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Am 16.07.2012 23:47, schrieb Howie Shen:
Am 16.07.2012 23:47, schrieb Howie Shen:
\ufffdThe way I view the Xpander vs. Matrix-12 is they were designed for 2 different applications; the Xpander is a multi-timbral sound module designed with both CV & MIDI and multiple audio outputs standard so it can integrate into an analog/digital sequencing setup. The Matrix-12 on the other hand was designed for live playing/performing with ability to quickly setup layers/detuning and have velocity & aftertouch for expressive playing from it's own keyboard. Same sounds, just different uses.
Oberheim Xpander came in 1984.
If you go back in Oberheim synth design history,- there was the SEM module 1st, then the 2-voice, 4-voice, 6- and 8-voice SEM based polyphonic synths which were very flexible but not stable in tuning, not very reliable, bulky and storage capacity was very limited.
But this concept designing synths made the Oberheim brand well known and famous.
Then came the OBX in different polyphonic ( 4-, 6- 8-voice) configurations,12dB VCFs only,- then the OBXa,-\ufffd w/ 12 and 24dB VCFs
With the OB-8, their own digital bus was introduces, but no MIDI in OBX, OBXa and OB-8 (when it was introduced).
I buyed my OB-8 already fitted w/ MIDI,- it was one of the later ones where the digital controlled "Page 2" features were introduced already which came as a OS update for the previous models.
In fact, these poly synths were all answers on the Prophet 5, shortly followed by OBX,- and Roland Jupiter 8 (early 1981) followed by OBXa.
Xpander was a logical consequence because MIDI became very popular and they wanted to come up w/ the best MIDI implementation every seen before, but combined this AGAIN w/ the half modular design well known from Oberheim SEM modules, the multimode filter, as also all "Page 2 the functionality" from the OB-8 went into the featurelist of the Xpander.
When they came up w/ the Matrix-12 in 1985 already,- my impression was, they thought CV/GATE was out of fashion or not necessary anymore because MIDI dominated.
Ditching single voice outputs and CV/GATE connectors was a big saver of production costs.
Looking back to 1986 when the Oberheim XK masterkeyboard was introduced already,- I think they had all in their pockets already w/ the developement of the Xpander.
It was the 1st machine w/ that high level of digital control.
As I said in a former post, the Matrix-12, for me wasn\ufffdt the ideal gigging synth because of it\ufffds size and lack of stiffness of it\ufffds case,- and because MIDI was implemented in several other keyboards already, I was easier to travel w/ 1 or 2 Xpanders than w/ a Matrix-12.
I sold my OB-8 because of the Xpander and discovering I was able to re-produce my OB-8 patches on the Xpander by manual re-programming, both side-by side and using earphones.
That was a\ufffd 6-week programming, but also big learning of the Xpander.
I've owned both, but currently still have my M12. The reason is I love programing slowly evolving pad sounds so the 6 voices of the Xpander were not enough...having notes drop out when playing chords just wasn't satisfying.
That\ufffds true,- but using 3 Xpanders w/ a XK surpasses the usage of a Matrix-12 ... :-)
OTOH, lack of "spillover voices" in the XK doesn\ufffdt make 3 Xpanders a 18-voice poly.
But today and w/ a Kurzweil PC3 model, we\ufffdre able to make a 12-voice poly out of 2 Xpanders.
However, I certainly appreciate that some musicians don't use the Xpander for chords, but rather as 6 individually triggered monosynths,-
Oh no, they probably use it for both and multitimbral chords, just like the Matrix-12.
How many notes do you need to play a chord, even a long envolving one and in a musical context ?
According to music theory, you need exactly 4 voices to play every chord,- skip the root.
so I get why the XP is a more practical package. Again, that's the beauty of Oberheim designing 2 different machines.
Yes,- and most interesting w/ Matrix-12 over the Xpander is Dual-Layer Mode w/ voices/voiceboards slightly detuned,- and have to leyers as physical controllers,- like in the OBX, OBXa and OB-8 models.
Many Oberheim players missed the levers and weren\ufffdt very familiar w/ wheel pitch bend techniques when they had to control the Xpander by another MIDI keyboard.
In the past, there was lot of discussion what\ufffds the best,- wheels or levers.
Keyboardplayers were devided into 2 parties because of this.
The comment about the Detune feature of the M12 being only good for techno-style "Hoover" sounds is not very fair.
No one said that, it was a comment on stacking ALL OSCs and detune and there was no comment on the Matrix-12 being only good for techno style hoover.
If you think about the lush organic quality of instruments like the OBX and Yamaha CS80 much of that is due to the individual voice cards inside being slightly off from each other. Essentially that is what the Detune feature on the Matrix allows you to experience...just like in real life where an ensemble of 12 violinists playing the same note aren't hitting the exact same pitch and that's what makes the sound rich.
Best string-, brass- and warm pad sounds by using Matrix-12 in dual layer mode and using the detune page !
But, I always liked layering/stacking different synths more than stacking and detune voices of the same synth.
This includes same type of patches in these different synths.
P.