Oberheim Matrix-6R

Already covered by other reviews

Already covered by other reviews

I like the sound of these, some put it down as being pseudo-analog but it is really analog with digital control. It uses CEM3396 all-in-one chips which take a digital clock pulse and shape it into analog waveforms from triangle to saw and pulse with pwm. So there is no CV controlling the oscillators but a digital clock pulse so it in theory has better tuning stability. However the thing has a tendency to drift and needs calibrating. It's capable of emulating a wide variety of synth sounds although it is a little sluggish at times and not as punchy.

Ok this is why I am writing this. When I got mine it had this problem of turning on and off rapidly. Sometimes the memory would corrupt and the patches would display as non-sense. Well I figured it was a power supply problem, so I probed around but all the power readings were good. the battery was still fine too. Now it works fine, so maybe one of the power connectors had come loose or something. But now sometimes when I turn it on 1 of the voices sticks, so I have to calibrate it to shut it off. All in all it is a risk to buy one of these now because it is very flakey and the chips it uses are very hard to find now, but I find it is worth the risk because I like the sounds this can make. It sounds more musical to me than soft synths, although probably a nord modular would be the best way to go unless you really are attracted to the sounds of the matrix 6.

Forget it

I find it warmer sounding than V/A synths and more musical than soft synths because it is a temperamental machine whereas a soft synth is too perfect sounding but, it is very unreliable and I anticipate it will eventually die and be impossible to repair. They are cheap but will probably be extinct in another 10-20 years as the chips they used are very rare and prone to failure. It is the same thing as a matrix-1000 but has less memory and it uses wider CEM chips and can be programmed from the front panel. However I find this thing delivers a wide variety of classic synth sounds so I am willing to risk powering it up and using it.

Everything is very simply laid out on the front panel ? but for programming complex patches you will have to read the manual. Some parameters aren't so obvious at first, and modulation takes a certain time to master.

6 voice polyphony might seem low, but you can work your way around it. No built-in effects, but reverb is very easy to emulate.

The modulation possibilities are so vast it's easy to get lost when creating a patch. Two DCOs, one VCF, two VCAs, three envelopes, two LFOs, eighteen regular modulation routings, and ten Matrix modulation slots (with twenty possible sources) are quite enough!

The split mode is a major plus, allowing two patches to play at once.

MIDI response is somewhat limited: the Matrix 6R locks up and skips values when sent continuous CC messages. It just wasn't made for "live" tweaking. But then again, with so many modulation possibilities, do you really need to send CC messages over a knob controller? Velocity usually does the trick.

It may not be very popular (and it's a good thing), but this is one monster synth. Strings, pads, harsh noise, growls, acid basses and other oddities, the Matrix 6R has it all.

This is my first and only synth at the moment, and all of the sounds I use in my music come from my Matrix 6R ? I sample the hell out of it! Percussion is an incredible exploratory ground: I got some impressive kicks, metallic clangs, snares and hats, not to forget some unexpected handclaps! Who needs a TR-X0X now?

As I said above, its non-tweakability renders it somewhat static: you'll have to program all those sweeps.

The outputs are a bit weak and slightly noisy too.

LFOs could have been MIDI synchable, but hey, this was 1986: can't ask for too much. Still they could go faster.

It has never failed on me, but I'm not so sure about gigging with it.

I doubt there still is any official support for this. Just find a good technician.

As I said, this is still my first synth ? I can't quite compare it to anything else, but for my needs it is rather excellent, not to mention inexpensive.

If I ever feel the urge to add polyphony I'll just seek out a Matrix 1000 and copy my patches onto it.

Squishy membrane buttons and no knobs. Need I say more? Fortunately there are several options for remote editing of patches, which save the day.

Effectively monotimbral and limited polyphony, but has one of the most flexible synth architectures there is. The mod matrix is fantastic; nearly anything can modulate anything. MIDI implementation is robust enough, although my 6R has a habit of inexplicably sending out volume control messages to my other synths. I'm probably doing something wrong there. Overall, this is one of the most flexible true analog synths you can find - assuming you have a software editor to allow you to take advantage of the power under the hood.

EXCELLENT sound. If you're looking for the classic OB synth and braz sounds, you'll find them here. The braz is simply out of this world - run it through an external chorus and you'll be in Vangelic heaven. It can do a thoroughly huge bass, although the attack envelope is too slow to do a punchy bass.

