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Stereo Triggered Sampler - FirmwaresHow do I know what version I have?Using a computer:Put your microSD card into your computer. Open up the __Sample List__.html file. At the top it will say "Firmware version XXX".Without a computer:1) Go into System Mode (hold both Reverse, both Play, REC and REC Bank buttons down for a few seconds).2) Press and hold the Edit button. Look at the colors of Reverse buttons:Left Reverse = White, Right Reverse = Green ==> 1.5.x (latest version)Left Reverse = White, Right Reverse = Yellow ==> 1.4Left Reverse = White, Right Reverse = Orange ==> 1.3Left Reverse = White, Right Reverse = Red ==> 1.2Left Reverse = Orange, Right Reverse = Orange ==> 1.0 or 1.1 (see note below)3) If the Reverse buttons stay Orange, then you have v1.0 or 1.1. To tell the difference between v1.0 and v1.1, press and hold just the left Reverse button in System Mode. If both Reverse buttons turn White, then you have v1.1. If they remain Orange, you have v1.0.Change log:v1.5.2bReleased: October 14, 2022Download:Firmware v1.5.2bImprovements:Bug Fixes:Start Pos would not go back to 0: With longer sample files, adjusting Start Pos up and then back to 0 would sometimes set the start position such that the first few milliseconds of audio were truncated. Fixed.Clicking when re-triggering a sample with long Fade settings: With longer Fade Up/Down Envelope times, re-triggering an already playing sample would prioritize low latency over the fade-down envelope, causing a click. In v1.5.2b the fade-down envelope is accelerated, adding a little bit of latency when re-triggering but removing the click. Setting the Fade Up/Down envelope time to fast removes the latency and clicking.Looping broken for very short samples when Perc Env is off: When Percussive Envelope was turned off, setting the sample length to be very short could make it not loop. Bug introduced in 1.5.2. Fixed.v1.5.2Released: October 8, 2022Improvements:Smaller firmware update files: The size of the firmware file has been reduced, making the firmware update .wav file smaller by about 57% (from 5:55 to 3:22).Bug Fixes:Long Fade In/Out Envelope times caused clicking in audio under certain circumstances: When the Fade In/Out Envelope Time was set longer than the Trigger Delay Time, firing a play trigger into a channel that's already playing audio would cause the audio to re-start before the fade out had completed, causinga pop or click in the audio. Another circumstance was if the Fade In/Out Envelope Time or PercussiveEnvelope Time was set longer than time between Start Pos and the actual start of sample data, playing a sample in reverse would result in extra silence or glitchy audio. Bug appeared in v1.5, fixed in v1.5.2.Recording Sample Rate not presevered across reboots: The Recording Sample Rate can be set in System Mode up to 96kHz. However, the next time the STS started up, the rate would be set back to44.1kHz, yet the System Mode lights would indicate it was still in 96kHz. One symptom was that sampleswould play back at the wrong pitch. Bug fixed in v1.5.2.v1.5.1bReleased: June 28, 2022New Features:Force Reload SD Card: Hold down four buttons: Bank 1, Bank 2, Rec Bank and Rec, for about 2seconds. Release the buttons when the startup sequence of lights displays.Bug Fix:Unrelated sample file played in certain circumstances: When Start Pos was high, within 0.5s of the end of the file, and Length was just under 50% (Percussive mode) but high enough such that a percussive burst longer than 0.5s was to be played, then the STS would overrun the sample data and play unrelated data (usually a previously played sample). Bug appeared in v1.5, fixed in v1.5.1b.(Note: v1.5.1a was not released)v1.5Released: June 6, 2022Download:Firmware v1.5New Features:Looping Fade Time: The STS can make a longer crossfade between the end and start of a loop(adjustable from 0.36ms to 250ms). This results in a smoother, click-free loop.LED Color Adjustment: You can now adjust the red, green, and blue amounts of each button, letting you match the colors between buttons. All new units ship pre-calibrated.Maximum Recording Rate: You can now record up to 96kHz.Auto Increment Sample Slot on Record: You can enable a mode that moves to the next sample slot each time you finish a recording that was started with the Rec Trigger jack.REC button flashes when you change sample slots: The REC button flashes red or white when you turn the REC Sample knob to indicate if the slot is full or empty.Bug Fix:PLAY button stayed dim red after a recording into an active slot: Fixed. The PLAY button nowindicates the selected sample slot is full immediately after recording into a previously empty slot.STS hangs on boot in some circumstances: Fixed. An issue where the STS could hang on boot while searching