Diverse Issues Soundbank
This soundbank contains patches published in the following issues or publications:
-Patches A-12 to A-26: Roland User Group (USA)
-Patches A-28 to A-37: Keyboard (USA)
-Patches A-41 to A-53: Claviers Magazine (France)
-Patches A-55 to A-63: Music Technology (England)
-Patch A-65: Sound On Sound (England)
-Patch A-67: Keyboards (Japan)
Revised and updated on 2019-02-14 - One new patch added, all patches verified with original patch data sheets|
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| A-11. -ROLAND USER GRUP- A-12. Jung and Wrestlers A-13. Webs Fantasy Suite A-14. Ebony Whistler A-15. 10th Stone Tonight A-16. Scritchy Pads A-17. Chunky Chitlins A-18. Big Boy |
A-31. Spectral Uprising A-32. Symphonic Orch A-33. The Milky Way A-34. Bad Guitar A-35. Sword Of Orion A-36. Poly Six A-37. Harm-Strgs A-38. -CLAVIERS MAG FR- |
A-51.
Adam A-52. Tine Kira-Pad A-53. PWM-Pad A-54. -MUSIC TECHNOLOGY- A-55. LA Piano A-56. Power Synth A-57. Ebony Whistler A-58. Concerto |
A-71. A-72. A-73. A-74. A-75. A-76. A-77. A-78. |
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| A-21. Brass Attack A-22. Netherworld A-23. Rockin Rhodes A-24. Marty Party A-25. Marty Party 2 A-26. Ambient Rhythm A-27. -KEYBOARD USA- A-28. Hollow Body |
A-41.
Neverseen A-42. Org Brass A-43. Skiso A-44. Prophet 5 A-45. MiniMoog A-46. Jupiter Roland A-47. Hit A-48. Jump |
A-61. Bass and Hammers A-62. El Accoustico A-63. Seagulls and Surf A-64. -SOUND ON SOUND- A-65. Australian Desert A-66. -KEYBOARDS JAPAN- A-67. Almighty A-68. |
A-81. A-82. A-83. A-84. A-85. A-86. A-87. A-88. |
- Patches A-12 to A-26: Roland User Group
A-12: Jung and Wrestlers
A-13: Webs Fantasy Suite by Randy Weber, sound designer for Kool & The Gang and IBMC
A-14: Ebony Whistler by Will Brady, Laguna Beach, CA Duplicate from patch A-57 "Ebony Whistler"
A-15: 10th Stone 2 Night
A-16: Scritchy Pads
A-17: Chunky Chitlins
A-18: Big Boy
A-21: Brass Attack
A-22: Netherworld
A-23: Rockin Rhodes
A-24: Marty Party by MARTY FRASU, Roland Service Manager
A-25: Marty Party 2 by MARTY FRASU, Roland Service Manager
The upper end of the keyboard is a sync-lead sound for soloing. Use the Tone Copy feature to copy over the tone of your choice to the upper keyboard. I used the separate channel split so I could use the Pitch Bender and Modulation without affecting the lower tone.
This patch demonstrates a musicl use of the looped partials (77-100) in the D-50. This is accomplished by syncing up your drum machine or sequencer to the cycling partial tempo. I timed the C below middle C at 126 BPM. Try recording a two or four bar pattern, so the cycling tone and drum machine don't get too far out of sync. Other LA synthesizers can incorporate this technique if programmed in a similar manner.
A-13: Webs Fantasy Suite by Randy Weber, sound designer for Kool & The Gang and IBMC
A-14: Ebony Whistler by Will Brady, Laguna Beach, CA Duplicate from patch A-57 "Ebony Whistler"
A-15: 10th Stone 2 Night
A-16: Scritchy Pads
A-17: Chunky Chitlins
A-18: Big Boy
A-21: Brass Attack
A-22: Netherworld
A-23: Rockin Rhodes
A-24: Marty Party by MARTY FRASU, Roland Service Manager
A-25: Marty Party 2 by MARTY FRASU, Roland Service Manager
The upper end of the keyboard is a sync-lead sound for soloing. Use the Tone Copy feature to copy over the tone of your choice to the upper keyboard. I used the separate channel split so I could use the Pitch Bender and Modulation without affecting the lower tone.
