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Arturia MatrixBrute
Old 5th November 2018
  #2731
M32
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Quote:
Originally Posted by DrJustice View Post
But they are...
Really? i tried assigning the row of osc1>osc2, osc1<osc3>osc1 osc1<noise>fltr etc dials in the matrix, and they didn't take? That does work on yours?
Old 5th November 2018
  #2732
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Quote:
Originally Posted by M32 View Post
Really? i tried assigning the row of osc1>osc2, osc1<osc3>osc1 osc1<noise>fltr etc dials in the matrix, and they didn't take? That does work on yours?
Yes, and it worked on yours too

MatrixBrute User Manual, page 21:
Quote:
For the bi-polar knobs to be used in the modulation matrix, you will need to turn the knob in the direction that you want it to modulate when assigning it. There is a small dead zone on either side of the center detent that will allow you to have no modulation but still allow the knob position to be sensed.
Old 5th November 2018
  #2733
M32
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I did read that, and I'm sure mine didn't. I am starting to think I had a unit with some defects. I tried multiple times to assign those, twisting the knob far beyond the detent. Also sometimes the one doing noise to filter did not do anything until I moved the filter cutoff. The drive dial on the ladder filter made an almost unnoticeable change to the sound. Come to think of it, that one felt a lot more loose then the other knobs... I thought those were just some firmware/design flaws. Maybe not? If the ladder drive was stuck at a particular setting, that could account for the ladder characteristic l found a bit onedimensional...
Old 5th November 2018
  #2734
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Re filter drive. The drive dial won’t make a huge audible difference unless/until you hit the filter harder via the wave levels/mixer levels. This is by design and let’s you really dial in character as needed at many points in the signal path.
Old 5th November 2018
  #2735
M32
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Strange, that's the opposite of how the sub37 works.When oscillator levels are low it gets really beafy and warm, whereas when osc levels are higher, it gets super screamy. Couldn't get the warm beefy on the MB, only the screamy drive sound. It does sound full and solid. But not that warm presence. I do believe the MB might sit in the mix more easily.
Old 5th November 2018
  #2736
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Quote:
Originally Posted by M32 View Post
Strange, that's the opposite of how the sub37 works.When oscillator levels are low it gets really beafy and warm, whereas when osc levels are higher, it gets super screamy. Couldn't get the warm beefy on the MB, only the screamy drive sound. It does sound full and solid. But not that warm presence. I do believe the MB might sit in the mix more easily.
You couldn’t get that sound, but many of us with the Matrixbrute can, in fact I have both, and Matrixbrute blows Sub 37 away in that department. You only got screamy drive sound because you were driving the filters way too hard. I get creamy Model D like sounds out of it. And the MatrixBrute isn’t just one synth, it can have the character of many different synths.

I think you made a huge mistake. It’s my favorite, up there with the OB6, which I also love.

But it’s true. Those little one oscillator synths like SH101 have character because they can be dialed in fast, are easy to play and program, and are fairly simple. I have a bunch like the SH1, the Rogue, and the MiniKorg 700, and I get what your saying. But it’s 2 different planets with those. Matrixbrute will take years to master, while those can be figured out in a couple hours.
Old 5th November 2018
  #2737
M32
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Originally Posted by locosynth View Post
You couldn’t get that sound, but many of us with the Matrixbrute can, in fact I have both, and Matrixbrute blows Sub 37 away in that department. You only got screamy drive sound because you were driving the filters way too hard. I get creamy Model D like sounds out of it. And the MatrixBrute isn’t just one synth, it can have the character of many different synths.

I think you made a huge mistake. It’s my favorite, up there with the OB6, which I also love.

But it’s true. Those little one oscillator synths like SH101 have character because they can be dialed in fast, are easy to play and program, and are fairly simple. I have a bunch like the SH1, the Rogue, and the MiniKorg 700, and I get what your saying. But it’s 2 different planets with those. Matrixbrute will take years to master, while those can be figured out in a couple hours.