for missing sample files is now fixed.v1.4gReleased: August 4, 2020Download:Firmware v1.4gBug Fix:Sequencing Start Pos Glitch Fixed: Using a sequenced CV into Start Pos with gates/triggers into Play Trig would sometimes play the wrong start position if Length was < 50% and triggers were fired fast enough. Fixed.Intermediate versions:(1.4f released June 17, 2020. Improved performance of start-up sequence, and more types of "extended" wav file formats supported)v1.4eReleased: October 20, 2017Download: (not available, please use v1.4g)New Features:Reduced latency by pre-loading each sample file in a bank the first time each sample is played.Latency from trigger until audio output as low as 0.7ms (with Trigger Delay turned to 0, see below)The first time a sample is played after the bank is changed, latency is typically 5ms (may be moredepending on wav file's sampling rate and bit depth). Subsequent times the sample is triggered thelatency is 0.7msVariable "Trigger Delay": Edit + REC Sample knobCompensates for slew/lag when using a CV Sequencer with the Play Trig jack and the either theSample CV or 1V/oct jackThis feature also allows for latency reduction compared to prior firmware versions, which had a built-in delay of about 14msAfter receiving a trigger on the Play jack, the STS will wait the specified delay period before reading the 1V/oct and Sample CV jacks.To use: Press Edit and turn Rec Sample knob. The knob's numbers (1-10) correspond to a delayamount:PCB v1.0a: ranges from 0ms delay (knob at 1) to 14.3ms delay (knob at 10)PCB v1.1: ranges from 0ms delay (knob at 1) to 1.9ms delay (knob at 8), and extra-long delays of 4.1ms (knob at 9) and 8.2ms (knob at 10)Note: If upgrading to v1.4 causes your sequencer and STS to not play well together, set the Trigger Delay to "8" or higherMonitoring on/off per channel: Left and right channels can monitor the inputs separately.Pressing PLAY on one channel while monitoring is on will turn monitoring off for just that channel.Only works in Mono mode.Monitor LED blinks to indicate split monitoring.Typical use would be to patch Right OUT -> Left IN, then Left OUT -> mixer. Then record the right channel's playback.Start-up banks: Can set the default bank to be loaded at start-up.Hold down Edit + Bank 1 + Bank 2 + left PLAY (Save) for 1 second. Current bank selection will be saved as the default after power on.Envelopes can be turned off: Both percussive envelope and longer playback fade in/out envelopeTwo types of envelopes can be turned on or off:Percussive Envelopes: this is the decay-only envelope applied to playback when Length < 50% (actually an attack-only envelope when Reverse is on)Fade In/Out envelope: this is a very short envelope applied to any sample that's played withLength > 50%. It reduces clicks when starting, stopping, or looping playback.In System Mode, left channel Reverse button sets the envelope settings:Orange: Both envelopes enabled (default)Red: Percussive envelope disabledYellow: Fade In/Out envelopes disabledOff: Both envelopes disabledTurning off all envelopes is recommended when playing CV sample files (wav files with clocks/gates, sequencer CV, or slow LFO waveshapes, etc).Turning off Percussive Envelopes is interesting when doing "Granular" patches (see User Manual for example patches)Can toggle Percussive Envelope mode by turning left side Length to 0, and holding left side Reverse for 2 seconds: Reverse button will flash/flickerCan toggle Fade In/Out Envelope mode by turning left side Length to 100%, and holding left side Reverse for 2 seconds: Reverse button will flash/flickerAfter exiting System Mode, right side Length was set to 0, until the knob was moved. Fixed.Intermediate versions: (1.4beta-1 released October 13, 2017) (1.4beta-2 released October 17, 2017: changed Length behavior) (1.4c fixed sticky right length knob when exiting system mode) (1.4d fixed bugs that appeared in v1.4beta2) (1.4e fixed bugs that appeared in v1.3) (1.4f more filtering on 1V/oct jacks, and quantized mode plays better with tracking comp setting)v1.3Released: (beta released Sept 26, 2017)Download:Firmware v1.3 WAV fileNew Features:Drag-and-dropping WAV files to SD card works better:Adding WAV files to an existing folder now adds the files to the bank if there are empty slots.If there are no empty slots, the files can be added using Edit + Next File.On boot, the STS will try to fill empty slots in banks by searching in the bank's folder:If the bank contains files from multiple folders, the lowest-numbered sample file's folder is used.Adjust 1V/OCT jack offsetHold down Bank 1 + Bank 2 + Edit while tapping either REC or REC Bank button.REC shifts downwards, REC Bank shifts upwards.Settings are saved in memory (save using Edit + Save after making necessary adjustments).If there is a difference in pitch