This patch demonstrates a musicl use of the looped partials (77-100) in the D-50. This is accomplished by syncing up your drum machine or sequencer to the cycling partial tempo. I timed the C below middle C at 126 BPM. Try recording a two or four bar pattern, so the cycling tone and drum machine don't get too far out of sync. Other LA synthesizers can incorporate this technique if programmed in a similar manner.
A-26: Ambient Rhythm by Roland Product specialist JIM NORMAN
- Patches A-28 to A-37: Keyboard (U.S.A)
A-28: Hollow Body (February 1988)
Our D-50 patch this month was sent in anonymously (Thanks for the patch, wherever you are.) It emulates a hollowbody guitar. This sound is especially warm in the lower part of the range.
Our D-50 patch this month was sent in anonymously (Thanks for the patch, wherever you are.) It emulates a hollowbody guitar. This sound is especially warm in the lower part of the range.
A-31: Spectral Uprising (March 1988)
The D-50 patch, sent by Terence Tay of Hong Kong, provides a haunting, ethereal timbre. Use key pressure for pitch-bending.
A-32: Symphonic Orch (September 1988)
" Symphonic Orch," for the D-50, is from Thomas Kolb of Karlskoga, Sweden. Thomas suggests that, because this patch is quite lush, you refine your chords to just a few notes - the sound can get too thick.
A-33: The Milky Way (October 1988)
Our third patch is from Dan Kuse, of Lebanon, Missouri. Dan works in a music store and uses his own patches for sales demos. Of all of them, he says, this particular D-50 patch impresses people the most. We have to agree. Grandly spatial, it yields interesting variations with relatively small changes its TVF and TVA envelope settings.
A-34: Bad Guitar (February 1989)
" Bad Guitar," a patch for the Roland D-50 by Ted Slater of Iron Mountain, Michigan. Its portamento and echo settings give it a fluid quality appropriate for flashy runs, but it still has the clarity needed for full-blown power chords.
A-35: Sword Of Orion (March 1989)
" Sword Of Orion" for the D-50 was sent to us from Sweden by Thomas Kolb. It's a rich string pad with a pronounced volume swell. Since the upper and lower tones are very similar, you can save time by copying one
group of parameters to the other.
A-36: Poly Six (October 1989)
Lest we forget, Korg also had some nifty sounding analog machines. In honor of their Polysix, here's a patch for your Roland D-50. Nothing can wake the neighborhood up quite like an analog synth with its filters running
wide open, unless it's a D-50 disguised as a Polysix.
A-37: Harm-Strgs (December 1989)
From the Ukrainian comes this patch for the Roland D-50. Yuri Buchma's patch offers beefed-up Prophet 5-type strings with a sharp attack on the right side of the keyboard and a Russian-sounding harmonica with fast vibrato on the left. Though Yuri 's patch sheet shows a balance value of 94, we suggest that you keep it under 75, or else you' ll never hear the harmonica.
The D-50 patch, sent by Terence Tay of Hong Kong, provides a haunting, ethereal timbre. Use key pressure for pitch-bending.
A-32: Symphonic Orch (September 1988)
" Symphonic Orch," for the D-50, is from Thomas Kolb of Karlskoga, Sweden. Thomas suggests that, because this patch is quite lush, you refine your chords to just a few notes - the sound can get too thick.
A-33: The Milky Way (October 1988)
Our third patch is from Dan Kuse, of Lebanon, Missouri. Dan works in a music store and uses his own patches for sales demos. Of all of them, he says, this particular D-50 patch impresses people the most. We have to agree. Grandly spatial, it yields interesting variations with relatively small changes its TVF and TVA envelope settings.
A-34: Bad Guitar (February 1989)
" Bad Guitar," a patch for the Roland D-50 by Ted Slater of Iron Mountain, Michigan. Its portamento and echo settings give it a fluid quality appropriate for flashy runs, but it still has the clarity needed for full-blown power chords.
