A Brief History: Oberheim’s Matrix Revolution
Oberheim, founded by Tom Oberheim, was already a heavyweight in the synth world by the 1980s, thanks to classics like the OB-X and OB-Xa, beloved by prog rockers and synth-pop pioneers like Prince and Van Halen. But as digital synths like the DX7 dominated with FM synthesis, Oberheim needed a competitive, cost-effective answer. Enter the Matrix-6 in 1985, followed by the rack-mounted Matrix-6R and the keyboard-less Matrix-1000 (1987). Priced around $1,295 (about $3,500 in 2025 dollars), the Matrix-6 was Oberheim’s bid to combine analog richness with digital control, undercutting pricier rivals while offering pro-level features.
The Sound: Analog Grit Meets Digital Control
At its core, the Matrix-6 is a hybrid analog-digital synthesizer with a rich, characterful tone that screams 1980s. Its architecture includes:
- Dual DCOs per Voice: Two digitally controlled oscillators per voice, offering sawtooth, pulse, and triangle waves, with pulse-width modulation for dynamic timbres. DCOs provide tuning stability over analog VCOs, though some purists miss the raw drift of earlier Oberheim models.
- VCF (Voltage-Controlled Filter): A 24dB/octave low-pass filter with resonance, delivering creamy, resonant sweeps that rival the OB-Xa’s iconic sound. The filter is the heart of the Matrix-6’s warmth.
- VCA and Envelopes: Three multi-stage envelopes (filter, amp, and auxiliary) allow intricate sound shaping, from snappy basses to evolving pads.
- Matrix Modulation: A 20x20 modulation matrix with 47 sources, enabling complex routings (e.g., LFO to filter cutoff, velocity to pulse width). This flexibility lets you craft sounds that morph over time, like shimmering pads or sci-fi leads.
- 6-Voice Polyphony: Enough voices for lush chords, though heavy layering could reduce polyphony. The unison mode stacks voices for fat monophonic leads.
The Matrix-6 shines for pads (think Depeche Mode’s atmospheric textures), basses (reminiscent of New Order’s punchy lines), leads (like A-ha’s soaring melodies), and brass stabs (evoking 80s pop sheen). Its sound is warm yet crisp, with a slight digital edge that suits synth-pop, new wave, and film scores. Compared to the DX7’s metallic FM tones or the Juno’s smooth analog vibe, the Matrix-6 offers a unique blend of grit and polish, making it a go-to for producers seeking retro character.
Features and Challenges
The Matrix-6 packed pro features into a compact, 61-key chassis (or rackmount for the 6R):
- 100 Patch Memory: Store 100 single patches and 50 multi-timbral splits/layers, a boon for live players.
- MIDI Implementation: Solid MIDI support for controlling external gear, though early units had sluggish MIDI response (improved via firmware updates).
- Split and Layer Modes: Play two patches simultaneously or split the keyboard, ideal for live setups.
- Built-in Chorus: A subtle chorus effect adds depth to pads and leads.
However, the Matrix-6 wasn’t perfect. Its programming interface was a notorious hurdle. Unlike knob-laden analogs, it relied on a single data slider, two buttons, and a numeric keypad for editing, with a small LCD guiding you through menus. Navigating the Matrix Modulation system was powerful but tedious, often requiring a manual or external editor (e.g., SoundDiver software). This complexity led some to prefer pre-programmed patches over deep tweaking, especially compared to the DX7’s simpler (if cryptic) interface.
Build quality was another mixed bag. While sturdy, the Matrix-6’s membrane buttons and plastic endcaps felt less premium than earlier Oberheims, reflecting cost-cutting. Battery backup issues (for patch memory) and occasional oscillator drift also plagued some units, though these are fixable today with modern servicing.
Cultural Impact: The Sound of the 80s
The Matrix-6 found a home in studios and stages, shaping the sound of 1980s music across genres. Notable users included:
- Depeche Mode: Used Matrix-6 pads and leads in albums like Black Celebration (1986), adding depth to their dark synth-pop.
- New Order: Employed it for basslines and textures in Brotherhood (1986), blending with their post-punk edge.
- Film Composers: Jan Hammer leveraged its evolving sounds for Miami Vice’s iconic score, capturing the era’s neon aesthetic.
- Pop Acts: Artists like Madonna and Pet Shop Boys tapped its brass and string patches for hits, contributing to the 80s pop sheen.