between the audio being monitored and playback, or a difference inplayback pitch between channels, then this may need to be adjusted. All units are calibrated in thefactory, but variations in power supplies and grounding configurations of cases may cause DC offsetto appear in a user's system.Fixes:Creating a folder with an exact color name in all lowercase added the folder twice. Fixed.Edit+Next File while in an empty slot now searches in the folder of the first filled slot.Released: (released Sept 8, 2017)Download:Firmware v1.2 WAV fileNew Features:Quantize 1V/oct jack added to System Mode. Each channel can be on/off seperately. Quantization is to semitones (12 notes per octave).In System Mode, tap Bank button for either channel to toggle state.Blue = On (jack is quantized to semitones)Orange = Off (jack is not quantized)Only effects 1V/oct jack, not the Pitch knobSetting is saved in settings file on microSD cardReset tracking compensaion to 1.0000Holding Edit+Rec+RecBankUpdating from v1.0 or v1.1 to v1.2 or later automatically sets tracking to 1.0000 the first time it isloaded (this is necessary because tracking is calculated differently in v1.2 and later)Auto Stop When Sample Changes: "Always keep playing" mode added. There are now three Auto Stop modes. The modes determine what happens when the sample is changed while a sample is being played.Red = Always Stop: The sample instantly stops playing. If looping is on, the new sample startsplaying immediately.Blue = Change When Looping: The sample keeps playing normally -- unless it's looping, in whichcase it stops immediately and the new sample starts.Green = Always Keep Playing: The sample keeps playing normally. If it's looping then the newsample begins when the previous sample reaches the end.Fixes:1V/octave tracking is tighter, +/-0.4 cents over C0-C3Changes:Faster entry into System Mode (2 seconds, instead of 4)Pitch knob's plateau around the center detent is larger, and gradually slopes away from center to make it easier to tune to other sourcesReleased: August 28, 2017Download:Firmware v1.1 WAV fileChanges:On boot, color of lights while index file is loading shows minor version numberIn System Mode, holding down Reverse displays firmware version on Reverse buttons (White, White =1.1)Fixes:Tapping Reverse after changing Channel Volume prematurely updated the Start Pos setting. Fixed.Scrub End setting for samples was not loaded after reboot until Edit button was pushed. Fixed.v1.0Released: August 10, 2017Initial ReleaseFeatures for future firmware versions:Allow for internally patching OUTs to INs for self-recordingSupport AIFF filesWrite index file in background, for faster boot time and "Edit+Save" time。
MatriarchPatching with Intention Vol. 1Get started with patching techniques and exploredeeper synthesis concepts with stereo filtermovement and 2-operator FM synthesis.Patching with IntentionThere are many ways to approach patching a synthesizer like Matriarch. There’s no “wrong” way to do it, and randomly patching inputs to outputs can lead to wonderful, unexpected results.Other times, however, you may want to patch with some intention. Perhaps you have an electric piano sound in mind that you would like Matriarch to approximate. Or an idea may strike you while falling asleep: I wonder what would happen if I patched the envelope generator to the delay time...This guide will help you better understand how to patch Matriarch and help you discover why you might want to patch it a certain way.Initialized PatchBefore getting started, match your Matriarch to the initialized patch settings above. Each section builds upon the last, so explore them in sequential order for the best results. You can find the full patch diagrams for all patches discussed in this guide in the accompanying PDF patchbook.First StepsMatriarch is an extremely powerful and flexible synthesizer composed of many different modules based on Bob Moog’s original designs. Its semi-modular nature means that, while it is full of patch points, there are many patch connections already made for you under the hood.Let’s begin by designing a sound that does not require patching. First, startby matching your Matriarch parameter settings to the initialized patch diagrammed on the previous page. Play some notes and some chords to get an idea for how this initialized patch sounds.This patch results in a nice, clear sound, but let’s get a bit of movement going. A common way of doing that is to generate some extra movement in the filter. When we press a key the FILTER ENVELOPEwill open the filter by an amount set by the ENVELOPE AMT knob in the FILTERS section.Layering a MODULATION OSCILLATOR will add a bit of vibrato-like texture toour sound. This is such a common sound design technique that we don’t have to physically patch anything to achieve it. Turn