I'm getting pretty tired of the osc level remark, of course i tried all kinds of gain staging, even keeping both oscillator and mixer levels below 50 percent and adding a lot of gain, which isn't great for the noise floor. Still sounded pretty meh. It just sounds tame without growl, until you hit it so hard it gets harsh and fuzzy. I could get some moogisch character out of it, but the sound was lifeless and dull. The friend who visited me literally said, well, you can't polish a turd.

I'm gonna stop posting in this tread now, cause all that's left is going yes-no, and i don't want to annoy the people who do enjoy their instrument any more than i already have.
Old 5th November 2018
  #2738
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goldphinga's Avatar
 

Each to their own. No hard feelings. One mans gold is another mans whatever and all that!

Old 5th November 2018
  #2739
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Quote:
Originally Posted by M32 View Post
I'm gonna stop posting in this tread now, cause all that's left is going yes-no, and i don't want to annoy the people who do enjoy their instrument any more than i already have.
You're not annoying anybody. It's an interesting topic for discussion. This is not a dedicated appreciation thread.
Old 5th November 2018
  #2740
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Quote:
Originally Posted by HUBA View Post
You're not annoying anybody. It's an interesting topic for discussion. This is not a dedicated appreciation thread.
Exactly.

At first it was like the evil step child that nobody on GS trusted. Fool me thrice Arturia... kinda deal.

Then, some brave folks started taking the leap. I mean, look at and listen to this beast! Doty's deep dive, etc.

Now it's, I'm MatrixBrute, hear me roar. I'm hanging with the classics.
Old 5th November 2018
  #2741
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Quote:
Originally Posted by M32 View Post
I did read that, and I'm sure mine didn't. I am starting to think I had a unit with some defects. I tried multiple times to assign those, twisting the knob far beyond the detent. Also sometimes the one doing noise to filter did not do anything until I moved the filter cutoff. The drive dial on the ladder filter made an almost unnoticeable change to the sound. Come to think of it, that one felt a lot more loose then the other knobs... I thought those were just some firmware/design flaws. Maybe not? If the ladder drive was stuck at a particular setting, that could account for the ladder characteristic l found a bit onedimensional...
Since you did have audio mod going, I believe the modulation of it worked fine as well - there isn't really much of an opportunity for any strange failure modes there unless those pots are completely dead. Some users have missed the use-dead-zone-to-modulate-from-zero function of the bi-polar audio mod knobs (not really bi-polar, but bi-function).

There is a known bug with the VCO1 < Noise > VCF1 knob:
VCF 1 is being modulated instead of VCO 1 when (a) going to the left of the detent, then exactly to the detent, then to the left of the detent again. This can be ‘cancelled’ by (b) going once to the right of the detent, then to the left of the detent (now VCO 1 is being modulated as it should be). After that, action a can be repeated.
Perhaps this is what caught you out.

That the Drive knobs are initially subtle has been explained to you here.

Yet again, it's perfectly OK to not like the sound. However, I think one should be careful about misrepresenting functionality and claiming almost certainly non existing bugs and defects, while not having the synth there to verify that. Having used the synth for 1/2 week and arriving at the conclusion that it's suitable for "techno or trance, maybe" tells me that you did not get to "learn it inside out". I've had mine for almost 2 years (out of more than 36 years deep into synths), and I'm still exploring its sonics and non obvious functionality.
Old 5th November 2018
  #2742
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Quote:
Originally Posted by M32 View Post
I'm not saying i tried everything that's possible, but more than enough to know i didn't like the basic tone and the filters weren't great. If this was my only mono it'd be a great versatile synth. As is, i prefer more limited synths with great personality, or deep-mod poly's.
I completely understand this sentiment. I had the same feelings for a bit. Having lots of experience and fortunate to have lots of synths my initial reaction was "it's a awesome piece of engineering - but I can get every sounds with better tone on the many other synths I have." However, I placed it on the main tier on one of my stands and I started noodling over the course of several weeks and realized it really does have a wide sweet spot and it really does sound pretty darn good, even more so in the context of a mix. It's analog, it sounds analog, but it doesn't really have vintage tone or the best oscillators or filter, but it does sound great on it's own and is a heck of a piece of engineering. There is no question whatsoever it will be a future classic.
Old 5th November 2018
  #2743
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Quote:
Originally Posted by DrJustice View Post
Since you did have audio mod going, I believe the modulation of it worked fine as well - there isn't really much of an opportunity for any strange failure modes there unless those pots are completely dead. Some users have missed the use-dead-zone-to-modulate-from-zero function of the bi-polar audio mod knobs (not really bi-polar, but bi-function).