Where the unit truly blows my mind, however, is in the leads. This bad boy can do the sickest, most WICKED lead sounds I've ever heard. Modulate a bit of detune from the aftertouch and some vibrato on the mod wheel and you can produce gene-mutating lead sounds that will knock your socks off. I really was shocked - I spent all my time going after that 'clean Oberheim sound' and there lurking under the hood was this viscious monster.

Never failed me once. I'd never gig with it - it's too precious for me to take into some smoky bar somewhere.

Oberheim is history, so there is no support. Fortunately these units are relatively common and you can always pick up a spare on EBay at a great price.

If I lost my Matrix6R, I would immediately go out and buy another. It is a classic, classic analog polysynth, and can be had at ridiculously low prices. No it has no knobs - the achilles heel to be sure - but it has that incredible Oberheim sound for a fraction of the price of an OB-8 or OB-SX. Having to use a software editor seems to be a trivial price to pay in return for saving $1000 or more. This synth is a steal.

Although the front of synth strangely resembles a microwave oven, the interface is suprisingly easy to work with. I was able to hook it up and play and edit sounds within 5 minutes or so. There are some paramaters that can only be accessed by pressing different combinations of buttons but that comes with the time period. I imagine that after spending an hour or 2 with it that everything will be a breeze. Overall it seems quite simple to use

It is a rack mounted synth and I am using and old Yamaha CS1x to control it. They work well with each other. It has the same midi capability as any synth on the market. It also has a local on and off option which seems to be a bit rare for the early analog synths. This makes it much nicer to work with in a studio setting.
It has no effects but it dosen't really need them because the sounds are so adjustable. You can also find more bank on the web as well as a software driven editing tool.

The sounds are simply amazing. This thing has balls that are bigger than a blue whale's. It destorys my Korg MS 2000 in warmth. I am a complete tweaker and tend to stray away from factory presets but this box actually has incredible sounding presets. It does have quite a few sounds that I would never use but the other ones more than make up for it. I have only had it for a short time and I am shocked by its power. If you like duuuuuurty bass lines and lush warm pads, this is a great box.

I have had no problems with it. The guy yhat I bought it from had it for eight years and never had a problem either. I have heard about some potential problems so I will keep my fingers crossed.

oberhiem went out of business but I have been able to find everything I need on Synthzone so far.

I would replace it in a second. I have never heard sounds like this for the money. My Korg MS2000 is great as well but this box is soooo much warmer and less controlled. It has added a whole new dimesion to my sound

This really depends on how you use it...if you use an external software editor, it's fairly simple to use...if you like migraines and sore fingertips, then editing it from the front panel is definately a blast. As far as I know, I have the last OS, but you never know what may be floating around out there. I don't have a manual, but if you know you're way around newer VA's, you should be alright.

6 voice 3 space rackmount bi-timbral quasi-analog synth. At least I've read everywhere that the oscillators are digital, everything else is analog. Why then, does it tend to drift out of tune still? It has a Unison mode (stacks all 6 oscillators). It's intensely harsh though...the Unison mode on my EX-8000 makes the patch fat and lush, the Matrix 6r's unison mode makes the patch harsh and digital almost, very tight and distinctly flanged as well. It's fairly controllable via midi, although it's processor can't always keep up. You can assign 5 continuos controllers to anything available in the Matrix. There are no effects, or a sequencer either. There is a nifty little 1/4" envelope trigger on the back that I haven't had a chance to try yet though. A filter input mod would rock, anyone know of this?

Great for the classic Obey brass slushy sound...also good for synth basses and extremely great for pads. Don't hold your breath for realism unless you're from alpha centauri though. The resonance is bit flaky when cranked, but it does self oscillate. It can be programmed to be very fluid on keyboard playing style alone, and it fits in a mix quite well.

So far its been quite dependable, havent gigged with it yet though.

Try the matrix 6/k user group on yahoo.

If it broke or was stolen, yes, I would be pissed, but I probably would buy a more powerful synth in it's wake...I've been dieing to get my hands on an OB-MX or something similar for some time now...my sound is in dire need of an fs1r as well...so....Overall, it would be better with knobs or sliders, a filter mod, better multi-timbral support (the cc#'s always bleed through the channels...), and a few more internal abilities such as another filter, sub oscillator, more wave shapes....da da da...

