However, it was completely preset with no editing
whatsoever from the front panel, the assumption being that with
1,000 sounds to choose from, why would you ever want to create your
own? Up to a point, that's true but it would have been good to have
a few controls just for superficial control of key parameters like
attack, release, filter cutoff and resonance. But of course, that
would simply have increased cost and the Matrix 1000 was most definitely
built to a price point and at $500, it was one of the least expensive
analogue polysynths of all time.
Of course, to get costs down, compromises had to be made,
the most notable of which was the use of DCOs (digitally controlled
oscillators) which, with their rock solid tuning stability, arguably
lacked the 'character' of older synths that used voltage controlled
oscillators (VCOs). Also, the LFOs were also generated in software
as were the envelopes and some will argue that they don't as 'punchy'
as analogue envelope generators. However, the filters were all analogue
and sounded fabulous.
It was also possible to stack all 6-voices on top of
each other in a special unison mode and the 1000's 6-voice polyphony
could be expanded with the purchase of further units with a special
'overflow' mode that allowed them to be used as one big polysynth.