There is a known bug with the VCO1 < Noise > VCF1 knob:
VCF 1 is being modulated instead of VCO 1 when (a) going to the left of the detent, then exactly to the detent, then to the left of the detent again. This can be ‘cancelled’ by (b) going once to the right of the detent, then to the left of the detent (now VCO 1 is being modulated as it should be). After that, action a can be repeated.
Perhaps this is what caught you out.

That the Drive knobs are initially subtle has been explained to you here.

Yet again, it's still perfectly OK to not like the sound. However, I think one should be careful about misrepresenting functionality and claiming almost certainly non existing bugs and defects, while not having the synth there to verify that. Having used the synth for 1/2 week and arriving at the conclusion that it's suitable for "techno or trance, maybe" tells me that you did not get to "learn it inside out". I've had mine for almost 2 years, and I'm still exploring its sonics and non obvious functionality (having built, programmed and played synths for more than 36 years).
I agree with this sentiment- it’s perfectly ok not mesh with a given sound. Some synths really take time to understand the scope of their offering. I’ve had the MatrixBrute for several months right now and i feel like I’m just scratching the surface- and I have some years of experience with synths. Personally I feel the MatrixBrute s one of the best synths I have played - to each their own of course but I also believe an instrument this deep is impossible to grasp within a few days or a week. I feel as society in general we are so conditioned to instant gratification that anything that does hit quick gets forgotten. I know some of the best books I have ever read didn’t really come together into later in to the novel. I didn’t like the show Seinfeld at first and it became one of my eventual favourites. I feel the MatrixBrute is one of those instruments that the more u explore the more u adore.
Old 5th November 2018
  #2744
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Quote:
Originally Posted by frankenstino View Post
...I feel as society in general we are so conditioned to instant gratification that anything that does hit quick gets forgotten. I know some of the best books I have ever read didn’t really come together into later in to the novel. I didn’t like the show Seinfeld at first and it became one of my eventual favourites. I feel the MatrixBrute is one of those instruments that the more u explore the more u adore.
Ain't that the truth! Acquired tastes, and other things you have to "work for", are often the most satisfying in the long run.
Old 5th November 2018
  #2745
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Quote:
Originally Posted by azone2 View Post
.. It's analog, it sounds analog, but it doesn't really have vintage tone or the best oscillators or filter, but it does sound great on it's own and is a heck of a piece of engineering. There is no question whatsoever it will be a future classic.
Ooops - random upvote due to finger spasm - it's OK though, it was a fine posting so fate may have guided me well

It has some of the best oscillators I've worked with, and the filters are great; the combo of Steiner and Ladder flavours is a far reaching sonic tool. Mine oozes "vintage" when that's what I program it to do, and I do that much of the time due to my sound preferences. I do however agree that it's a fine piece of engineering and that it'll be a classic - it already is AFAIC.
Old 5th November 2018
  #2746
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Gomjab's Avatar
 

Quote:
Originally Posted by DrJustice View Post
Ooops - wrong upvote due to finger spasm - it's OK though