up the CUTOFF AMT knob in the MODULATION section and then raisethe MOD wheel to apply the modulation oscillator to the filter cutoff. You should hear the filter opening and closing based on the settings in the MODULATION section.Now, let’s try and achieve this same result through patching. Through this exercise we’ll learn how to use the all-important utilities section of Matriarch and get a better handle on how to use modulation and patching to greatly expand Matriarch’s sound palette.Before we begin, turn the CUTOFF AMT knob back down and return the MOD wheel to zero.MAKE THIS CONNECTIONWe want to take the MODULATION oscillator and have it move the FILTER up and down. Our first impulse might be to simply take the WAVE OUT of the MODULATION section and patch it directly to the filter’s CUTOFF 1 IN.While that certainly gets the filter moving, it doesn’t allow us to control the amount of modulation applied. With this direct patching, the modulation oscillator swings the filter all the way open and all the way closed.MAKE THIS CONNECTIONLet’s explore a way to apply more subtle modulation. In order to have control over the depth of modulation, we can use an attenuator.Note: Any of the attenuators on Matriarch can be used for this.The ATTENUATOR takes the signal applied to its input—in this case a sine wave oscillating between -5 volts and +5 volts—and decreases it. With the attenuator knobat noon, the signal is decreased to zero, effectively silencing it. Moving the attenuator knob clockwise a little bit will raise the signal to oscillate between –1 volt and +1 volt (for example). Moving it fully clockwise will pass the original signal through with no attenuation: -5 volts to +5 volts.Now we can use the ATTENUATOR knob to control the depth of modulation. Movingthe knob clockwise will increase the modulation depth, and moving it counter-clockwise towards noon will decrease the modulation depth. Moving it further counter-clockwise will invert the modulation, but more on that in a second.At this point, we’ve successfully replicated the cutoff modulation that is hardwired via the CUTTOFF AMT knob and MOD WHEEL through patching! Let’s use this as a starting point for further patch exploration..Inverting Attenuators and Stereo MovementMatriarch features a stereo filter, which is really two filters layered on top of each other and routed separately to the left and right channels.Patching the modulation oscillator to the CUTOFF 1 IN (like we did in the previous section) moves both filters up and down, since the CUTOFF 1 IN is normalled tothe CUTOFF 2 IN. This means that a voltage patched to CUTOFF 1 IN will also be patched to CUTOFF 2 IN unless there is something else patched to CUTOFF2 IN, so we have the same signal fromthe MODULATION section moving both FILTER 1 and FILTER 2 simultaneously.As it stands right now, we don’t really have a stereo signal: both FILTER 1 and FILTER 2 move up when the modulation oscillator goes up and they move down when it goes down. Let’s now explore how to add stereo-depth and movement through patching.MAKE THIS CONNECTIONBy using more utilities, we can easily patch this stereo movement. Patchthe modulation WAVE OUT to an ATTENUATOR input as before. This attenuator will be the knob that controls the modulation depth. Next, let’s take the ATTENUATOR output and route it just above to a MULT input. It doesn’t matter which of the four jacks in the MULT we use, but let’s use the top left jack.The MULT takes a signal and allows usto send it to multiple destinations. Since we have a signal patched into one ofthe jacks, all of the remaining jacks now contain copies of that signal.Next, patch one of the MULT outputs to CUTOFF 1 IN as before. This just replicates the patch as we had it before.The fun begins when we take another MULT output and route it to a different attenuator. By turning this second attenuator completely counter-clockwise we invert whatever signal is patched into it. This means that when the modulation oscillator goes up, the signal out of this inverted attenuator will go down and vice versa.Patch another one of the MULT outputs to a new ATTENUATOR input. Now, patchthe output of this new ATTENUATOR to the CUTOFF 2 IN. Make sure that this second attenuator’s knob is turned fully counter-clockwise.The first attenuator acts as an attenuator for both left and right motion, since the attenuated version then goes down to the second attenuator which completely inverts whatever signal is coming in. If you move the second attenuator knob completely clockwise, we return to mono with both filters moving in sync. Moving the second attenuator knob back to fully counter-clockwise returns us to stereo space with the filters moving in opposition directions.With this patch, we’ve taken a pretty typical subtractive synth effect—an LFO moving the