I have never heard the presets of the Matrix 6R, but I guess since it came out during the (seemingly at the time) last days of analogue polysynths, my bet is they were probably of the DX-7 soundalike persuasion.
Having had plenty of previous experience with parameter menus on my old Korg Poly-800 and DW-8000 gave me a head start with the editing chores. What the previous machines hadn't prepared me for though, was the sheer power of Matrix Modulation... LFOs triggering VCAs and VCAs modulating oscillators made for hours of free running modular synth-styled sounds, rhythm sequences and lush moving pads. I have never had the pleasure of owning an Oberheim Expander or Matrix 12, but if the Matrix 6R is only the tip of the iceberg Oberheim was floating at the time, I sure I wouldn't disapointed.
The Manual was clearly laid out and informative, and it provided me with all the answers I needed.

The Matrix 6R is 6 voice polyphonic like most analogue polys of the era, but it offers two outputs so you get two sounds out of it once. Internally the mapping can be arranged in several split and layer options, which is quite nice considering the complexity of the patches you can create on the unit.
The MIDI implementation of the Matrix 6R is adequate, considering its age, and has never been an issue. The Matrix 6R's patch data can be dumped via MIDI, which allowed me to use the much easier to find Oberheim Matrix 1000 as an expander.

The sounds you can create on this machine really shine, from deep basses to crystaline plucked timbres, while of course passing through monstrous textural constructions and pads so rich, you feel the need to bucket brigade mixers to catch the spillover. When not attempting to cross the river Styx, I sequenced the Matrix 6R's more percussive patches, with subtle modulation from a Doepfer MAQ-16/3 with great results. I have never tried the Matrix 6R with a Keyboard, but I did however own the Matrix 6 keyboard, and was quite satisfied with the response the parameters had to my playing.
There are no onboard effects on the Matrix 6R, but you could easily do without them as there are ways to simulate reverb and echo by doing clever various VCA and LFO tricks.

The Matrix 6R isn't the most solid piece of gear I've encountered. It was an Oberheim synth made by a sub-contractor in Japan, as was the Matrix 6 keyboard, and did not reflect Oberheim's previous (external) tank-like build quality. However, if you can find a Matrix 1000, use it to bring your sounds to the gig.

I have never dealt with Oberheim regarding the Matrix 6R, so I can't really say much about their service... The Matrix 6R is full of rare chips and the number of techs that will actually have them on hand, let alone repair the unit is dwindling, so caveat emptor.

I have owned two Matrix 6Rs, one Matrix 6, and one Matrix 1000. The Matrix 6R is an incredible instrument I wouldn't hesitate to recommend for its creative usefulness. the Matrix 6R served on several of my recordings and can be heard on my "Tacoma Narrows Bridge" "cricklewood", and "Beneath the Valley of the Modulars" CDs.

The presets sound like everything from bad imitation of typical instruments (strings, horns, etc.) to some of the most killer analog sounds you have ever heard. The matrix programming is difficult. Manual is small.

6-voice poliphony, basic Midi. It's basically an expansion module. But see my comments below re: expandability.

OH MAH GOHD! Imagine 6 Minimoogs playing together. It can knock you across the room and leave your clothes smoking where you stand.

I drag it everywhere.

Never dealt with them.

Okay, kiddies. Here is the thing. You can link this up to other Matrix 6Rs, Matrix 6s or Matrix 1000s, and put them in a mode so the it increases the polyphony instead of merely layering. I have this linked to a Matrix 1000 (it also programs the 1000) for a 12-voice kick-butt smoking gun wild hunk o' hardware. Imagine 12 Minimoogs lined up and playing together. That's what I have in 5 rack spaces! And when you slightly detune the oscillators and set it to mono mode (there is a guitar with feedback that will run guitarists off the stage) you'll think you died and went to heaven! And yes, you can blow out the bass bins when you do Jump.

I scored this baby in a small shop while visting N.Y.C.. The presets who cares make your own sounds. mine was all messed up with scattered programs i have no clue which are factory. The editing is easy and with the help of a librain program like midiquest a snap. its interface is big buttons and "line up for the page editing". This at time can be a pain. The parametres are edited with 4 buttons +-1 and +- 5.The manual is extencive and has good descriptions of the parameters.

