A multi-timbral analog desktop synthesizer module
with 6-voice polyphony
Approximately 2000 units produced between 1984
The Xpander is basicially 50% of Matrix-12 without a keyboard. The two units' sound generation circuitry is more or less identical.
The synth features 2 syncable VCOs per voice, with sawtooth, triangle, pulse and noise (on VCO2) waveforms. The filter is the same rather unusual multimode VCF as Matrix-12 offers, with 15 different modes available by switching between 1-4 poles and pass types. Each voice sports 5 DADSR envelope generators, with 4 individual ramp generators for simple additional envelopes. A total of 15 VCAs are available. For modulation there are 5 individual LFOs with sample/hold, 3 tracking generators plus a lag processor for a portamento-style effect.
Some of the components are infact done with software. This includes the LFOs and EGs. According to most users, this does not have a noticeable negative effect on the instrument's sound.
Belonging to the same series as the Matrix-12 and Matrix-6, The Xpander features very flexible virtual patching of components, in a style similar to old modular synthesizers. 27 sources can be patched to 47 destinations, with a maximum of 20 connections per sound.
The unit's internal memory holds 100 single and 100 multi patches. Backuping and more space is possible via a cassette interface or MIDI SysEx dump.
The Xpander was the first Oberheim synth to feature an extensive MIDI implementation. Each voice or a voice group can be assigned to its own MIDI channel or one of the 6 onboard CV/gate inputs. Individual audio outputs for all the voices are included.
Famous users of the Xpander include Tangerine Dream, Yello, Keith Emerson, Jan Hammer, Orbital, Front 242 and Trent Reznor.
33" (w) x 12.5" (d) x 6" (h)
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