Regarding extended functions, MIDI Echo turns the MIDI Out into a software MIDI Thru that, among other applications, allows layering of daisy-chained synths. Of even more interest is the Group function, where between two and six daisy-chained Matrixes (including Matrix6/6Rs) are summed to act like a single synth. From 12 to 36 voices are allocated alternately, on a rotating basis, to each unit. A non-Matrix MIDI synth can be used as the last unit in the group, but will play no more than six voices.

When MIDI Channel select is set to Mono modes G1 through G9, each of the Matrix's six notes is assigned to a separate MIDI channel; this is vitally important for MIDI guitar applications. Each of the controller's strings is assigned its own voice, albeit with the same sound and a common, monophonic audio out.

Programming
You can access the instrument's programming features either through the front panel of a linked Matrix-6/6R, or with a software editor. The Matrix-1000 is largely compatible with existing Matrix-6 editors by Opcode (Mac, Atari, and Amiga) and Dr. T's (Commodore 64, Atari, Amiga), but both companies have released Matrix-1000 editor/librarians that should be completely compatible, including onscreen lists of all factory program names. (Unfortunately, Dr. T's no longer supports the C64 for newer programs, so users of this computer must rely on the Matrix-6 software.)

Given the potential benefits of modifying the 1000's factory programs, having to do all voice editing via computer or a Matrix-6/6R is a limitation, although this approach does keep the cost down.

Programming flexibility in the form of Matrix modulation is the most powerful feature of the Oberheim Matrix series. In addition to providing ''hard-wired" control and audio signal paths, Matrix modulation in the 1000 allows any one, or several, of the 20 modulation sources (envelope generators, LFOs, velocity, levers, etc.) to modulate any one, or several, of 32 destinations (including DCOs, the VCF, VCAs, and other modulation sources), providing a profusion of possible audio and control paths.

Each voice is generated from two DCOs that are capable of variable pulse waves, mixable sawtooth and triangle waves, variably filtered noise (DCO2 only), a low-frequency spike or "click" for percussive attacks (DCO2), or a mixture of the above. The DCOs are summed into one VCF for each voice.

Other major modules include two VCAs, three envelope generators, portamento, and two LFOs that can be modulated by both the Matrix modulation sources and ramp generators for tremolo and other effects. The VCF can be driven into oscillation (maximum resonance) and frequency modulated with DCO1; this is labeled "FM Effects."

The Matrix-1000 has some limitations: it is unitimbral (plays only one program at a time) and cannot be "zoned'' (Oberheim's term for telling the unit to play only a specified range of notes). There are hardware and software solutions to this (including the new Oberheim Systemizer), and this is not a problem with sequencers or master keyboards like the Yamaha KX88 that can send on a separate MIDI channel for each slave.

A nice feature would have been a cassette interface. Non-computer users could load the many available third-party Matrix-6 programs (except those using splits), and computer users could load special sets without lugging "Big Mac" everywhere. This might have raised the price, but it would make the box more attractive to the many non-computerized electronic musicians. Still, Oberheim feels that 1,000 programs should satisfy most users, especially with 200 as available in RAM, and they may be right.

The manual is clear and explains the front panel well, but says nothing about programming or the subtleties of the 1000; the Matrix-6 editor/librarian manuals tell you how to access features, not how to use them. If you don't know Matrix programming, pick up a copy of Oberheim Matrix-6, Getting the Most out of Yours by Jeff Burger. The MIDI implementation chart should be included in the manual; if yours is missing, Oberheim will supply one.

The Matrix-1000 is not just for keyboard players and MIDI guitarists. The richness of the layered sounds, the smooth operation of the analog VCF and VCAs, and the unit's flexible responsiveness to MIDI controllers make the 1000 a good match for MIDI wind controllers.

You don't need a computer or a Matrix6/6R to use the Matrix-1000; having 1,000 plug-and-play programs is nifty. But editing and storage capabilities make the difference between a nice-sounding box and an all-around professional tool. As it is, the sound quality, special features such as Group mode, and the programming potential make the Matrix-1000 an excellent, cost-effective add-on for studios and computer-equipped electronic musicians.

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