Matrix Z
Want your sounds to move, evolve, or go completely off the rails in the best way? That’s where modulation comes in, and Matrix Z is your control center for making it happen. It’s a four-slot modulation matrix, which is just a fancy way of saying you get four independent pathways to send modulation from one thing (a source) to another (a destination), each with its own amount knob to dial in exactly how much you want.
Each of the four knobs in Matrix Z controls the amount of modulation in its slot. Below each knob, you’ll choose the Source, that is, where the modulation is coming from (like an LFO, envelope, or mod wheel). Above each knob, you’ll choose the Destination, what you want to modulate (like pitch, filter cutoff, or rectangle wave width.
That’s it: source → amount → destination. Multiply that by four, and you’ve got a surprisingly powerful modulation system that’s quick to set up and endlessly creative to explore.
Mod Destination
Click the "Destination" label above the knob to choose the parameter you want to modulate. You can send modulation to almost anything: oscillator pitch, filter cutoff, panning, Mod X rate, and more.
Attenuator Knob
Turn the knob to the right to apply modulation in a positive direction. Turn it left to apply negative modulation. The center position is off. Since all knobs are bipolar, it’s easy to invert mod sources with a quick knob twist.
Mod Source
Click the "Source" label below the attenuator knob to choose your modulation source. This is the thing doing the modulating. It might be an LFO, an envelope, velocity, aftertouch, or even another oscillator.
Modulation Routing Examples
Matrix Z isn’t just for experimental sounds, though it’s good for those, too. It’s also your tool for classic synth sounds, expressive performance controls, and creating evocative textures.
Here are a few modulation routings to spark some ideas. Be aware that these are just starting points. Matrix Z is designed to encourage curiosity. Mix and match sources and destinations, try subtle and extreme amounts, and don’t be afraid to modulate your modulators. The results can be extremely musical and expressive.
1. Velocity to Filter Cutoff
Source: Keyboard Velocity
Destination: Filter Cutoff
Why it’s useful: This is a bread-and-butter mod for dynamic expression. Play harder, and the filter opens up. This is essential for making basses and leads feel alive without needing extra controllers.
2. Mod X Wheel to Oscillator B Pulse Width
Source: Mod X Wheel
Destination: Oscillator B Pulse Width
Why it’s useful: Pulse width modulation adds harmonic movement to static waveforms. Routing it to a wheel gives you hands-on control over the timbre, perfect for expressive sweeps or animated textures in real time.
3. Filter Envelope to Oscillator A Pitch
Source: Filter Envelope
Destination: Oscillator A Pitch
Why it’s useful: This creates a subtle pitch bend at the start of each note. Use it for analog-style “brass” or “pluck” sounds with just a bit of pitch dip or ramp to add character.
4. Mod X (S&H) to Filter Resonance
Source: Mod X (Sample & Hold)
Destination: Filter Resonance
Why it’s useful: Randomized resonance modulation gives your sound a bubbling, lively edge. This is useful for generative-type patches, glitchy effects, or unpredictable sci-fi atmospheres.
5. Aftertouch to Arpeggiator Chance
Source: Keyboard Aftertouch
Destination: Arpeggiator Chance
Why it’s useful: Use pressure to add variety to an arpeggio while you hold a note.
6. Red Noise to Upper Filter Cutoff
Source: Red Noise
Destination: Upper Filter Cutoff
Why it’s useful: A touch of noise modulation applied to filter cutoff can add grit and edge to a sound. Dial it in subtly to add a bit of grunge.
7. Shaper Y to Mod X Rate
Source: Shaper Y
Destination: Mod X Rate
Why it’s useful: This sets up nested modulation. Shaper Y gradually speeds up or slows down Mod X over time, allowing you to create rhythmic modulation that evolves and morphs as you play.
8. Mod X (Triangle) to Pan (VCA)
Source: Mod X (Triangle)
Destination: VCA Pan
Why it’s useful: A slow triangle wave panning the signal left and right gives instant stereo movement akin to tremolo. This is useful for ambient patches, pads, and soundscapes that travel across the stereo field.
9. Oscillator B Pitch to Oscillator A Pitch
Source: Oscillator B Pitch
Destination: Oscillator A Pitch
Why it’s useful: This creates FM (frequency modulation). While not as sophisticated as the flavor of FM found on certain Japanese synths from the 80's, experimenting with different frequency settings for Oscillator B (including WIDE or BASS mode) can yield some very interesting timbres. Try setting short Decay on the Filter or Loudness Envelope to create hard-edged plucked sounds.
10. Mod X (Random) to Arpeggiator Swing
Source: Mod X (Random)
Destination: Arpeggiator Swing
Why it’s useful: Randomly varying swing gives your arpeggios a quirky, humanized feel that's less rigid and more alive. Especially fun for experimental or generative patches.
Modulation Sources and Destinations
MOD SOURCES
MOD DESTINATIONS
None
None
Keyboard Aftertouch
Master Volume
Keyboard Velocity
Unison Detune
Keyboard Keyboard CV
Filters Upper Cutoff
Pitch Wheel
Filters Lower Cutoff
Mod X Wheel
Filters Upper+Lower Cutoff
Shaper Y Wheel
Filters Upper Resonance
Expression Pedal
Filters Lower Resonance
Osc A
Filters Upper+Lower Resonance
Osc B
Osc A Pitch
Filter Envelope
Osc B Pitch
Amp Envelope
Osc A+B Pitch
Mod X
Osc A Pulse Width (RWM)
Mod X Triangle
Osc B Pulse Width (RWM)
Mod X S&H Random
Osc A+B Pulse Width (RWM)
Mod X S&H Shaper Y
Osc A Mixer Volume
Mod X Sine
Osc B Mixer Volume
Mod X Ramp
Osc A+B Mixer Volume
Mod X Sawtooth
Shaper Y Path Ring Mixer Volume
Shaper Y
Shaper Y Path Noise Mixer Volume
Signals +10V DC
Shaper Y Path Brightness
Mono Random DC
Filter/ADSR Path Osc A Mixer Volume
Poly Random DC
Filter/ADSR Path Osc B Mixer Volume
Red Noise (Vintage)
Filter/ADSR Path Osc A+B Mixer Volume
Pink Noise
Filter/ADSR Path Noise Mixer Volume
White Noise
Arpeggiator Speed
Arpeggiator Swing
Arpeggiator Chance
Arpeggiator Feel
Mod X Rate
Shaper Y Shape
Shaper Y Rate
VCA Volume
VCA Pan
Filter Envelope Attack
Filter Envelope Decay
Filter Envelope Sustain
Filter Envelope Release
Amp Envelope Attack
Amp Envelope Decay
Amp Envelope Sustain
Amp Envelope Release
Mod Matrix 1 Amount
Mod Matrix 2 Amount
Mod Matrix 3 Amount
Mod Matrix 4 Amount