It has some of the best oscillators I've worked with, and the filters are great; the combo of Steiner and Ladder flavours is a far reaching sonic tool. Mine oozes "vintage" when that's what I program it to do, and I do that much of the time due to my sound preferences. I do however agree that it's a fine piece of engineering and that it'll be a classic - it already is AFAIC.
Surfing the site on a touchscreen device is like tiptoeing through a mine field. Who knows how many bizzare posts I have upvoted

I can’t even check who has thumbs upped a post on my iPad.
Old 8th November 2018
  #2747
PES
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How to get brighter sound

Maybe it has been mentioned before, but you can get a higher filter cutoff frequency by using the CV inputs. Most noticeable on the Steiner filter.

To test, patch VCA out into filter in.

To use in practice, use a free mod destination, like VCO2 Ultra. Patch a cable between that and the filter CV input, then set up a matrix connection between VCO2 Ultra and ENV1 if you want to just use the filter envelope but with a brighter sound.

Not testet much around it, but if you solo the Steiner filter, set it to max, assign the mod wheel to the output in the example above, you will hear there are pitch fluctuations and other irregularities as well as you turn it up slowly. That is, of course, a good thing.*



*unless, of course, it means the MxB can't take it and is about to break down.
Old 8th November 2018
  #2748
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Quote:
Originally Posted by PES View Post
Maybe it has been mentioned before, but you can get a higher filter cutoff frequency by using the CV inputs. Most noticeable on the Steiner filter...
Indeed it does

And that pushing of the ranges also works for the waveshapers and the VCA

* The VCA goes quite non-linear when the CV input is cranked.

* The ultrasaw goes even more ultra.

* The Square allows negative pulse width amounts using the CV so that you get not just the square to narrow positive pulse, but also square to narrow negative pulse with the negative CV range. This can not be achieved with the internal modulation.

* The triangle metalizer freaks out, goes past the usual wavefolding and becomes a strange distorted square thingy mixed with the wavefolding. It goes towards a shape of f,+1,f,-1,f,+1... I.e. a positive and negative pulse with the folded wave in between. Whacky!

I posted some findings about the waveshaper modulation on the Arturia forum - check out the "Wave shape modulation (and other) enigmas"-thread. You need to log in to see the diagrams accompanying the posting.

Now for some measurements of the filters in low pass mode with 24dB/oct slope, with +5V applied to the cutoff CV inputs:

* The Ladder opens up with:
+4dB @ 10kHz
+6dB @ 20kHz
+3dB @ 40kHz
* The Steiner opens up with:
+5dB @ 10kHz
+9dB @ 20kHz
+7dB @ 40kHz
Yes, that's right, 40kHz - it's not a typo. There's output beyond even that for all you bats out there to enjoy.

The sort of "bump" you see in those numbers are because as the slope straightens out, the opening is greater at higher frequencies, and then high up in the ultrasonics things start to roll off again. The latter may also be affected by "merely" using 96kHz sample rate for these measurements, giving a bandwidth of a bit less than 48kHz.

All the above observations and measurements were done using the Ultrasaw column of VCO 2, giving a range of +/- 5V. The filter cutoff CV inputs accepts 0-10V, so perhaps they can be pushed even further.


So there you have it. The MatrixBrute goes above and beyond what's immediately apparent for these things when you start using those CVs!

Old 8th November 2018
  #2749
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DrJustice's Avatar
 

The CV range pushing discussed above gives me an idea. How about a small box with CV outputs and a MIDI input, that connects to the MxB to give per patch programmable "modulation/parameter pushing". It could have inputs summed with the internally generated CVs to still allow connection of other CV sources. There should be a display and a few buttons and pots to allow setting the CVs per patch. Using the incoming MIDI note-ons, it could keyscale the CVs, and it could also have a few internal LFOs or envelope/slope generators that could sync to note-ons - all programmable per patch, which would give it functionality beyond mere static mod/param pushing.

