he says, "o you want to come in and add some ideas and stuff?’ So I went into Black Dog Towers, the studio, and again it was a very minimal setup – Atari, Matrix 1000, 808, Fostex mixer – and they said, ‘Go on then, just program some drums.’ They couldn’t really read music either so that was an even bigger influence on me, seeing those guys do it."more
For Very they used: Korg M1Rs Akai S1000s Akai S3000s Roland S770 E-mu Systems Proteuses Oberheim Matrix 1000 Roland MKS80s Roland MKS50s PPG Waveterm Roland JD800 Roland Juno 106 Sequential Circuits Prophet V Roland R70 Fairlight CMI Macintosh running Notator Logic Dynaudio monitors This is according to Music Technology magazine (Dec 1993)more
Although boasting a lush sound, the album was recorded largely at Paul's Rhythm Ranch studio on a single tascam 16-track with a Studiomaster desk. Synths used include: Roland D-50, Akai S1000 and S3000, Kork M1R, Waldorf Microwave, Roland Super Jupiter module, Oberheim Matrix 1000, Yamaha TX802, Minimoog, MIDIMoog, Oberheim Two-Voice, Roland Jupiter 8 and SH-101.more
In the interview "Watermark recording process". The Music Magazine (Australia) July/August 1989 THE SET UP: They use a variety of keyboards but the mainstays are a Yamaha KX88master Yamaha DX7 Emulator 111 Oberheim Matrix synths and Akai S900 but particularly Roland's D50 and Juno 60. Enya: "The Juno is one of our favorites. We had intended to replace its parts with better sounds but we couldn't find better substitutes so we left them in. It's not always possible to have all the sounds I want for a song at the time of composing .I'd usually start with the D50. But most often, sounds suggest parts and the ones I use then are usually used on the final recording. Like on Storms in Africa... that arpeggiated line on the Juno 60 was the basis of the piece."more
Included in his studio are synthesizers such as the Roland MKS-70, two MKS-50s, a MKS-80 and D-50; Yamaha TX-81Z; four Oberheim Matrix 1000s, E-mu Orbit and Morpheus, and a Casio VZ-10M. Sample players include Kurzweil 1000AX+, Roland U-110, Oberheim DPX-1, E-mu Proformance Piano and Proteus (as well as the Proteus 2 and 3), Alesis NanoBass and samplers, including a Casio FZ-10M, two Akai S-1000s and three Akai CD-3000s. He also turns to E-mu Procussion, Roland R-8M, Alesis DM-5, Roland BD-1 and a Roland SPD-11 for drum sounds.more
Another 1RU analoger in the Roland MKS camp. The Matrix rack does a lot if you can stand the menus, but I give Roland's juno-in-a-rack the edge because its easier to program due to a simpler feature set and it has a certain timbrality my ear seems to prefer to the oberheim.
There's not much you can do to program a Matrix 1000 unless you get a computer program to help, but with 1000 presets there's good chance you'll find something you like anyway. The Oberheim sounds really cut through a mix and can ad a unique flavor to a track.
I bought my Black Matrix 1000 as a counterpart to my beloved Juno 60 a week ago. The 6-voice polyphonic rack synthesizer sounds incredibly large, analog and wide, even without FX. I love the overall warm sound. It is the opposite of some harsh-sounding modern synths (I sent the Korg Minilogue back).
Adding delay, reverb or modulation effects turns the matrix into an epic analog pad, brass & string machine. For that I mainly use it. But it's also great for bass, leads, FM, FX and all other kinda analog sounds. Especially with the MOD matrix it is so easy to create very organic sounds. And even if the attack time and the LFOs are not the fastest, they are fast enough for me.
When I bought it, firmware was 1.11, so I did an Eprom upgrade to 1.20 (Tauntek / Rob Grieb), where many bugfixes were fixed and the matrix can now be easily used with a MIDI controller. The Eprom also includes the important global detune of Gigli v. 1.6. With this upgrade, the Matrix 1000 no longer sounds static, the DCOs behave more like VCO.
Without an external controller, the matrix 1000 is more or less an analog preset machine because no editing is possible. the real fun begins with controllers. I tweak the Obeheim Matrix 1000 with my stereoping controller. Of course, you can also use software to tweak, but I prefer real buttons.
For me it is the perfect sounding analog poly! for 500 euros / 570 USD it is still relatively cheap for a vintage analog 6-voice polyphonic. And I already think about a second one for stereo operations or 12-voice polyphony :-)
The guts of this synth is the same as the Matrix 6 but without the ability to edit anything on the front face of the unit. Oddly, the first 200 patch banks may be overwritten while the remaining 800 are ROM sounds. There is a free program for Mac called ObieEditor that gives you full access to the DCO's, LFO, ENV's, Filter, and more. You can copy a patch from the unit into the software, tweak and edit, then send it to one of the User banks on the Matrix 1000 and save it. You now have an amazing, full editable Matrix 1000.