You can download the System Exclusive file by clicking the above name. The file contains the patch data for all 100 patches, from 00 to 99, exactly as it came from the synthesizer. Here's a list of the patches inside:
(All samples were recorded from my Matrix-12 after auto-tune through Mackie 1402-VLZ PRO audio mixer to Sound Blaster Live! computer soundcard at 16 bit and 48kHz stereo sampling setting. No EQ, effects or arpeggiator was used. Only the middle C key was played with a moderate force. As different patches have different characteristics, different durations are allowed, varying from less than 1 second to a bit over 10 seconds, to preserve the whole pictures as complete and faithful as possible.)
*Please note that all the samples are for your private non-commercial use only.*
Review by Mike Metlay
Peter's patches tend to
be organized in sets, with several subtle variations on a theme, and named accordingly:
VOICE 1.1, VOICE 1.2, etc. It seems that when a patch deviates enough from the
basic form, he gives it a name of its own and groups it after the others of
its ilk. For this reason, Peter's patch tape is organized quite neatly, making
it easy to audition all of a particular type of patch. Heavy use is made of
both Levers, both Pedals, Pressure, Velocity, and Release Velocity on many patches,
for effects ranging from vibrato to ENV shape changes and resonant sweeps on
note attacks. It should be noted by all that to Peter, "vibrato" means
everything from triangle-wave warbles to deep noise-wave growls. His Multi Patch
setups are meaningless: they're left over from the factory patch tape. Blanking
them would've been nice.
In contrast to the previous set, the patches here bear little resemblance to
the sounds after which they're named. Each sound group, like VOICE, STRIN, CHURCH,
etc., appears to describe the general character of a sound rather than it's
true intent. Peter seems to enjoy the "analog synthesis for its own sake"
approach to programming; he eschews realism in favor of timbre.
And what timbres-thundering basses, blasting church organs that seem to belong
to any church I've ever heard of, bizarre sound effects (though not on the level
of the next tape reviewed) with random LFOS, rich filtered string pads ... all
heavily overlaid with a grimy analog crunch that threatens to bury the listener.
There are a few slightly altered factory patches as well, but these have also
fallen to Peter's grim analog touch.
In fact, there aren't that many different kinds of sounds on this tape; it has
a definite "one flavor" feel to it throughout, and that flavor doesn't
lend itself to realism, so if you're looking for variety or realistic sounds,
look elsewhere. But if you want to learn exactly why no digital synth can cross
an Xpander and live, these sounds would be a fine place to start.