Its rackmount sibling, the Matrix-1000, became even more ubiquitous, with 1,000 patches and a slimmer design, but the Matrix-6’s keyboard version offered hands-on control for live players. Despite its impact, the Matrix-6 was overshadowed by flashier synths, partly due to Oberheim’s financial struggles (the company filed for bankruptcy in 1988).
Modern Relevance: A Retro Gem in 2025
In 2025, the Matrix-6 is a sought-after vintage synth, with used units fetching $800–$1,500 on Reverb, depending on condition. Its appeal lies in:
- Retro Revival: The 80s synth-pop resurgence (e.g., The Weeknd’s Dawn FM, Dua Lipa’s Future Nostalgia) makes the Matrix-6’s sound hot again, as producers chase authentic analog tones.
- Hands-On Appeal: Despite its menu-diving, modern producers use MIDI editors or hardware controllers (e.g., Arturia’s MIDI controllers) to tame its programming, unlocking its modulation potential.
- Restoration: Companies like Synthchaser offer refurb kits (e.g., new batteries, membrane buttons), keeping Matrix-6s stage-ready.
- Software Emulations: Plugins like Arturia’s OB-Xa V and Cherry Audio’s Eight Voice capture Oberheim’s vibe, but purists prize the Matrix-6’s analog filter for its warmth.
The Matrix-6 pairs well with pedalboards, adding synth layers to live sets, as seen in 80s bands like The Cars. Its MIDI integration also makes it a versatile controller for modern DAWs like Ableton or Logic.
Why You Should Care
The Oberheim Matrix-6 is a time capsule of 1980s innovation, blending analog soul with digital brains. Its Matrix Modulation system was ahead of its time, offering sound design depth that rivals modern softsynths, while its warm filters and DCOs deliver a tone that’s unmistakably retro. Sure, programming it can feel like decoding a Rubik’s Cube, but the payoff—lush pads, biting leads, and evolving textures—is worth it. Whether you’re a synth-pop producer, a rock guitarist layering sounds, or a collector hunting vintage gear, the Matrix-6 is a hidden gem that punches above its weight.
If you spot one at a gear shop or online, give it a spin. Load a classic pad, tweak the filter, and let the 80s wash over you. And if you’re feeling nostalgic, cue up Miami Vice.
BUT WAIT, THERE'S MORE........
The Oberheim Matrix-6R – The Matrix-6 in a 3U Rackmount
If the Oberheim Matrix-6 is the 1980s synth hero that powered new wave and pop, its rackmount sibling, the Matrix-6R, is the compact powerhouse that brought that same iconic sound to studios and live rigs in a space-saving form. Launched in 1985 alongside the Matrix-6, the Matrix-6R crams the same analog warmth and groundbreaking Matrix Modulation into a 3U rackmount unit, making it a favorite for producers and touring musicians who needed Oberheim’s lush tones without the keyboard bulk. Whether you’re chasing Depeche Mode’s dreamy pads or Miami Vice’s cinematic textures, the Matrix-6R is a vintage synth that still resonates in 2025. Let’s explore what sets this rackmount gem apart from its keyboard counterpart.
Same Sound, Rack-Ready
The Matrix-6R is the Matrix-6 stripped of its 61-key keyboard, packed into a 3U rackmount chassis that’s perfect for crowded studios or road-ready racks. Priced around $1,000 in 1985 (roughly $2,800 in 2025 dollars), it was a cost-effective way to snag Oberheim’s signature sound, appealing to pros who already owned MIDI controllers. Its core is identical to the Matrix-6:
- 6-Voice Polyphony: Driven by dual digitally controlled oscillators (DCOs) per voice, with sawtooth, pulse, and triangle waves, plus pulse-width modulation for dynamic timbres.
- CEM3396 Chips: Features Curtis 24dB/octave low-pass filters and VCAs, delivering the warm, resonant tones that define Oberheim’s 80s legacy.
- Matrix Modulation: A 20x20 modulation matrix with 47 sources (e.g., LFOs, envelopes) for routing to parameters like filter cutoff or pitch, creating evolving sounds like shimmering pads or sci-fi leads.
- 100 Patch Memory: Stores 100 single patches and 50 split/layer patches, ready for lush chords or layered live setups.
