that for once the sale pitch is correct: it is
almost like a polyphonic modular synth. I don?t know many other analog
synths that can modulate the VCOs with so many modulators, and have
the modulators being modulated by something else, that in turn are
modulated again. Just having two different LFOs for each of the VCOs
pulse width modulation is already luxury, and when you start using
several moving modulation patchs into pitch, pulse width and VCF
cutoff fluxuation, the livelyness of the sound is just beautiful.
Technically I am also quite impressed with the tuning stability (when
it works...). On the scope I can see how the pitch correction works in
the first few minutes after power-up, and how it works while I am
playing. I know how hard it can be to have analog VCOs track over 5
octaves (I regulary calibrate my own modular VCOs), so yes, I am
impressed by what this machine can do.
I see on the ?net that an Xpander will easily cost me around 3.000
dollars, while a Matrix-12 is only marginally more expensive. Hm. I
will have to do some more repair work before I can even consider
buying one. So one day, then.
Terje Winther
terje.winther@...
|
there are American manf units and Japanese manf units.
It's my understanding that the Japanese? ones are more prone to build quality issues. But I cant confirm that myself.
And yes, to play all voices in monophonic you just need to set your main zone to "unison" mode. there is uni-high, uni-low, and uni-reset modes
On Jul 15, 2012, at 11:28 AM, Terje Winther < terje.winther@...> wrote:
?
Thanks! Very interesting to read about the Xpander. The seperate outputs and CV/gate pr. voice input is very intriguing for me. I can see a lot of uses for that in my modular setup, as well as an extension for my minimoog. And of course for great polyphonic chords. I already have a MIDI master keyboard and one of those Roland CV keyboards, and I am building myself a polyphonic MICI-CV controller, so the possible uses are endless. Having a master keyboard with an arpeggiator seems like a good idea. I mostly rely on analog step sequencers, and since they can interface directly with the Xpander, that would be a lot of creative fun. Two of the moog modular sequencers equals 6 rows of notes, the same as the Xpander inputs. Seems to be a perfect match!
I see the occasional Xpander for sale here and there, but noticed in several ads a reference to various versions of the Xpander. I tried to find more info regarding this, but all I could find was details about different versions of the internal ROM chips for voices, cassette interface and frontpanel (?) It may be that the various "versions" they are refering to are 110V and 220V versions, or are Japanese, European and American Xpanders different? It seems to be the same voice cards on all of them.
One last question: is there a monophonic alternative on the Matrix-12, where all 24 VCOs are played monophonically in unison?
Terje
Den 14. juli. 2012 kl. 16.06 skrev PeWe: ?
That?s a cool read, Terje !
I love my Xpander since I buyed it as a 1st owner and, surprisingly, it is one of the most reliable analog synthesizers I ever owned incl. my Minimoog D.
While I gave up touring w/ the Minimoog already 2nd half of the 80th, I?d go on the road w/ the Xpander up today because it didn?t need service much within 24 years.
I only had to replace a CEM signal generator many years ago and now a few tact switches need replacement too.
I collected all kinds of parts for refubishing my Xpander and it will be done somewhere this year even it plays like the 1st day.
In fact, it was in the hands of roadies twice a year for many weeks, traveled in trucks and planes, in the cold and in the heat and it never failed in a studio or on a stage.
It?s a super reliable piece of gear and also my VFD displays shine bright up to now.
The smaller form factor of the Xpander makes it more reliable than the Matrix-12 because the case of the Matrix-12 isn?t the most stiff and stable one.
Circuit boards bend on transport.
I shortly aquired a Oberheim XK, already w/ a better PSU and chips in sockets, which now waits for tact switches replacement since I?ve found the switches.
I?ve connected it to the Xpander and, yes,- the behaviour of that keyboard is perfect for the Xpander so I can say, both offer what the Xpander lacks,- the action, the levers and a arpeggiator I had in my Oberheim OB-8.
The 6 voices are enough for any music, even 4 voices in a Oberheim 4-voice were enough to play any chord we know in the diatonic system.
