After the mixer section, the default signal path is stereo: stereo analog filter, stereo VCA, and even a voltage-controllable, BBD-based stereo delay. )Each oscillator has a direct Pitch CV input, linear FM input, and Pulse Width Modulation input. And of course, it should go without saying that these filters carry all of the expected weight of a Moog filter: they sound staggeringly huge and shockingly smooth.In Series HP/LP, the two are run by default in mono and connected in series, providing a host of bandpass-like responses—and permitting variation and even modulation of bandwidth via the Spacing control and independent Cutoff CV inputs. These oscillators and noise have normalized connections into a mixer, providing independent level control for each of these five signal sources. Selection is very easy, thanks to a flick switch on the far right of the keyboard.Regardless of which mode you choose to work with, you only have these four VCOs to deploy, so in Unison mode you can create a monster of a tone, layering up to all four of the VCOs to create something thick, ‘phat’ and full of analogue goodness. This in combination with the mixer allows for everything from classic Odyssey-style two-oscillator sync to simply outrageous chaotic sync behaviors (especially when combined with FM!) Based on the legendary Moog CP-3, it shines as an audio mixer, providing a delightful-sounding distortion when driven hard (perfect for overdriving the filter). This means that as a single note is played, the four VCOs will immediately stack, thinning out as further notes are played and stolen for corresponding notes in a chord.

The filter and VCA, as one might expect, each offer their own dedicated ADSR envelopes.This configuration allows for immediate, gratifying performance as a keyboard synth: all typical parameters are easily accessible and everything has a front panel control, just as on the Grandmother. Good reasons why you might want to explore this arena becomes apparent when you wish to apply modulation, of which there are several sources. You do start to find yourself feeling greedy and wishing there were dual cut off pots to match the two resonance pots, although the Matriarch has a trick up its sleeve that we’ll come back to shortly.A dedicated filter ADSR envelope, which resides alongside the amplitude envelope, can also be sent in the direction of the cutoff, with an amount control which allows for positive and negative polarity.Everything we have examined so far is available to hard-wired operation, which is to say that you’ll not need to reach for a patch cable to implement basic synthesis duties.

Of course, one could also use a low-frequency control signal to bias the oscillators running into the filter for peculiar distortions as well—it is 100% open-ended, and while a mixer may not seem at first like the most exciting part of a synth, I was super pleased to discover that it could be used for both CV and audio.With all of these raw resources, it is easy to take the Matriarch out of keyboard territory and into much more peculiar places. The VCOs may be individually altered in range, to one of four settings, while the latter three VCOs offer detuning, with the first VCO being aligned to the master tuning held globally. These are a firm staple of the modular world; Mult’s allow for the splitting or multiplying of signals so that modulations can be sent in multiple directions, while Attenuverters allow modulating signals to be controlled in both amount and polarity, so their active inclusion here underlies the Matriarch’s concept and intention, while being incredibly useful too.Despite having a fairly diverse and large modular of my own, I found myself drawn in by the Matriarch’s construct, partly as it offers a very beautiful tonal centre, but also because it feels contained, manageable and immediate, which is not something that can always be said of modular if you want to create sounds that you can just get on and play from a keyboard.Away from the more modular biased inclusions, the spring reverb which adorned the Grandmother has been removed to make way for an analogue stereo delay.

This allows for complete deconstruction of the instrument's default architecture, turning each of its individual modules into raw elements that can be recombined to form completely new behaviors.

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