Sonically, the Matrix-6R is indistinguishable from the Matrix-6, offering the same punchy basses, creamy pads, and biting leads that fueled 80s hits by New Order and Jan Hammer. Its analog filter and DCOs blend warmth with digital stability, perfect for synth-pop, new wave, or rock-synth fusion.
What’s Different: 3U Practicality
The Matrix-6R trades the Matrix-6’s keyboard for a rack-focused design, with key differences:
- 3U Rack Size: At 3U (5.25 inches high, 19 inches wide, 12 inches deep), it fits standard racks alongside mixers or effects, ideal for studio or live use. Its sturdy build (15 lbs) handles touring, with rack ears included for mounting.
- No Built-in Keyboard: Designed for MIDI control via external keyboards (e.g., Yamaha DX7) or sequencers, it’s a pure sound module, freeing up space for players with existing setups. This made it a staple in 80s MIDI-driven studios.
- Minimalist Front Panel: Like the Matrix-6, it uses a small LCD, data slider, and membrane buttons for menu-driven editing. The rack layout is streamlined, with patch selection and MIDI tweaks simplified, though deep programming (e.g., Matrix Modulation) remains complex without software like SoundDiver or a MIDI controller.
- MIDI-Centric: Robust MIDI support syncs with 80s sequencers (e.g., Roland TR-707) or modern DAWs.
These traits made the Matrix-6R a practical choice for pros prioritizing rack space and MIDI integration over the Matrix-6’s hands-on keys. Its 3U size balanced compactness with accessibility, unlike the 1U Matrix-1000, which sacrificed editability for presets.
Studio and Stage Legacy
The Matrix-6R was a workhorse in 80s and early 90s music, often paired with the Matrix-6 and later Matrix-1000:
- Synth-Pop: Bands like Pet Shop Boys used its brass stabs and pads in tracks like “It’s a Sin” (1987), adding 80s sheen (Web ID: 16).
- Film Scores: Its textures featured in RoboCop (1987) and Miami Vice, evoking the cinematic 80s vibe tied to Walker, Texas Ranger’s era (Web ID: 22).
- Rock Layers: Guitar-driven acts like The Cure blended its pads with guitars, echoing the rock-synth trends.
Its rack format suited studios with rack-heavy setups, where it sat alongside Roland D-50s or E-mu samplers, and touring rigs, where MIDI keyboards triggered its sounds.
The Matrix-6R in 2025
In 2025, the Matrix-6R is a collector’s favorite, with used units selling for $700–$1,200 on Reverb, reflecting demand for 80s analog tones amid the synth-pop revival (e.g., Dua Lipa, The Weeknd). Its appeal includes:
- Retro Sound: Its warm filters and DCOs are perfect for pads, basses, and leads, sought after for modern pop and lo-fi house.
- Modern Integration: MIDI editors (e.g., Ctrlr, MIDI Quest) and MOTU simplify programming, while DAW sync keeps it current.
- Maintenance: Techs offer battery replacements and recapping, with forums home to DIY user tips. Your 3U unit’s condition suggests it’s likely well-maintained.
- Rock Connection: For guitarists (like those you asked about with wireless systems), the Matrix-6R adds synth layers to live rigs via MIDI pedals, enhancing rock textures like U2’s 80s sound.
Compared to the Matrix-1000’s preset focus, the Matrix-6R offers more editing flexibility (via MIDI), while its 3U size provides better front-panel access than the 1U Matrix-1000.
EPILOGUE -- Why Your Matrix-6R Rocks
Owning a 3U Matrix-6R puts you in the driver’s seat of 80s synth history. Its analog soul, Matrix Modulation, and rack-ready design deliver iconic Oberheim tones—lush pads, gritty basses, cinematic leads—in a package that fits your studio or stage. Sure, programming might test your MIDI skills, but the sonic rewards are worth it. Pair it with a MIDI controller, dive into its patches, and let the 80s vibes flow.
Back when I got my Matrix 6R I used a software tool from Mark of the Unicorn (MOTU) to create patches in it via midi. Sadly that computer and software have been lost, in the wake of a long-life, lived, loving the sounds from these classic synth voices.
Thanks for reading High on Technology, Good Music To You!
©June 2025 by Mark King, it is NOT ok to copy or quote without written permission from the author.
Want to know more about the Oberheim Matrix 6 family? Here's a link to our review of the Matrix 1000 (<- here on High on Technology), another six voice version of the same basic tech inside the Matrix 6.