Another potential utility function could be part of such a box. As we know, the system parameters, like MIDI channel, sync options etc. can't be set on the synth itself, but instead must be set using the MIDI Control Center application. Many of us have made it clear to Arturia that being able to set those on the synth itself is not just desirable, but a necessity, not only for stand alone operation, but also to ensure that these parameters can be set in a future where there may no longer be any MCC software that we can run (such things have happened before). I hope and believe that Arturia will rectify this situation by including the ability to set these on the synth with the upcoming firmware update. However, if they leave us hanging, the described box may just be able to do that as well, if the sysex protocol that is currently going through the USB is also listened for on the normal MIDI jacks (I suppose that hypothetical box could have a USB host port too, but...).

Edit: Such a box would be useful for the Minimoog reissue (needs sysex to set system parameters), The Voyager XL and possibly other synths with presets and CVs that could benefit from a CV/sysex sidecar - it'd be quick work to make a mode for each synth model.

Who would buy one?
Old 9th November 2018
  #2750
M32
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To be honest, I'd kill for a six-voice polybrute. I liked the paraphonic sound most of all. I didn't like the metaliser sound and the hypersaw. But the saw and inverted saw from the linear osc were great. The suboscs too. I'm starting to have a teensy bit of regret.

But I was looking for a replacement for my prophet 12, and missed polyphony most of all. I have a rev2 now, totally different sonically, but I'm liking it. Even less vintage in sound, but more the tonal gap I was looking to fill before the MB crossed my path.

It did look gorgeous and inviting to play. And i'm sure a poly with this character would be a true contender for anything DSI or Moog have to offer in their high-end bracket.
Old 9th November 2018
  #2751
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Quote:
Originally Posted by M32 View Post
To be honest, I'd kill for a six-voice polybrute. I liked the paraphonic sound most of all.

It did look gorgeous and inviting to play. And i'm sure a poly with this character would be a true contender for anything DSI or Moog have to offer in their high-end bracket.
I would buy a poly brute in a heartbeat
Old 9th November 2018
  #2752
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Quote:
Originally Posted by minus_ego View Post
I would buy a poly brute in a heartbeat
Moi aussi!
Old 10th November 2018
  #2753
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Quote:
Originally Posted by minus_ego View Post
I would buy a poly brute in a heartbeat
I would too - even if it were at >$6000. The MatrixBrute is still my favorite instrument ever - even now that I have a Moog One.

There is something consistently magical I get from making sounds on this synth. I honestly don't fully understand how, but I know the balance of immediacy, features and depth is the key.

The speed at which I can setup complex patches, with FM, deep modulations, crazy interplay between the filters, is such that I can explore new spaces and close in on interesting ones at a wonderfully satisfying rate.

I don't think any other synth (certainly none that I have tried) has been at the same time so deep and so one-control-per-function. I think that is a big part of it.

If they managed to scale it to 8 or more voices with the same general architecture I'd buy it immediately.
Old 10th November 2018
  #2754
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Originally Posted by apessino View Post
I would too - even if it were at >$6000. The MatrixBrute is still my favorite instrument ever - even now that I have a Moog One.

There is something consistently magical I get from making sounds on this synth. I honestly don't fully understand how, but I know the balance of immediacy, features and depth is the key.

The speed at which I can setup complex patches, with FM, deep modulations, crazy interplay between the filters, is such that I can explore new spaces and close in on interesting ones at a wonderfully satisfying rate.

I don't think any other synth (certainly none that I have tried) has been at the same time so deep and so one-control-per-function. I think that is a big part of it.