The modulation page in the Matrix-12 offers better overview for modulation sources and destinations, that?s true, but I can live without it.
The detune page is another story,- but my workaround is a good analogue stereo modulation device offering fat chorus for these sounds.
P.ex. a old Rocktron Prochorus is a 6 voice analogue tap delay in 1st order and these taps are modulated by a LFO.
There?s a feedback circuit too for the flanging type stuff,- but the best is, you can place each of the taps to left, right or center individually in the stereo field.
So, when using the Xpander voice panning in addition,- the result is pretty similar to what comes out of a Matrix-12, the voiceboards stacked and detuned.
Can also be done w/ digital multi FX units like a Digitech Studio 400 or similar.
Don?t underrate you?d get CV/GATE inputs for each voice in a Xpander and w/ the Matrix-12 you won?t.
Owning the Minimoog featured w/ CV/GATE outputs, is breeze to link 1 voice of the Xpander to the Minimoog?s keyboard and plying w/ sounds which were formerly created w/ a Minimoog and a Oberheim SEM module.
And there are the single outputs for each voice you?d need a hardware option for the Matrix-12 if you want that.
best
PeWe
Am 14.07.2012 15:13, schrieb Terje Winther:
? Thanks to all on this list for the kind help in debugging the Matrix-12.
The kindness and the high level of expertise is really appreciated.
I have learned a lot.
I have also had a little bit of time to play with the Matrix, and I
can see why many people prefer the Xpander. The Matrix-12 is huge in
all manners of the word. It is physically big, heavy, and just the
depth from front of the keys to the rear is staggering. Most other
analog polysynths are small by comparison. Also, the sound when using
all 12 keys are almost over the top. I originally thought that having
an Xpander with "only" 6 voices would be limiting, but now I know that
used in a musical context, that is plenty. Also: the Xpander do not
have to boggle with the dual voice cards, the keyboard and all that.
Thinking about it, I am not really sure I want a Matrix-12, but I must
say that I am getting really interested in getting myself an Xpander.
My music is typically "old school", and I use a lot of analog modular
synths, step sequencers and floating pads, and the Xpander would be
perfect for that kind of music. The depth of modulation is really
good, and I must say that for once the sale pitch is correct: it is
almost like a polyphonic modular synth. I don?t know many other analog
synths that can modulate the VCOs with so many modulators, and have
the modulators being modulated by something else, that in turn are
modulated again. Just having two different LFOs for each of the VCOs
pulse width modulation is already luxury, and when you start using
several moving modulation patchs into pitch, pulse width and VCF
cutoff fluxuation, the livelyness of the sound is just beautiful.
Technically I am also quite impressed with the tuning stability (when
it works...). On the scope I can see how the pitch correction works in
the first few minutes after power-up, and how it works while I am
playing. I know how hard it can be to have analog VCOs track over 5
octaves (I regulary calibrate my own modular VCOs), so yes, I am
impressed by what this machine can do.
I see on the ?net that an Xpander will easily cost me around 3.000
dollars, while a Matrix-12 is only marginally more expensive. Hm. I
will have to do some more repair work before I can even consider
buying one. So one day, then.
Terje Winther
terje.winther@...
|
there are American manf units and Japanese manf units.
It's my understanding that the Japanese? ones are more prone to build quality issues. But I cant confirm that myself.
All right, thank you, very useful information. So just two hardwave versions, then. That should be easy. I notice that all Xpanders for sale these days are Japanese versions. And yes, to play all voices in monophonic you just need to set your main zone to "unison" mode. there is uni-high, uni-low, and uni-reset modes
Great, thanks! Will try that as soon as I get the new DAC.
__
|
>>>
Am 15.07.2012 17:28, schrieb Terje Winther:
:-)
Very interesting to read about the Xpander. The
seperate outputs and CV/gate pr. voice input is very
intriguing for me. I can see a lot of uses for that in my
modular setup, as well as an extension for my minimoog.
And of course for great polyphonic chords. I already have
a MIDI master keyboard and one of those Roland CV
keyboards, and I am building myself a polyphonic MICI-CV
controller, so the possible uses are endless.
