Matrix-1000 sensation: Rare bug spotted in the wild after 30-odd years!

An option for setting voice allocation in the Matrix simply does not work – never has – and nobody seems to have noticed up to now. But there’s a fix for that.

A cute golden bug akin to a cricket looking above the edge of a circuit board

“Hey, I want that update! Especially as I already own V1.20!” — PLEASE READ HERE

A couple of days ago, Bob Grieb – the engineer behind the Matrix-1000 update I am selling here – got a email from a Matrix owner using the updated V1.20. The mail politely noted that the “Reassign/Rob” setting wasn’t working, and inquired whether there might be a problem with the V1.20 firmware. Bob, who does no longer own a Matrix-1000, fired up a Verilog simulation he had created for testing, and found that the Matrix owner indeed was right – the “Reassign/Rob” setting of Parameter 48 (0x030h) wasn’t working, and it wasn’t working in firmware V1.13 either – a very early patch of the last factory firmware by Oberheim itself.

So it was a bug that had always been there, and nobody seems to have noticed. Or, at least, have cared enough to look for a fix.

What “Reassign/Rob” is supposed to do – and why you never noticed

The Matrix-1000 has six voices. When your Matrix is playing six notes at once, it won’t accept any new notes unless you release one of the notes being played. This is the default setting, and it comes in two flavours, “Rotate”, and “Reassign”. They are set with values 0 and 1 of parameter 48, and the Matrix-1000 manual also has two more settings, Unison (all voices playing at once), and “Reassign/Rob”.

The Matrix-1000 manual is a bit cryptic about the meaning of all this; quoting from the Matrix-6 manual instead:

  • ROTATE: When playing notes on the Keyboard, this polyphonic mode loops through the six Voices assigning each new note to next available voice.
  • REASGN: Abbreviation for “Reassign”, this polyphonic mode is similar to ROTATE but notes that have the same pitch (otherwise known as “note value”) are reassigned to the same voice. For example, if you play Middle C it will be assigned to a certain voice. Every time thereafter when Middle C is played on the Keyboard, that voice will play. “Reassign”, by the way, is the KEYBOARD MODE enabled in the Basic Patch.
  • UNISON: This mode takes the MATRIX-6 out of polyphonic mode and makes the synthesizer monophonic.
    (…)
  • REAROB “Reassign Rob”: When in Reassign (REASGN) mode, voices will be robbed from keys held in the same way as ROTROB.

So what the “Reassign/Rob” value actually is supposed to do, is to enable voice stealing — notes being played suddenly go missing, making it painfully obvious that your synth is running out of resources. It is infuriating when we notice, and we seem to notice the limitations of a 6-voice synth a lot more when notes suddenly vanish than when they never appear in the first place.

So to be honest, I never noticed that this doesn’t work. Did you?

Bob, however, found the reason: The code for the note-stealing setting is 3, but there is a safety check that limits the parameter to entries from 0-2 instead of 0-3, so that the correct value can never be received. It’s only one byte that has to be changed – no, one bit, actually: Look for 0x81 0x02 0x22 0x02 in the ROM and change it to 0x81 0x03 0x22 0x02; changing one lousy bit. It’s that simple. And this is what we decided to call V1.21.

A rack with a controller, a Matrix-1000 synthesizer, and a Lexicon digital reverb; the Matrix showing

V1.21 is displayed on powering up

So how do I get it?

Unfortunately, this means that we will have to throw all V1.20s away, we cannot correct them. The one bit we have to change cannot be reprogrammed, so to upgrade from V1.20 to V1.21, you have to create a new chip, send it, and swap it.

And this is the main reason we don’t give the update away – this needs chips, and this takes work, so we charge you what is basically just the price of the chip and a fiver for programming it, and one Euro for Bob. We had a similar deal for Matrix-6 V2.14 owners when Bob discovered another bug that had always been hiding in the Matrix-6 firmware — and I hope you think that this is fair, because it is: after all, the bug wasn’t Bob’s fault, so he is in no obligation to fix it for free.

One last thought: ask yourself whether voice stealing is really worth the hassle. I know perfectly well that it’s quite possible to go GASsing for a software update, but: If you haven’t noticed the bug before, you probably won’t need the patch.

M1000 V1.20->V1.21 Update

Matrix-1000 V1.21 Firmware Update ROM for V1.20 owners

Item number: 0002
Item price: 12,00 EUR
(incl. 19,00% sales tax and plus Shipping cost)
ROM chip with re-engineered firmware for the Oberheim Matrix-1000 synthesizer

Firmware chip for the Oberheim Matrix-1000, V1.21 (Update for V1.20 owners)

V1.21 fixes a bug that prevented using voice stealing in all former firmware versions and assumes that you own a V1.20 license, i.e. bought the chip from me, Alpes Machines, or Bob Grieb. Price covers the chip and the burning of the firmware but not the license for the update - if you don't have an updated synth yet, you will have to buy a V1.21 new. Firmware update engineered by Bob Grieb/tauntek.com. Sold with permission, please prove ownership of a V1.20 license. (That doesn't cover anything you bought from some guy on the internet, I'm afraid.)
   

When exactly did analog synths become cool again?

Have a look at this picture.
First picture of the JEN SX-1000 after it arrived
Do you like what you see? Of course you do.

Analog is cool. Prices for analog gear are consistently going up. Just when processing power, sophisticated audio algorithms and smooth user interfaces have become ubiquitous, manufacturers have started developing and selling new analog synth hardware. Yes, I know: Analog sounds different, you say. Tell you what: I don’t believe it. Reminds me of those types who swore that golden CDs sounded better than the silver ones. It’s not the sound. Like I said: Analog is cool.

Just about thirty years ago, analog became uncool. Yamaha’s digital DX7 synth proved that digital was cheaper, more reliable, and more versatile than the old technology. Analog became harder and harder to sell, even in the discount variety that came without all the expensive knobs and switches, and one by one, the former giants went out of business: ARP. EMS. Oberheim. Moog. The whole Italian synth industry. Poof.

When did analog become fashionable again? The simple JEN synthesizer I am fixing and upgrading may provide an answer to this question. To be honest, there is quite a lot not to like about this machine. Single oscillator: tends to sound thin. Simple filter design: lacking bass punch and proper key tracking. Only one LFO with only one waveform (triangle). Portamento but no legato. Not to mention the no-brainers of modern (ie 1980s ff.) technology: preset memory, MIDI and USB interface, stable tuning.

On Sonicstate.com, there is a review page for the Jen SX-1000. Users may rate their synth from 0 to 5 points, 5 being the top rating. Taking these reviews, you can see the gradual change from fairly mixed reviews to an unanimously positive opinion.

jensx-cool

Granted, there is a systematic bias: why should anybody who didn’t like analogs to begin with acquire and rate a Jen? Still, this graph shows one thing to me: The point where analogs became cool again was somewhere around 2001 to 2002.

Now we know when. If you’ve got the patience, let me argue why.

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Reviving Jenny, or: contacts cooked to life

An Italian beauty, fallen on hard times – starting her career as a budget singer, forced out of business, living in a basement for more than a dozen years – and come to my house by accident. Now I am trying to get her back in shape – and to make her voice fuller than it has ever been. Her full name is JEN SX-1000 Synthetone, but she is affectionately known as Jenny.

Jen SX-1000 Synthetone after basic cleaning. Some pot caps missing.

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