If they managed to scale it to 8 or more voices with the same general architecture I'd buy it immediately.
I’m with u and also owning a MatrixBrute which I love I ask of u sincerely. A MatrixBrute, OB6, and model D reissue costs combined almost what a Moog One 16 voice goes for. Given what u know of the One would u take the One over that combination if u had to pick.
Old 10th November 2018
  #2755
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Quote:
Originally Posted by frankenstino View Post
I’m with u and also owning a MatrixBrute which I love I ask of u sincerely. A MatrixBrute, OB6, and model D reissue costs combined almost what a Moog One 16 voice goes for. Given what u know of the One would u take the One over that combination if u had to pick.
I don't have the Model D, but I do have an OB6 and I love it too. No question I would pick MB+OB6 over the One if I that were the choice I'd have to make.

With that said, I am in awe of the One's potential and I have not had enough time with it to fairly assess how much I will grow to appreciate it, so that might change in the future.
Old 10th November 2018
  #2756
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Quote:
Originally Posted by frankenstino View Post
I’m with u and also owning a MatrixBrute which I love I ask of u sincerely. A MatrixBrute, OB6, and model D reissue costs combined almost what a Moog One 16 voice goes for. Given what u know of the One would u take the One over that combination if u had to pick.
You ask the tough questions!

I would go with the triple threat first and the One after, most def. (meaning I’d do it the same way all over again, but I went with the Prophet-6, then OB-6 (er, x2 )

Not to take anything from the One and I STILL feel as if I’m just scratching the surface tbh, it’s an open ended and highly enjoyable chameleon poly synth. And, it has amazing tone, timbre, power, punch, finess and mystery.

Yes, the One is both a familiar and mysterious synth at this point, for me. Mysterious in a very good way that makes me want to explore and discover. This is the Jame T. Kirk Captain’s console Starfleet synth on the Starship Enterprise, on a life long mission to explore classic and strange new sounds, to seek out old and new electronic timbres and tones, to boldly synthesize where many and no synthesizer or synthesis has gone before! Que music and engage light speed...




The again, maybe the One really is the one one really needs. Except I’d miss the Mini D something fierce. P6 and OB6 too. These are the immediate gratification synths that are so inspiring to me, the bond is forever. I hope to reach this place with the One, and believe I will.
Old 10th November 2018
  #2757
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Quote:
Originally Posted by string6theory View Post
You ask the tough questions!

I would go with the triple threat first and the One after, most def. (meaning I’d do it the same way all over again, but I went with the Prophet-6, then OB-6 (er, x2 )

Not to take anything from the One and I STILL feel as if I’m just scratching the surface tbh, it’s an open ended and highly enjoyable chameleon poly synth. And, it has amazing tone, timbre, power, punch, finess and mystery.

Yes, the One is both a familiar and mysterious synth at this point, for me. Mysterious in a very good way that makes me want to explore and discover. This is the Jame T. Kirk Captain’s console Starfleet synth on the Starship Enterprise, on a life long mission to explore classic and strange new sounds, to seek out old and new electronic timbres and tones, to boldly synthesize where many and no synthesizer or synthesis has gone before! Que music and engage light speed...




The again, maybe the One really is the one one really needs. Except I’d miss the Mini D something fierce. P6 and OB6 too. These are the immediate gratification synths that are so inspiring to me, the bond is forever. I hope to reach this place with the One, and believe I will.
Yeah it’s not any easy thing to consider. I was considering selling those pieces to get the One but now I really think i couldn’t part with them they just sound too good. -
Old 10th November 2018
  #2758
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TonStrom's Avatar
Quote:
Originally Posted by frankenstino View Post
I’m with u and also owning a MatrixBrute which I love I ask of u sincerely. A MatrixBrute, OB6, and model D reissue costs combined almost what a Moog One 16 voice goes for. Given what u know of the One would u take the One over that combination if u had to pick.


OB6 while being great: can be replaced with the ONE - unless you are deeply in love with the OB6 characteristic tone, which many are for good reasons. But i think the ONE can cover a lot of oberheimish sounds.