A-35: Sword Of Orion (March 1989)
" Sword Of Orion" for the D-50 was sent to us from Sweden by Thomas Kolb. It's a rich string pad with a pronounced volume swell. Since the upper and lower tones are very similar, you can save time by copying one
group of parameters to the other.
A-36: Poly Six (October 1989)
Lest we forget, Korg also had some nifty sounding analog machines. In honor of their Polysix, here's a patch for your Roland D-50. Nothing can wake the neighborhood up quite like an analog synth with its filters running
wide open, unless it's a D-50 disguised as a Polysix.
A-37: Harm-Strgs (December 1989)
From the Ukrainian comes this patch for the Roland D-50. Yuri Buchma's patch offers beefed-up Prophet 5-type strings with a sharp attack on the right side of the keyboard and a Russian-sounding harmonica with fast vibrato on the left. Though Yuri 's patch sheet shows a balance value of 94, we suggest that you keep it under 75, or else you' ll never hear the harmonica.
- Patches A-41 to A-53: Claviers Magazine (France)
A-41: Neverseen
A-42: Org Brass
A-43: Skiso
Trois
sons pour le D-50. Pour ce numéro, c'est encore Jean-Paul Verpeaux qui
a imaginé ces programmations. Elles n'utilisent que 50% des
possibilités du Roland. A vous, si le coeur vous en dit, de compléter,
d'enrichir, d'épaissir, ces sons.
A-44: Prophet 5
A-45: MiniMoog
A-46: Jupiter Roland
Trois
sons pour le D-50: trois sons mythiques qui avaient contribué à la
réputation du Jupiter, du MiniMoog et du Prophet 5. En ce qui concerne
le Prophet 5, nous avons choisi de ressusciter le preset Wide Strings
puisque
les tapis de cordes et les tenues ont touiours été son point fort. La
basse du MiniMoog a fait l'objet de notre second choix. La copie n'a
rien à envier à l'original. Enfin, tous les nostalgiques du Jupiter
Roland retrouveront avec plaisir le fameux grain du Jupiter Brass. Tous
ces sons ont été approchés au plus près de leur texture originelle.
A-47: Hit - Duplicate from patch A-61 "Bass and Hammers"
A-48: Jump
A-51: Adam
Trois
sons pour le D-50. Le premier, "Hit", est l'oeuvre d'un Brésilien,
Paulo André Mosmann. Il a su mêlé subtilement des basses et des
marteaux pour créer une percussion d'un type singulier. Les deux
derniers, "Jump" et "Adam", nous viennent d'Allemagne.
A-52: Tine Kira-Pad
A-53: PWM-Pad
- Patches A-55 to A-63: Music Technology (England)
A-55: LA Piano Jon Berry (Tring, Herts - September 1987)
No doubt the D50 is fast gaining pride of place on many a keyboardist's rack, so it's time to make room for it in Patchwork too. The first D50 patch received so far is a serious attempt at an acoustic piano (which Jon thought the factory programs lacked). The patch is "a fairly rich version of a concert grand which could be used in a variety of musical applications. It uses PCM partials for the attack portion of the sound and synth partials, based on triangular waveforms, for the sustain portion. Keyboard scaling is critical to maintain a sensible harmonic content over the five-octave range."
A-56: Power Synth Tony Tory (Cirencester, Glos - December 1987)
According to Tony, this "gives a really raunchy, sizzling, powerful sound for slow or fast work", and he suggests using a hint of the D50 preset 'Resin Bow' in the lower register to enhance the bass. Although he's been using this sound for a couple of months he only sent it in to us when he "got round to reading the fine print about free subs!"
A-57: Ebony Whistler Will Brady (CA - July 1988) Duplicate from patch A-14 "Ebony Whistler"
According to Will, "Ebony Whistler" can be used as a pad sound or as a performance setup, combining a DX7-ish piano sound and organ overtones, with an electric flute for more melodic intervention.