Having a master keyboard with an arpeggiator seems like
a good idea. I mostly rely on analog step sequencers, and
since they can interface directly with the Xpander, that
would be a lot of creative fun. Two of the moog modular
sequencers equals 6 rows of notes, the same as the Xpander
inputs. Seems to be a perfect match!
Also have in mind,- exactly like w/ a Matrix-12, in Multi-Patch
Mode, theres the option die fine which voicees will be triggered by
CV/Gate and which over MIDI.
So, cable connections can be permanent and you decide by creating
patches.
As a polyphonic MIDI CV/ interface,- I use the trusty vintage Roland
MPU-101 which never failed here since I buyed it new,- but 4 voices
only.
I see the occasional Xpander for sale here and there,
but noticed in several ads a reference to various versions
of the Xpander.
US and japanese versions.
There were also early US versions w/ a 24dB low pass filter only and
later ones were w/ multi moder filter.
Id say most US XPanders are w/ multimode filters.
BEWARE of the japanese models,- completely differen PSU and voice
board design,- not reliable units !
I tried to find more info regarding this, but all I
could find was details about different versions of the
internal ROM chips for voices, cassette interface and
frontpanel (?) It may be that the various "versions" they
are refering to are 110V and 220V versions, or are
Japanese, European and American Xpanders different? It
seems to be the same voice cards on all of them.
See above.
ROM chip version can be upgraded to the very last versions if you
have a Eprom burner handling the Eproms used in the
Matrix-12/Xpander.
The images are still available.
One last question: is there a monophonic alternative on
the Matrix-12, where all 24 VCOs are played monophonically
in unison?
Well, each patch used in a slot of a Multi Patch can be set to
unison/mono,- so its practically 6 monophonic synths in a Xpander.
These "synths" together can be played in unison on the smae MIDI
channel too in a multi patch,- or each one monophonic on different
MIDI channels,- or any mix of key assignment modes.
The kay assignement modes in multi patch mode are similar to the old
4 - an 8-voice Oberheims composed from SEM modules.
With the Matrix-12 you have the detune page, w/ the Xpander you
wont.
Theres the workaround copying the same patch to different
single-patch memory slots and fine-tune the OSCs differently, then
store again.
Then, if you put em into multi patch slots and set em to unison,-
thats it for all 6 voices in the Xpander in munison/mono and
detuned.
I dont know what the difference w/ the Matrix-12 and the 2nd voice
board is though ...
PeWe
|
unison does not require multi-mode.
all you have to do is assign all 6 voices to the same zone (in this case zone 1) and then set zone 1 to one of the unison modes instead of rotate or reset mode
much easier than having to mess with multi-mode.
On Jul 16, 2012, at 12:32 PM, PeWe < ha-pewe@...> wrote:
?
>>>
Am 15.07.2012 17:28, schrieb Terje Winther:
?
:-)
Very interesting to read about the Xpander. The
seperate outputs and CV/gate pr. voice input is very
intriguing for me. I can see a lot of uses for that in my
modular setup, as well as an extension for my minimoog.
And of course for great polyphonic chords. I already have
a MIDI master keyboard and one of those Roland CV
keyboards, and I am building myself a polyphonic MICI-CV
controller, so the possible uses are endless.
Having a master keyboard with an arpeggiator seems like
a good idea. I mostly rely on analog step sequencers, and
since they can interface directly with the Xpander, that
would be a lot of creative fun. Two of the moog modular
sequencers equals 6 rows of notes, the same as the Xpander
inputs. Seems to be a perfect match!
Also have in mind,- exactly like w/ a Matrix-12, in Multi-Patch
Mode, there?s the option die fine which voicees will be triggered by
CV/Gate and which over MIDI.
So, cable connections can be permanent and you decide by creating
patches.
As a polyphonic MIDI CV/ interface,- I use the trusty vintage Roland
MPU-101 which never failed here since I buyed it new,- but 4 voices
only.
I see the occasional Xpander for sale here and there,
but noticed in several ads a reference to various versions
of the Xpander.
US and japanese versions.