The Minimoog is a Minimoog, so in the end it depends on your music, if you need one. And of course it is just a joy to play. But: could somewhat be replaced with the ONE (in a sense, that from what i heard so far, the ONE also can do good basses and leads)

The Martrixbrute: i would not even think about selling it.

So if you can live without a Mini or buy one again later, then, being you, i would raise money with the OB6 and the Mini to get the ONE and keep the Matrixbrute.

But on the other hand, if i was into 70s / 80s / vintage music, then OB6, MIni and Matrixbrute might be a great and efficient combo,
without a need for the ONE.
Old 10th November 2018
  #2759
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Quote:
Originally Posted by TonStrom View Post
OB6 while being great: can be replaced with the ONE - unless you are deeply in love with the OB6 characteristic tone, which many are for good reasons. But i think the ONE can cover a lot of oberheimish sounds.

The Minimoog is a Minimoog, so in the end it depends on your music, if you need one. And of course it is just a joy to play. But: could somewhat be replaced with the ONE (in a sense, that from what i heard so far, the ONE also can do good basses and leads)

The Martrixbrute: i would not even think about selling it.

So if you can live without a Mini or buy one again later, then, being you, i would raise money with the OB6 and the Mini to get the ONE and keep the Matrixbrute.

But on the other hand, if i was into 70s / 80s / vintage music, then OB6, MIni and Matrixbrute might be a great and efficient combo,
without a need for the ONE.
Hehe, your post all makes perfect sense to me too. These decisions ain’t easy!
Old 10th November 2018
  #2760
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DrJustice's Avatar
 

Quote:
Originally Posted by apessino View Post
I would too - even if it were at >$6000. The MatrixBrute is still my favorite instrument ever - even now that I have a Moog One. ....
How many voices are you thinking of?

It's time to revive the 8 Voice Matrixbrute anybody? -thread and keep the dream alive!

I am still a believer in such a system, as described in more detail here. I.e. a voice expander rack unit for the MatrixBrute.

Let's play with some numbers.

The difference between the Moog One 8 and 16 voice is $2000. That's $250 per additional voice. Yes, that's an artificial number. The 16 voice model works out to $500 per voice, then we have to subtract a substantial amount for the luxury chassis, panel, keybed, power supply and and control system. Let's say $2000 for that, which leaves us at $375 per voice. Let's use this as a reference for the cost of an advanced voice.

Now, the MatrixBrute costs $2500. Again, there's a lot of mechanicals and control systems in the MxB - luxury chassis, keybed, power supply, fabulous panel with the matrix and its control systems. Then there's the single voice board which is pretty big. The voice board does not use any exotic components. At a wild guess and, I believe, with some margin, say the voice board part of the cost is $500, which is 33% more expensive than a Moog One voice. As explained in the linked to thread above, the voice boards in an MxB expander could drop the 6 Coolaudio BBD chips and their associated support electronics, and the CV DAC/demux/S&H-array could be shared between all (for mono timbrality) or groups of voices (for multitimbrality). Lets' say the per voice cost is $400 then - that $2800 for 7 voices. Let's allow $500 for a rack box, control system board and IO.

Et voila, a 7 voice MxB expander costs $3300. Economies of scale, would hopefully make that somewhat cheaper, lets' call it $3000. I even suspect this is erring on the side of caution - compare to the One voice.

If you wanted a full 8 voice system it would cost 2500 (the MxB) + $3000 (the expander), a total of $5500. Or a 5 voice expander by the same calculations would be $2200, so $4700 with MxB. Street prices would be lower. The expander could also be made so that it comes with only 1 (or a few) voices and could be populated with more voices that are bought later for a lower entry cost. And remember, the proposed system would let you make full use of an expander by itself, using a software editor.

Yes these are fantasy numbers and there may be some engineering challenges. But I still think they're in the realm of the realistic. I'd buy one for sure!

See Arturia, people are still dreaming about a PolyBrute, now more than ever, and you already have the tech and a substantial amount of R&D already done.
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