filter up and down—and created a much deeper stereo version using just a handful of patch cables and a few utility modules. While utilities like mults and attenuators don’t exactly stand out as being the most exciting parts of a modular synthesizer, this exercise shows just how important they can be in creating more interesting and exciting patches.Extended Keyboard Techniques: VelocityOn Matriarch’s back panel are CV outputs for keyboard velocity and aftertouch: how hard the keys are pressed and the amount of pressure applied to a key after it’s held down, respectively. These two aspects of Matriarch’s keyboard are not routed to anything by default and require patching to use.Let’s expand the patch we’ve been working with and layer on some performance controls. First, we’ll use the keyboard velocity to control the depth of stereo filter modulation. The harder we press a key, the wider the filter movement will be.MAKE THIS CONNECTIONWe can achieve this by simply patching the KB VEL OUT (on the rear panel) to the CV IN of the first attenuator which controls our modulation depth.PATCH TO REAR PANELKB VEL OUTMatriarch is a hands-on performance instrument that combines the power and flexibility of a modular synthesizer like Moog’s vintage modular systems with the playable functionality of a Minimoog.Let’s now explore how patching can be used to enhance creative playability.Turn the first (upper) attenuator knob to noon. The KB VEL OUT sends a voltage from0 to 5 volts depending on how hard the keyboard keys are pressed. With the attenuator knob at noon, a low voltage from KB VEL OUT caused by pressing the keys very softly will raise the attenuator knob slightly – resulting in very subtle filter movement. Pressing the keys harder will send a higher voltage out of KB VEL OUT, subsequently opening the attenuator more and generating wider filter movement.Take a moment to pause here and just play the keyboard – listening to how your keyboard playing opens and closes the modulation. With some thoughtful patching we’ve taken our initialized patch—a nice, but rather standard synthesizer sound—and created a synthesizer that responds to our touch to generate some interesting stereo movement.Let’s take it a step further with aftertouch. While the keyboard velocity controls the depth of modulation, we can patch aftertouch to control the rate of modulation.MAKE THIS CONNECTIONPatch the KB AT OUT (on the rear panel) to the MODULATION section’s RATE IN .Move the RATE knob down to around 9 o’clock to set a slow modulation rate for this patch. The KB AT OUT will send a higher voltage as you apply aftertouch (pressure to the keys once they’re held down), and will speed up the modulation rate the more aftertouch you apply. With the keyboard velocity still adjusting the depth of modulation, play around with this patch and explore all of the interesting ways you can control stereo movement.Up to this point we’ve had a single goal in mind: stereo filter motion.. Currently, all of our patching is related to how those filters move, and how we can control that movement. But remember, Matriarch is an open-ended synthesizer capable of an astoundingly wide array of sounds. All of these techniques can apply to modulating delay times, oscillator pitches, or sequencer movement just like we’ve used them to modulate the filter.Extended Keyboard Techniques: AftertouchPATCH TO REAR PANELKB VEL OUTPATCH TO REAR PANELATMAKE THIS CONNECTIONKeeping the patch as we have it, let’s now use aftertouch to modulate the delay. Take the KB AT OUT and patch it to the TIME 1 IN of the STEREO DELAY.Increase the MIX knob in the STEREO DELAY section to noon and add a bit of feedback with the FEEDBACK knob. Play around, and you’ll notice that now as you apply aftertouch you lengthen the delay time—resulting in some wonderfully wobbly sounds.MAKE THIS CONNECTIONWe still have an attenuator handy, which we can use to invert the aftertouch voltage if we like. Patch KB AT OUT to the remaining ATTENUATOR input, set the ATTENUATOR knob counter-clockwise to invert the incoming voltage, and patch the output to TIME1 IN in the STEREO DELAY. This will make it so that applying aftertouch shortens the delay time rather than lengthens it.In fact, with this attenuator we have control of both the range of modulation for aftertouch and its direction—such is the power of the inverting attenuators of Matriarch!Switch PARAPHONY to 1 for now whilewe build our first 2-operator FM voice.Given how harmonically rich FMsynthesis is, sine waves are often used. We potentially have three sine waveoscillators at our disposal: the modulation oscillator and both filters self-resonating. Triangle waves work well, and using the oscillator bank makes things cleaner and more flexible. So, let’s now switch all four OSCILLATORS to triangle waves.2-Operator