This is a badd ass dco analog beast with 6 note polphony and is split/ layerable. It has some really cool polphony assimets and a mono mode. there are no bulit in effects but this boys from the mid 80's so theres nothing uncommon. it has midi in/out/thru and l/r outputs. its vel and A.T. sencitive. the real goodies are insde 3 envelopes, 2 lfos, a tracking generator,fm modulators, ramping generator 2 pedal,3 lever(mod wheel) assignmnets. the best is matrix modulation which give you 10 user assignable modulatios with tons of options. including some real good ones like env, filter, fm, lfo, to pratical things like velocity and mod wheels. all in all a must have box!!!!!!

The sound are big fat and analog get a good editor are just sit down and watch the possiblities unfold. i have gotten some of the best bass and pads i have from this as well as some really out there noises.

the boards have a somewhat high failure rate, the racks are "more relyable" I have had mine for 3 years and never had a problem, as well as i know 3 other matrix owners 1 board owner had some trubble.

???? never tryed but there owned by gibson now.

the box kicks especially for the money you have to play with matrix modulation to really see the light. if your look at the new toys like it ie.. the jp8000, the nord lead, the an1x it will stand tall next to any of them. all thaks to matrix modulation. I would buy a second if one came my way cheap enough, and with out a doubt replace it. I have tons of synths and this is one of my favorites. I highly recomend it to anyone looking at analog boards the also make a matrix 1000 which is the same thing with 1000 presets the big draw back is with out a editor program you can't change a thing, with one you got a 1000 user programable analog power house. Other toys i use ..... M1, D110, Tx81z, S4+, K4r, Cs1x, T.B. Pinical, TG55, Asr10, Juno 106(x2) DM5, Dr660(x2), as wella s the mighty Matrix 6.

Overall, well designed and clearly laid out front panel, with all parameters silkscreened on top. Editting of patches is fairly easy, given the small display and constant scrolling from page to page, but is helped by a couple of utilities. A graphic computer editor would probably help, but you won't suffer without one. The manual is excellent. Make sure yours comes with one, or get a copy somewhere, since programming is simplified immensely with it.

Six Voice polyphony, with two oscillators, two LFOs, three envelopes, lag, resonant lowpass filter- its all here kids! No effects, but this was probuced in the mid eighties before those became de rigeur. Besides, it sounds excellent without them. No card slot or disk drive, but it will allow tape dumps and MIDI dumps. Since this is a rack module, the costs are fairly resonable. Mine was originally owned by Oscar Peterson (or so I'm told), and cost a scant $400 Canadian.

Wonderful sounds, from silky string pads to farting and burping noises. Not the best synth for bass though, as the envelope attack times aren't the fastest in the world (a characteristic of most Oberheims). Believe it or not, the electric pianos it does are pretty damn good, as are the clavinets and sick, twisted synth squiggles. Decent lead sounds, but overall this synth excells is chordal sounds (pads and old keyboards) or in sound effects. It's not a super fat sounding module, but it does have some distinct body to it that many of it's contemporaries (ie the DX7 or the Mirage) couldn't match. Expression is excellent on account of the numerous modulation routings, which are user definable. Most synths manufactured today can't match the Matrix series in terms of programability, they're that good. it even senses release velocity, though few keyboards can put that out. Very much a synth for those who already have one or two already, but who want some new colors to their palette.

Heavy case, without many buttons means a tanklike resistance to most problems. American synths as a whole have problems with reliability, but this one has caused me zero problems thus far. Since I don't play live, that may be the reason for my good fortune. Take sensible precautions and you should be OK on tour.

Since it's never been in for repair, I can't say. Oberheim has gone out of business twice, but it seems to come back every time and is currently owned by the folks at Gibson, so service should still be available.

Not a perfect synth, but very nice indeed, and part of a distingished line. If you don't need programmability or do it from a computer, but a Matrix-1000 and save a bit, the internal circuitry is the same. If you need a keyboard, buy the Matrix-6 model (no "R"). For low cost, polyphonic analog, few synths could compare with this one, and since the dance fans haven't yet seized on Obies as the flavour of the month, they're easy to get a hold of. As a tool for layering with other synths, it fills an great niche, on its own, it still holds up quite well.