Various Users Patches

You can download the patches in different formats as a compressed file by clicking the above name. Or you can download different formats by clicking the zip file names:

midsysex.zip: 56 Xpander/Matrix-12 single patches in Midi File sysex format
rawsysex.zip: 56 Xpander/Matrix-12 single patches in RAW sysex format
unisyn.zip: 56 Xpander/Matrix-12 single patches in Unisyn format.

(You need WinZip to uncompress the files. Click here to download the evaluation version if you do not have the program.)

Here's a list of the patches inside:

Notes

DISASTER
by Mike Metlay

NOTES: The VCA 1 Pedal mod acts as a volume control...+4 may not seem like much, but wait'll you hear it! Be sure to hold Pedal 2 down for at least 30 to 45 seconds as you play. If you get impatient, turn Lag Rate down to +53 or so. Experiment with touching keys and releasing the Pedal momentarily, once the sound gets up steam. Excruciating!

MOTRBIKE
by Mike Metlay

NOTES: Program it, turn it up, and let it provide sound effects for you while you pretend you're the "Leader of the Pack." Atrocious!

CS80BRAZ
by Joe McGinty

NOTES: Joe: I was a big fan of the Yamaha CS80's velocity and aftertouch. When playing normally, the filter is open. Playing lightly, the filter's closed, but you can then lean in and open up the filter to create a 'crescendo' like a true brass section. Buzzy and brash.

PINDROP
by Joe McGinty

NOTES: Joe: This is an effort to recreate the sound that starts off Eddie Jobson's Theme of Secrets LP. (Who needs a Synclavier?) The notes must be held down until the LFO is close to maximum speed." Modular

CAT MOAN
by Greg DeGrazio

NOTES: Greg: "At the right octave on the keyboard, this sounds something like a cat frequency moaning. Use LEV2 to control the frequency of the moan." Eerie.

TRONICWO
by Greg DeGrazio

NOTES: Greg: "If you play this patch on the low end you will get a "wo" sound." An effective formant patch.

QUIET
by Bill Belote

NOTES: Bill: Great fun and variation using Pressure and Levers." He also suggests
a MultiPatch consisting of this sound layered in fifths (TRANSPOSE -12 and -5) to turn the Single Patch's 5th interval into a 1-5-9 arrangement. "The overtones can be intoxicating."

OBERHORN
by Bill Belote

NOTES: Bill: A mellow French horn (sound) with lots of expression in keyboard style
(i.e. velocity, pressure, release velocity). Expressive.

CL. GUIT
by Marc Van Den Houden

NOTES: Marc wrote no comments on this or any other of his patches, so I'll give my impressions in brief. This strikes me as more of a harp sound than a guitar, but that could be influenced by playing technique.

SOFT TCH
by Marc Van Den Houden

NOTES: This is a vibrato-horn sound with strong velocity sensitivity.

E.VIOLIN
by Marc Van Den Houden

NOTES: A "phasing" string sound, good in high and very low registers.

A SCREAM
by Marc Van Den Houden

NOTES: This is a surprisingly effective FM percussion sound.

CHOR-EXP
by Marc Van Den Houden
NOTES: A straightforward organ-stop patch with a "vocal" feel.

SYMPH FM
by Marc VAN Den Houden

NOTES: A string pad with ringing FM over-tones. As with every patch in this collection feel free to tweak it to your own tastes.

ARPEGG
by Dan Barrett

NOTES: Dan: Hold down PED 2 and play a quick arpeggio up the keyboard. Listen for a while, as LFO 3 brings out various harmonics at different times. PED 1 controls overall speed. If you don't have pedals turn ENV 1 RELEASE to 63. Please note that the LFO parameter settings are crucial- if you're even off by 1 anywhere, the patch will fail. (I spent a lot of time getting the LFO rates to match !)
"Note that this patch pushes the limits of what the Xpander's computer can handle; the LFO's are actually slowed down by the complexity of the patch ! The following is a test to see that the patch sounds correctly: program it, and hold down middle C. You should hear a repeating pattern of eight perfect eighth notes playing Cl, GI, Cl, G 1, C2, G2, C2, G2.