Analog FM SynthesisFM synthesis sits next to subtractive analog synthesis as one of the majorsynthesis methods available today. While FM exploded in the 1980s by harnessing the power of digital technology available at the time, the core concept of FM synthesis—frequency modulation—has been possible all the way back to thevintage Moog systems of the 1960s. With Matriarch we can create deep and flexible FM patches for a world of sounds not typically available on analog subtractive synthesizers.Let’s return to the initialized patch from the beginning of this guide as a starting point. We’re going to use the oscillator bank as our source of carrier and modulation oscillators, allowing us to turn Matriarch into a 2-operator FM synth with two voices.Now that we have a handle on how to use attenuators and mults to deepen our patches, let’s realize a different goal: FM synthesis.MAKE THIS CONNECTIONFor one FM voice our goal is to use Oscillator 2 to Frequency Modulate (or FM) Oscillator 1. A crude way of doing this would be to patch Oscillator 2’s WAVE OUT output to Oscillator 1’s PITCH IN input.Turn down all channels in the mixer except for OSCILLATOR 1 and press a note. Compare how the sound changesas you press the key, removing the patch connection and then repatching. You’ll notice that with Oscillator 2 patched to the PITCH IN the tone is way too lowand pretty flabby. This has to do with the PITCH IN input having an exponential response, which works well for pitch and keyboard information, but not as wellwhen doing FM synthesis.MAKE THIS CONNECTIONInstead try patching Oscillator 2 WAVE OUT output to Oscillator 1’s LIN FM IN input.You’ll notice now a very bright tone–one full of overtones. By changing the value of the OCTAVE switch of Oscillator 2you change the relationship between the carrier (Oscillator 1) and the modulator (Oscillator 2) and thus change the color of the sound. This might be too bright of a tone, however, and you’ll want to adjust the FM depth. Just as before, it is time to use an attenuator.Patch Oscillator 2’s WAVE OUT output to an ATTENUATOR input and the ATTENUATOR output to Oscillator 1’s LIN FM IN input.Now you can use the attenuator to dial in the depth of frequency modulation. You can even invert Oscillator 2 by moving the ATTENUATOR knob counterclockwise past noon, but in the case of this patch it doesn’t make much of a difference.A major feature of FM synths is dynamic depth FM synthesis—where the depthof modulation will vary over time—usually controlled by an envelope. Matriarch’s attenuators easily let us achieve this since their CV inputs make them voltage controlled amplifiers! We will take the amplitude envelope and use that to control the depth of FM.We could patch the ENV OUT directly to the CV IN of our attenuator, but by runningthe envelope itself through its own attenuator we can have even more control over the depth of FM.The first attenuator sets the starting FM depth and the second sets the max FM depth. With the first attenuator at zero (noon) and the second all the way up we get tonesthat start with no FM, grow to full FM over the course of the envelope, and return back to no FM. With the first attenuator at maximum and the second all the way counter-clockwise (inverting the envelope) we get the opposite: tones that start with full FM, reduce to no FM at the height of the envelope, and grow back to full FM as the envelope decays. By playing with these two attenuators, the amplitude envelope parameters, and Oscillator 2’s octave and detuning, we have an incredibly wide range of metallic, bright, clangorous, and buzzy sounds that change over time—perfect for feeding Matriarch’s stereo filter and delay.Even better, we can make this a two-voice FM synth by setting up a similar patch with Oscillators 3+4. Turn up OSCILLATOR 3 in the mixer, patch Oscillator 4 to Oscillator 3’s LIN FM IN via our remaining attenuator, and mult the attenuated amplitude envelopeto both FM depth attenuators. Switch PARAPHONY to 2 now—this will enable us to use Oscillators 1+2 for our first FM voice and Oscillators 3+4 for our second. Below is a full patch diagram for our two-voice 2-operator FM synthesizer:Further ExplorationNow that you have built some intuition for how Matriarch’s patch points can be used to expand your tonal palette, feel free to start exploringand experimenting on your own. We’ve only just scratched the surface, and with some patch cables and your imagination Matriarch truly comes alive. We’ve included a supplementary patch book, outlining some of the patches in this guide and some alternate versions of them to play around with. Remember, though: there is no wrong way to patch Matriarch. Let your ears be your guide.Register your Matriarch at to receive additional Matriarch updates and assets straight to your inbox.。