A-58: Concerto Andy Morton (Birmingham - September 1988)
Andy's submitted a beautiful classical guitar patch here, which he plays in exactly the right manner on his tape. Although it's very convincing overall, we think the upper registers are especially authentic.
A-61: Bass And Hammers Paulo André C Mosmann (Rio de Janeiro - February 1989) Duplicate from patch A-47 "Hit"
'Bass & Hammers' combines four different PCM samples in two Tones to create an intriguing bass and percussion sound. Breath and Noise samples make up the bass part while Pick and Chink provide the percussive metal edge. Paulo recommends playing the sound in the lower register for a new type of bass sound - especially if you're a fan of Depeche Mode.
A-62: El Accoustico Frank Thomson (Stockholm - March 1989)
Exiled American Frank Thomson has submitted an extremely authentic Spanish guitar patch for the ever-popular D50. The patch employs two tones in Dual mode, though each could equally as well be used alone. The sound is quite velocity-expressive, and hitting the keys hard will produce a "string-snapping" effect giving a miked acoustic guitar sound.
A-63: Seagulls and Surf Tim Donovan (North Humberside - April 1989)
This is one for soundtrack and atmosphere fans everywhere. Waves crash on the lower half of the keyboard while uncannily realistic seagulls circle the upper. In the distance a foghorn sounds on bottom C, cutting through the imaginary fog. Marvellous.
No doubt the D50 is fast gaining pride of place on many a keyboardist's rack, so it's time to make room for it in Patchwork too. The first D50 patch received so far is a serious attempt at an acoustic piano (which Jon thought the factory programs lacked). The patch is "a fairly rich version of a concert grand which could be used in a variety of musical applications. It uses PCM partials for the attack portion of the sound and synth partials, based on triangular waveforms, for the sustain portion. Keyboard scaling is critical to maintain a sensible harmonic content over the five-octave range."
A-56: Power Synth Tony Tory (Cirencester, Glos - December 1987)
According to Tony, this "gives a really raunchy, sizzling, powerful sound for slow or fast work", and he suggests using a hint of the D50 preset 'Resin Bow' in the lower register to enhance the bass. Although he's been using this sound for a couple of months he only sent it in to us when he "got round to reading the fine print about free subs!"
A-57: Ebony Whistler Will Brady (CA - July 1988) Duplicate from patch A-14 "Ebony Whistler"
According to Will, "Ebony Whistler" can be used as a pad sound or as a performance setup, combining a DX7-ish piano sound and organ overtones, with an electric flute for more melodic intervention.
A-58: Concerto Andy Morton (Birmingham - September 1988)
Andy's submitted a beautiful classical guitar patch here, which he plays in exactly the right manner on his tape. Although it's very convincing overall, we think the upper registers are especially authentic.
A-61: Bass And Hammers Paulo André C Mosmann (Rio de Janeiro - February 1989) Duplicate from patch A-47 "Hit"
'Bass & Hammers' combines four different PCM samples in two Tones to create an intriguing bass and percussion sound. Breath and Noise samples make up the bass part while Pick and Chink provide the percussive metal edge. Paulo recommends playing the sound in the lower register for a new type of bass sound - especially if you're a fan of Depeche Mode.
A-62: El Accoustico Frank Thomson (Stockholm - March 1989)
Exiled American Frank Thomson has submitted an extremely authentic Spanish guitar patch for the ever-popular D50. The patch employs two tones in Dual mode, though each could equally as well be used alone. The sound is quite velocity-expressive, and hitting the keys hard will produce a "string-snapping" effect giving a miked acoustic guitar sound.
A-63: Seagulls and Surf Tim Donovan (North Humberside - April 1989)
This is one for soundtrack and atmosphere fans everywhere. Waves crash on the lower half of the keyboard while uncannily realistic seagulls circle the upper. In the distance a foghorn sounds on bottom C, cutting through the imaginary fog. Marvellous.
- Patch A-65: Sound On Sound (England)
- Patch A-67: Keyboards (Japan)
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