You give such a great and thorough overview, thank you so much. A lot of the RUclips demos are just people twiddling knobs, so it's nice to get a comprehensive tour of the instrument!
Hi Marc just to be correct the Steiner Filter is not a state-variable filter, it is a multimode filter with a Sallen & Key architecture. Being a multimode (that is offering LP,HP,BP and Notch) filter does not make it a State-variable filter. A state variable filter relates to the architecture of a second order differential equation solver. The Steiner filter belongs to the same category as the MS-10 and MS20 Korg filters while the State-variable filter is the type of filter found in Oberheim SEM or Yamaha CS series.
+yusynthman Have any resources on analog filter design? I come from the DSP world but haven't done much circuitry or modelling, but I'm interested in learning.
Looks like a good reference, thanks! BTW, I heard somewhere the Steiner-Parker filter in the Synthacon did not quite implement the design "correctly", and that the Matrixbrute has the "corrected" version. Anyone knows more about that?
Only just getting the time to go through these. I wasn't in a particular hurry as I thought I kinda had it with the Matrix. Alas, once again, the thoroughness of your demos teach me, not only that I don't know the half of it, but also that Americans say 'three fourths' instead of three quarters. Cheers mate!
"Let's dive in just because we have to". That is the best sentence I've heard in a while. Why does everything need to have a long explanation? "just because" is more than enough.
Hi Marc! Thanks for making this series on the MatrixBrute. I wondered if you knew how to control the width of the band (or the notch [reject band]) on the Steiner-Parker. I'm assuming the cutoff knob sets the center frequency of the band, and the opening and closing slopes are the same, as set by the 12dB/24dB switch. On the Minimoog Voyager, you can set up a bandpass filter by putting the two filters in highpass/lowpass mode. Then the "spacing" control sets the width of the band. I wondered what the equivalent might be on the MatrixBrute If necessary, I can set up a Bode plot, using an arbitrary function generator and an oscilloscope, to find the answer, but it would save a bit of effort if you knew the answer.
Hey Marc, I've been looking for a synth with a multi mode filter for awhile. I love the sound of the Fuse Box you reviewed. Features aside, what are your thoughts on the sound of the Matrixbrute versus the Fusebox? The Fusebox just sounds so rich. Does the Matrixbrute come close? I lied about features aside since if the sound is in the ballpark, I'd probably lean towards the Matrix due to its amazing flexibility. Just curious on your thoughts. Thanks
The joy of the Fusebox is that it is 100% analog in regard to its sound production, signal path, and modulation sources. It has absolutely exquisite vintage tone, and it is an extremely versatile synth. The MatrixBrute is a powerhouse of functionality, and still has great tone. It would be hard to pit them against each other because of their differences, but I don't think you can go wrong with either.
Whoa, the 24dB slope really seemed to tame the wild gritty character of the Steiner in LP with high resonance compared to the 12dB slope. I love the 12dB Steiner in the Minibrute but it's always nice to have more flavor options which seems to be what this synth is all about.
Regrading self-oscillating 24dB/octave HP filters: the Mother 32 has a high-pass mode, and that self-oscillates. Since the LPF is a classic Moog ladder, that should be 24dB. However, I have the feeling that the HP mode isn't coming from the filter topology itself, but created after the filter by phase cancelling the LPF with the original signal. It certainly doesn't sound like a true, clean HPF, but it has its own weird charm. Anyway, the Matrixbrute's collection of filter responses looks to be rich and unconventional.
I don't know anything about the Mother 32 in regard to architecture. Typically, and for example in the Moog modular, high pass filters are 12 dB per octave. Most of my assertions deal with vintage synthesizers, too... so there's that. But if the Mother 32 has a 24dB per octave filter, that's awesome!
![BLACK BAG - Official Trailer [HD] - Only in Theaters March 14](http://i.ytimg.com/vi/Du0Xp8WX_7I/mqdefault.jpg)
You give such a great and thorough overview, thank you so much. A lot of the RUclips demos are just people twiddling knobs, so it's nice to get a comprehensive tour of the instrument!
Thank you very much! I am always glad to hear that!
Hi Marc just to be correct the Steiner Filter is not a state-variable filter, it is a multimode filter with a Sallen & Key architecture. Being a multimode (that is offering LP,HP,BP and Notch) filter does not make it a State-variable filter. A state variable filter relates to the architecture of a second order differential equation solver. The Steiner filter belongs to the same category as the MS-10 and MS20 Korg filters while the State-variable filter is the type of filter found in Oberheim SEM or Yamaha CS series.
Thanks for the correction, Yves! I suspect that I've made that mistake quite a bit in other videos!
Oops. I guess I've got this wrong for some time, too.