TDRIPOFF
by Lionel Cassin

NOTES: Lionel: As you may have guessed by now, this is not so much a patch as a schema. The sound itself is rather unsurprising, but you can replace it with whatever you like, within obvious limits: extra-long attacks and decays won't do.

XPNDBRSS
by David Ziegele

NOTES: Dave: This uses LFO 1 modulating VCF FREQ and ENV 3 modulating VCO
FREQ to produce an initial growl and spit on notes. The effect is Velocity sensitive. To increase the growl, raise the rate of RAMP 1. To increase the spit effect, increase the mod values for ENV 3 on the VCO FREQs or increase the ENV 3 Attack or Decay.

THUMBPNO
by Dave Ziegele

NOTES: Dave: This is an attempt to replicate a kalimba, or African thumb piano: a small wooden box with metal strips of varying lengths that are flicked with the thumbs. I have added a slight random detuning and Pressure-controlled pitch bend, but I honestly don't know if those are characteristics of real thumb pianos.

HARP FLT
by Alan Zipper

NOTES: This is only one of several excellent harp sound son Alan's tape, an odd but effective mix of harp and flute that's beautiful on glissandi. Add a little echo or reverb and enjoy !

PATTERN
by Peter Urbanek

NOTES: This is a throbbing , arpeggiator-pulse type of patch, good for driving basslines and harmonies. It's also less heavy than a lot of Peter's other patches.

SPRINGER
by Arthur Springer

NOTES: This delightful little sound, number 72 in a set of 100 patches entitled "Springer" (I'd complain if they weren't free), brings to mind the last time a swarm of mutated locusts attacked my brain. Note that every modulation listed is necessary and interlinked, a fact not immediately obvious.

ECHO***2
by Jeff Bower

NOTES: Jeff only writes, Mod wheel affects filter timbre. Pressure affects VCA 2. This is a sort of tremolo patch that allows the player to fade in all six voices via pressure even if only one note is held down: the Xpander "remembers" the last five notes you've played, and pressure can bring them back. This produces some nice effects if used sparingly.

SWEEP
by Jeff Bower

NOTES: Jeff writes: This is a good basic filter sweep. Alternate voice panning to opposite sides is interesting. Adding FM, modulated or static, creates a nice subtle texture change. Hold notes down until sweep ends. This is a wonderfully thick, slow filter divebomb of the type I know and love, with nifty tonal variation across the keyboard. Yew!

SHAKU
by Bill Belote

NOTES: Bill says, This requires some skilled LEV 2 technique to simulate breathy vibratos, or in high ranges to gently add some wind noise. I found the setting of LEV 2 to be awfully sensitive at first; try it at lower modulation values first.

SONAR
by Lionel Cassin

NOTES: I got this deceptively simple looking patch from Lionel during my visit to Philadelphia last summer. He asked me to run it in this issue, but didn't send any commentary. So I'll give a bit of my own: do you know what it's like when your girl friend the enchanted princess sets you a task to win her hand and she tosses her ring into the lake and you dive in to get it and while you're under water the unicorn that enchants your kingdom gets its horn chopped off by a goblin and the lake surface instantaneously turns to a thick sheet office just as you're coming up for air? Boy, I know I do. I saw it in "Legend," a lousy Tom Cruise movie with a great Tangerine Dream soundtrack. They probably did this sound with an Emulator, but it sounds better on an Xpander: press and quickly release various chords at opposite ends of the keyboard for best effect.

CLAVINET
by Ted Greenwald

NOTES: Ted: Pedal 2 is wired up to act as a guitar-style whammy bar. If you want to make it a sustain pedal, you'll have to modulate the release of ENV 3 to +63, as well as those of ENV 1 and ENV 2 more moderately. Eliminating ENV 3 and detuning VCO 2 can result in a better overall clav sound, but with out the satisfying thunk when you release a key. Ted's patch originally had VCO 1 page as OOXO rather than OXOO. I believe it was a typo; try it yourself if you're curious.

