Give or take the odd rewrite, I calculate that MTX9 is the fifteenth Simmons product I've reviewed. I mention this simply for your edification, and to show just how prolific they've been.

Anyway, MTX9 is aimed, as you can no doubt ascertain from the final digit, at SDS9 owners. It is, in essence, a voice expander which interfaces via the ubiquitous MIDI socket to any so equipped piece of electronic apparatus or, via its trigger thruputs, to any other percussion set up. This will then allow you to access a range of useful voices via your pads. So, in one specific form, it will add many more sounds to your SDS9. (The unit actually features 11 different samples, which can be accessed and changed according to the machine's internal parameters and split three ways simultaneously. For example one sample could appear with different pitches and decays over three pads. This effectively gives you 33 different sounds.) These sounds are not designed to be changeable since they're all held in a single PROM. But in common with other Simmons products you may edit, ie change those original 'factory' sounds by simply copying them over into 'user' memory banks with changes in parameter. More of this particular operation later.

MTX9 is, like all modern Simmons products, rack-mountable. It's the same depth as SDE, TMI and SDS1000 and its controls are laid out in a similar way.

To the left side of the unit are a series of small pots, three of which control sensitivity. Alongside these are a single Minimum Dynamic control, then Ext 1, 2 and 3 from SDS9, with further controls for MTX9 output, as well as a final pot for Mix Output. In the centre of the front panel is an info window which shows what you're doing, ie storing; as well as which patch you're listening to, or working upon. Beneath this window is a headphone socket.

Alongside these are the LEDs which tell us which bank we've selected and below these are the control buttons. They're simply for Programme, Store, Select and Channel. (MTX9 is a three channel instrument, with three sounds in each patch). All the indicator lights are arranged very logically and informatively. To the right side of these are the parameter controls. They appear to have been kept to a sensible minimum, and encompass: Decay, Pitch, Shift and Sample via the same size pots as used for all MTX9's other changeable functions. Decay and Pitch are hopefully self-explanatory, while Shift is a dynamic control which allows the drum sound to run up or down in pitch depending upon how hard you hit the pad.

Next to the parameter controls are a further three to adjust the delays. They're marked: Decay, Speed and Number, and are all very logical. All the information I've detailed can be held in a patch, and each of the three individual voices within the patch may be adjusted in volume. (This is a very important facet since at equal volumes some percussion sounds, like timbales and shakers, are much more cutting than others.)

Programming a patch is very, very simple. Call up one of the voices with in the machine via Programme, then adjust the parameters to taste, finally Enter it into the memory. It's a piece of cake.

There are actually 40 memory locations within MTX9, half of which are full up with factory sounds while the others are available for your own variations. Since it is meant to be linked with SDS9 it offers you the alternative of 'blending' its sounds with MTX9's. These selections may be held in patches and recalled via MIDI at the press of a button. So, to be specific, you could (say), add a tambourine from MTX to a snare drum from '9', or just about any other combination your little heart desired. The input at the rear designates: Lo, Mid, and Hi channels for SDS9's brain. I can't imagine that it makes that much difference though whether you've got an analogue or digital voice on the line.

Memory information is held in four banks which one selects by way of a simple and ingenious combination of two LEDs. As usual with Simmons the 'user' section includes a dot alongside the patch number in the display window. One of the usual, optional Simmons footswitches will allow you to step backwards and forwards through a single bank.

The backside of the MTX9 is not particularly cluttered. There's a rocker switch for power on; the jack-socket for footswitch input to allow you to advance through the patches; DIN sockets for MIDI In and Thru, for all of the unit's different modes; a single Mix output socket; Channels 1, 2, and 3 outputs; Lo, Mid and Hi inputs from SDS9 or any other percussion equipment; Trig outputs from channels 1, 2, and 3 back to SDS9; and finally three Trigger Inputs from pads.

I've detailed what is ostensibly the main raison d'etre for MTX9. However, for me it's a great deal more than just a voice expander. For me it's the alternative to a large box-full of expensive and often difficult to play, acoustic percussion instruments. From now on you'll no longer need to cart all those 'washing-up liquid' containers full of macrobiotic pulses, and broken, but still wonderful sounding tambourines into the studio. All you need now is this latest Simmons product, and up to three pads. You won't need microphones or any of that paraphernalia; simply a direct injection box. You won't really need a studio either, only a control room.

Even though the digital sounds for this equipment have not yet been finalised, I have heard the alternatives from which the final selection will be made. They're all up to Simmons' usual high standard and I'm sure we'll end up with permutations of tambourines, shakers, acoustic toms with and without ambience, timbales, congas, cowbells, and woodblocks. Furthermore, since these sounds are fully programmable, you'll be able to make up your very own variations with consumate ease.

Simmons MTX9 - RRP: £399