There were also early US versions w/ a 24dB low pass filter only and
later ones were w/ multi moder filter.
I?d say most US XPanders are w/ multimode filters.
BEWARE of the japanese models,- completely differen PSU and voice
board design,- not reliable units !
I tried to find more info regarding this, but all I
could find was details about different versions of the
internal ROM chips for voices, cassette interface and
frontpanel (?) It may be that the various "versions" they
are refering to are 110V and 220V versions, or are
Japanese, European and American Xpanders different? It
seems to be the same voice cards on all of them.
See above.
ROM chip version can be upgraded to the very last versions if you
have a Eprom burner handling the Eproms used in the
Matrix-12/Xpander.
The images are still available.
One last question: is there a monophonic alternative on
the Matrix-12, where all 24 VCOs are played monophonically
in unison?
Well, each patch used in a slot of a Multi Patch can be set to
unison/mono,- so it?s practically 6 monophonic synths in a Xpander.
These "synths" together can be played in unison on the smae MIDI
channel too in a multi patch,- or each one monophonic on different
MIDI channels,- or any mix of key assignment modes.
The kay assignement modes in multi patch mode are similar to the old
4 - an 8-voice Oberheims composed from SEM modules.
With the Matrix-12 you have the detune page, w/ the Xpander you
won?t.
There?s the workaround copying the same patch to different
single-patch memory slots and fine-tune the OSCs differently, then
store again.
Then, if you put ?em into multi patch slots and set ?em to unison,-
that?s it for all 6 voices in the Xpander in munison/mono and
detuned.
I don?t know what the difference w/ the Matrix-12 and the 2nd voice
board is though ...
PeWe
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Ah, yes.
Typed form my head here and youre right !
Am 16.07.2012 18:36, schrieb Omar Torres:
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unison does not require multi-mode.
all you have to do is assign all 6 voices to
the same zone (in this case zone 1) and then
set zone 1 to one of the unison modes instead
of rotate or reset mode
much easier than having to mess with multi-mode.
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Also have in mind,- exactly like w/ a Matrix-12, in Multi-Patch
Mode, there?s the option die fine which voicees will be triggered by
CV/Gate and which over MIDI.
So, cable connections can be permanent and you decide by creating
patches. That is just brilliant! I did not think of that. For a live performing musician like me, that is heaven sent. BEWARE of the japanese models,- completely differen PSU and voice
board design,- not reliable units ! Yes, so I understand! I heard that not even Oberheim staff could service the Japanese models, so I will not even attempt! ROM chip version can be upgraded to the very last versions if you
have a Eprom burner handling the Eproms used in the Matrix-12/Xpander.
The images are still available. Good to know. Terje Winther terje.winther@...
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Like I said: Lots of expertise on this list! Thanks a lot. Terje Den 16. juli. 2012 kl. 18.36 skrev Omar Torres:
unison does not require multi-mode.
all you have to do is assign all 6 voices to
the same zone (in this case zone 1) and then
set zone 1 to one of the unison modes instead
of rotate or reset mode
much easier than having to mess with multi-mode.
-omar
Terje Winther terje.winther@...
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Sorry for the typos in that mail,- I
was fast typing and had no time for a re-read.
Must be "theres the option to define which voices"
"different PSU"
:-)
Am 16.07.2012 22:37, schrieb Terje Winther:
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Show quoted text
> Also have in mind,- exactly like w/ a Matrix-12, in
Multi-Patch
> Mode, theres the option die fine which voicees will
be triggered by
> CV/Gate and which over MIDI.
> So, cable connections can be permanent and you decide
by creating
> patches.
That is just brilliant! I did not think of that. For a
live performing
musician like me, that is heaven sent.
> BEWARE of the japanese models,- completely differen
PSU and voice
> board design,- not reliable units !
Yes, so I understand! I heard that not even Oberheim staff
could
service the Japanese models, so I will not even attempt!
> ROM chip version can be upgraded to the very last
versions if you
> have a Eprom burner handling the Eproms used in the
Matrix-12/Xpander.
> The images are still available.
Good to know.
Terje Winther
terje.winther@...
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