JUNGLYAK
by George Hagegeorge

NOTES: This patch came from George with his application, and so wasn't written in a standard format. The patch as given is what was left after I trimmed off all of the pages that didn't seem to do anything (there were about nine of those).

METALWKS
by David Diggs

NOTES: Dave: This is my attempt to duplicate the Emulator sound of pipes. It worked well enough to be used on my last album. Yes, VCO 2 is off, Dave assured me; it's used for FM only. Waveforms don't matter, the XOOX was left over from a previous patch.

DIRTBASS
by David Diggs

NOTES: Dave: This is a punchy R&B type of bass sound. It really drives in Multi
unison mode with a bit of detune. Detune is a Multi Patch option that Matrix 12s have,
but that Xpanders don't ... (grump)....

DOMORGAN
by Mathias Ebert

NOTES: Mathias: REL of ENV 2 is reverb of the dome; 34 is a very big hall. It sounds like the church organ where I learned to play keyboards. This patch, I'm afraid, is also a victim of a sloppily documented patch sheet. I chose to remove the four pages those values didn't affect the sound before printing it.

VOICE815
by Peter Urbanek

NOTES: Peter: This sound is sensible to pressure; try to modify VCF FREQ mod by another KEYBD /-40. Also interesting is to tune both VCO FREQs to 0." Gritty.

WHIP5TH
by David Ziegele

NOTES: Dave: This is a fairly standard brass patch, with a few exceptions. TRACK 1, with an input from RAMP 1, modulates the initial pitch of both oscillators (one negatively and one positively, and the patches end up a 4th apart. LFO mods of VCO and VCF FREQs are out of phase, producing a 'rolling' feel as notes sustain.

STHORROR
by IBFM (Matthias Ebert's Xpander Patch)

No Description

HRDFLUTE
by IBFM

No Description

NR-DRUM
by Dan Barrett

NOTES: Dan writes," Here's a snare drum patch I've created. Lever 1 bends pitch, and Lever 2 controls the tightness of the snare head. Note that velocity controls not only volume and brightness, but also raises the snare's pitch just slightly for more realism.
Try some drum rolls using all five fingers of one hand on adjacent keys.

APPROACH
by Bob Vandiver

NOTES: For simulating that THX theme audible in a theater near you.

MELTDOWN
by Bob Vandiver

NOTES: A good one to play with the filter mode, etc. For those cliched analogue sweeps. Made about the time Chernobyl blew up.

SHIMMERZ
by Bob Vandiver

NOTES: This is a pad not unlike MELOCOMP which I find useful.
Shimmers, get it ?

DIGICHIM
by Glenn Workman

No decscription

REZCHIM
by Glenn Workman

NOTES : Enter DIGICHIM first, and store it. REZCHIM is a slight modification of DIGICHIM, so you just need to enter the changes, and store it separately. The difference in the resonance from 62 to 63 adds the clangorous effect. REZCHIM has an echo with a completely different tone than the root pitch. Lever 2 increases or removes the echo effect.

REEDY
by Philippe Marais

NOTES: Philippe writes, This is a new patch at it's starting point (presumably in it's development) with VCO 2 synced to VCO 1 and FM on VCO 1 to create the feedback loop as told in issue #3." Note that Philippe didn't use a standard notation for the lower Pg. 2 envelope settings, and so Adam had to guess at what Philippe meant. (this also holds for the two other patches by Philippe.) Please be careful when submitting patches!

SBRZFLT1
by Philippe Marais

NOTES: Philippe writes, "This one is still evolving. I use it in stereo Multi Patches. Try it with different effects; it sometimes sounds violinish. I love sounds with noise, and my only complaint about the M12 and Xp is that they have no separate noise volume.

UPER S2
by Philippe Marais

NOTES: Philippe writes, "I realize that the first two patches are "instrument-like", for playing melodic lines. I submit this third one: you just play one chord, listen to the music, and change one finger, then another one, etc., and find your way through. Use the low and middle part of the keyboard, and note the patch is release velocity sensitive."