+yusynthman Have any resources on analog filter design? I come from the DSP world but haven't done much circuitry or modelling, but I'm interested in learning.
Looks like a good reference, thanks! BTW, I heard somewhere the Steiner-Parker filter in the Synthacon did not quite implement the design "correctly", and that the Matrixbrute has the "corrected" version. Anyone knows more about that?
yusynthman Thanks for that; I was unsure if there was a difference between the two
Only just getting the time to go through these. I wasn't in a particular hurry as I thought I kinda had it with the Matrix. Alas, once again, the thoroughness of your demos teach me, not only that I don't know the half of it, but also that Americans say 'three fourths' instead of three quarters. Cheers mate!
Thanks, Alan!
I can't account for what Americans say. Also, I'm bad at fractions.
The MB REV2 and Subsequent are the most interesting synths of the moment.
The MB is a beast, modular connectivity, MIDI and DAW ready.
"Let's dive in just because we have to". That is the best sentence I've heard in a while. Why does everything need to have a long explanation? "just because" is more than enough.
your the best, Marc.
Thank you!
You analysis are Lit ✨
Lit AF ;)
Thank you!
if only I had the time for this beauty
Hi Marc! Thanks for making this series on the MatrixBrute. I wondered if you knew how to control the width of the band (or the notch [reject band]) on the Steiner-Parker. I'm assuming the cutoff knob sets the center frequency of the band, and the opening and closing slopes are the same, as set by the 12dB/24dB switch.
On the Minimoog Voyager, you can set up a bandpass filter by putting the two filters in highpass/lowpass mode. Then the "spacing" control sets the width of the band. I wondered what the equivalent might be on the MatrixBrute If necessary, I can set up a Bode plot, using an arbitrary function generator and an oscilloscope, to find the answer, but it would save a bit of effort if you knew the answer.
Hey Marc,
I've been looking for a synth with a multi mode filter for awhile. I love the sound of the Fuse Box you reviewed. Features aside, what are your thoughts on the sound of the Matrixbrute versus the Fusebox? The Fusebox just sounds so rich. Does the Matrixbrute come close? I lied about features aside since if the sound is in the ballpark, I'd probably lean towards the Matrix due to its amazing flexibility. Just curious on your thoughts.
Thanks
The joy of the Fusebox is that it is 100% analog in regard to its sound production, signal path, and modulation sources. It has absolutely exquisite vintage tone, and it is an extremely versatile synth. The MatrixBrute is a powerhouse of functionality, and still has great tone. It would be hard to pit them against each other because of their differences, but I don't think you can go wrong with either.
Whoa, the 24dB slope really seemed to tame the wild gritty character of the Steiner in LP with high resonance compared to the 12dB slope. I love the 12dB Steiner in the Minibrute but it's always nice to have more flavor options which seems to be what this synth is all about.
3:54 - magic cutoff fliparoo
I have this keyboard. Now I have a polybrute on the way. I hope there's not a crazy amount of the same sounds.
Regrading self-oscillating 24dB/octave HP filters: the Mother 32 has a high-pass mode, and that self-oscillates. Since the LPF is a classic Moog ladder, that should be 24dB. However, I have the feeling that the HP mode isn't coming from the filter topology itself, but created after the filter by phase cancelling the LPF with the original signal. It certainly doesn't sound like a true, clean HPF, but it has its own weird charm. Anyway, the Matrixbrute's collection of filter responses looks to be rich and unconventional.
I don't know anything about the Mother 32 in regard to architecture. Typically, and for example in the Moog modular, high pass filters are 12 dB per octave.
Most of my assertions deal with vintage synthesizers, too... so there's that.
But if the Mother 32 has a 24dB per octave filter, that's awesome!
Cutoff knob is haunted!
The 24db band pass is so narrow, you really do not hear that often.
If you go through the whole synth like this I wonder how long the Matrix Section will take lol.
I think I'm just going to have to accept that it may be unending. :D
Would have got a better sense of it using a lower note I think
Do you have cats? Looks like cat scratches on your hand.
Yes, and that's probably what it is!
Also thank you for your demonstrations! (my bank account hates you, but I think you are great)
I have been, and suspect will continue to be, the enemy of everyone's bank account.
Thank you! :D
Glad I'm not the only one with scratched hands due to cats. Marc, that makes me feel a bit better! :D
I noticed that as well ... haha
That´s why I hate these little brats.
Oh and by the way: Thanx Marc, this synth is just insane ...
This thing sounds amazing, but I can’t for the life of me get past how crappy Arturia’s pots and encoders feel
My eardrums 🙁
Perhaps someday the world will find a way to control amplitude with a computer.
@@automaticgainsay lol i was listening to it on earbuds, the resonance caught me off guard