ECHO REL
by Robin Van Duzee

NOTES: Robin writes, "This is a pretty straight forward echo with more after release"

FALL OUT
by Robin Van Duzee, based on a patch by David Ziegele.

NOTES: Robin writes, "This patch is a takeoff on a patch by David Ziegele called STEARNS. You can find STEARNS in Vol. Three of David's Solid Sounds patch collections. Thanks, Dave, for the idea; they say imitation is the sincerest form of flattery.
I hope so."

GLIDING
by Robin Van Duzee

NOTES: Robin: "The LFOs and Tracking Generator 2 run this gliding phase patch."

ESCAPE
by Eric Rehl

NOTES: Eric writes, "My patch is something I came across while trying to transfer some of my favorite patches from my Roland MKS-8O Super Jupiters, not always possible because of the extra sync mode the Roland makes available. It's actually a fairly simple patch; some obvious alterations would be keyboard scaling on envelope times, velocity sensitivity, and the direction and/or length of the pitch sweep. I use it in a Multi patch with plenty of unison detuning (sorry Xpander users!)." (GRUMP !)

SAMPLE
by Pieter Meij

NOTES: Pieter writes: "This patch and the next were designed for the Matrix-12 keyboard, so if you use another controller you may have to tweak the velocity settings just a little bit. The "sample" patch is make for the lower three octaves. Making the envelope attacks faster and increasing some of the tracking parameters and shortening envelope decays will produce a more top 40 like sound."

HARMONCA
by Pieter Meij

NOTES: Pieter notes, "The harmonica sound: maybe you like raising envelope 1 attack to +/-30 and modulating this attack with a negative velocity of +/-53. "I'm not sure what Pieter means by that, precisely; perhaps +30 vs. -53 or -30 vs. +53 per the user's preference? Anyway, experiment, and you can fine tune this patch to your own needs.

ELLEN
by Joe McGinty

NOTES: Joe calls this "A simple mellow patch that will make you a New Age star overnight."

SYNCSIN
by Joe McGinty

NOTES: Joe writes, "This isn't really finished, but it's quite annoying and quite fun if you like playing with harmonics. If you don't have plus and minus modulation on your Lever 2 (as the M12 does), you may want to use Lever 1 instead. By the way, this won' t be in tune; I tried making it in tune, and it seemed to lose some nastiness."

MONKEYS
by John Riesenman

NOTES: John writes, "Many of the components are subtle, so tweak to suit your ears. VCO 1 adds a guttural components LEV 2 varies the relative rates of chatter and adds interest to the multiple vocalizations. Add reverb."

FULHORNS
by John Riesenman

NOTES: John says, "Adjust modulation amount of ENV 3 on VCO 1 FREQ to achieve a perfect fifth on maximum setting. LEV 1 modulates filter brightness. PED 1 slows the attack. PED 2 sustains. Try changing PED 2 amount modulating ENV 3 RELEASE to -20 for pitch glide from perfect fifth to unison when keys are released. You'll need a MIDI controller that has Levers without return-to-zero springs, unlike Oberheim designs."

OBERPAD
by George Tucker

NOTES: George writes, "All of my sounds presuppose the existence of some sort of guitar sound as the foundation. I NEVER take the guitar audio out of the synth/ guitar mix. I don't have levers or pedals, so normal modulation routings for keyboardists don't necessarily appear here. For sustain I modulate the release of envelope 2 with a ramp
(as an example). Keyboard users may want to change this they may want to put one or more LFOs on Levers or whatever."

FMSHRIEK
by Michael Metlay

NOTES: This is another sound effect from my chamber of horrors; it's set to always drone on when selected, and you may wish to figure out some way of gating it on and off. Other modifications include removing the Lever 1 modulations from the VCOS, or adding FREERUN envelope modulation to VCO 2's frequency. As it stands now, the levers and pedals interact in many interesting ways, and the sound changes character depending on where each of the four controllers is set. I use a switch for Pedal 2, but a rocker pedal would also be interesting. One warning, though: don't use this patch with headphones. It'll shred your drivers and make your eardrums bleed. FUN!