Aftertouch Publication (USA) soundbanks
The complete collection (85 DX7 mkI patches) published in the "Aftertouch Publication" (official publication of the Yamaha users group - USA) during the 1983-89 years. Most of them are readers' creations. I carefully programmed all of them manually with scanned documents extracted from the original issues.
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Vol.1 / N°1- 12 (October 1985- September 1986)
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| 01. PICKGUITAR 02. SLAPCONGAS 03. VICSRHODES 04. BASPIANBRS 05. SITAR VIII 06. SYNPATHY 07. WHIRLIEPNO 08. ACOUGUIT 09. PORTA-B 10. ELEC GRAND 11. SPACEMUSIC 12. BASSTRVIBE 13. FLUTEMRMBA 14. GUITARDAMP 15. WHATTHE... 16. SLAPRHODES |
17. SHRINGING 18. FM-T. BASS 19. DX7 TALKY 20. PEDALSTEEL 21. NEUTRNPLUK 22. DEEPPURPLE 23. SKY SYNC 24. DX PIANO 2 25. HORROR 26. LIGHTWAIT 27. SHORTHORNS 28. CIRRUS 29. LYRICWOW 30. SOL-RXPLUS 31. LIV DNGLSY 32. ARCTICKEYS |
Comments (as published in the original issues):
01: PICKGUITAR Gary Leuenberger (Vol.1-n°1-issue #1, October 1985)
Ops #5 and #6 create high pick pluck. Op #6 has "pick" frequency with "pluck" envelope. Ops #3, #4, #5 and #6 form upper harmonics and picking sound. Level 4 at 99 on Ops #4, #5 and #6 create string noise. Ops #3 and #4 are detuned with Ops #1 and #2 to fatten up the sound. Full velocity on final output of "pick" stack (Ops #3, #4, #5 and #6) for maximum expression. Ops #1 and #2 form fullbodied sound of guitar.
02: SLAPCONGAS John Chowning (Vol.1-n°1-issue #1, October 1985)
Tight EG on Op #5 rate 2 creates slap; feedback on Op #6 adds slap noise. Lower rate 2 of Op #5 to 50 and below for snare effect. Nice timbral change results if frequency of Op #4 is altered in the range from .60 to 2.78. Change frequency of Op #3 to "tune" conga; range from .50 to 3.00. The basic FM pair (Ops #1 and #2) create the foundation of the sound; complex FM stack (Ops #3, #4, #5 and #6) create the harmonics and slap. Ops #1 and #2 form solid conga timbre. Quick EG rate 2 at 49 eliminates pitch EG effect. Op #3 has longer decay (rate 2) so that pitch EG effect comes through. The combination op Op #1 and Op #3 creates a nice contrast. Move mod wheel to max for great random drum effect.
03: VICSRHODES Manny Fernandez (Vol.1-n°3-issue #3, December 1985)
Basic sound of piano is produced by Ops #6 and #4. Op #4 is set to fixed frequency of 1.778 to create a slow chorusing effect. Op #5 is set to fixed frequency of 229.1 to create the "thump" of the hammer. Ops #1, #2 and #3 are used to create the sound of the tine sound of the Rhodes. The "stuff" comes from Op #3: although the 14:1 ratio of Ops #1 and #2 creates a good approximation of the tine, the overall harmonic structure is much more complex and includes some non-harmonic (clangorous) components. Thus, Op #3 is set to a ratio of 20.72 (start at 14.00, and move up using the Frequency Fine parameter). Try setting Ops #2 and #3 EG Level 4 to 95 and Rate 4 to 80, to create a harpsichord-like effect in the tine sound.
04: BASPIANBRS Jim Johansen (Vol.2-n°1-issue #4, January 1986)
Ops #1 and #2 create the bass sound. Ops #3 and #4 create the tine piano sound. Ops #5 and #6 create the brass sound, which is activated using the BC1 breath controller. The bright "tine" sound (created by having Op #4 at a frequency of 14.00) keeps the piano sound audible after after you bring in the brass with the breath controller.
05: SITAR VIII Charlie Foege (Vol.2-n°1-issue #4, January 1986)
Notes by Charlie: the SITAR VIII patch is my eight "transmutation" of what was originally a BELL sound. I own a sitar myself, and have been quite particular about making this patch sound as close as possible to the real thing. With this sound, I had to compromise the sound of the 7 top (melody) strings and the 18 bottom (sympathetic) strings of the sitar, all in one patch. In order to make sure that the sympathetic sound would not get in my way while playing a lead line, I oriented my compromise to emphasize the melody strings of the sitar. With a second tone generator, I had the SYNPATHY patch to the sound of the SITAR VIII, and a beautiful combination of programs occurs.
06: SYNPATHY Charlie Foege (Vol.2-n°1-issue #4, January 1986)
Notes by Charlie: this voice is intended to be used in combination with the SITAR VIII voice on the opposite page.
07: WHIRLIEPNO Nick Rieser (Vol.2-n°1-issue #4, January 1986)
Notes by Nick: this is a rather simple voice which came about when I discovered (by accident) how pure the sound of the square wave is on the DX7. That is the predominant sound here, along with a positive sawtooth (operators #1 and #2) for depth (and for the attack sound). What is neat for me about this voice is that is is playable from one end of the keyboard to the other. The timbres shift nicely as you move up and down the keyboard, and the sound stays close to that of its electric ancestor. You also have the feeling that you are playing a non-electric instrument. There are appropriate rewards for digging in (velocity-wise) in all keyboard locations. It's easy to neglect this distinctive sound from the late '60s and early '70s, since it lost out to another famous electric piano sound in the long run. We forget the it voices beautifully, including clusters around middle C, that it sounds pretty to begin with, and that it can be a very welcome change of pace from your stock of electric piano sounds.
Notes by publisher: to increase the "bite" of the sound, raise the output level of Op #2. Try raising the output level of Op #2 to suggest different models of the same basic instrument. For additional tremolo sound, raise AMS of Op #2 or #4 for a mild effect. For a more pronounced effect, raise AMS of Op #5. To add "spike" to the low end, raise the L Scale Depth of Op #4 0r #6 - but take it easy on Op #6!
08: ACOUGUIT L. Kevin Rockwell (Vol.2-n°1-issue #4, January 1986)
Ops #1 and #2 produce the "stuff" - the pick sound.
09: PORTA-B Lance Armstrong (Vol.2-n°2-issue #5, February 1986)
This voice reproduces the sound of a Hammond Porta-B with 6 of the drawbars pulled all the way out. To create other drawbars mixtures, you will need to change the relative output levels of the operators; and, if you want to emulate a different grouping of 6 drawbars, you will need to program in the relevant pitch, keyboard level scaling, and output levels for the drawbars you are reproducing. Use the charts as a guide. For me, the final test of this patch was to pipe the DX7 through a Leslie, via the input on the Hammond preamp, play the Hammond and then the DX7, and try to notice any difference. My big brother, who is a Jimmy Smith fan, couldn't tell the difference. He thought the DX was the Hammond!
10: ELEC GRAND Gregory Emler (Vol.2-n°2-issue #5, February 1986)
11: SPACEMUSIC Doug Cooper (Vol.2-n°2-issue #5, February 1986)
This patch produces a mellow chordal sound with a shimmering metallic edge. Hold sustained chords will to engage the repeating metallic overtone effect (which is caused by the delayed sample-and-hold LFO). To increase the depth of the metallic overtone sound, engage the MOD wheel.
12: BASSTRVIBE Kevin M. Bevins (Vol.2-n°2-issue #5, February 1986)
This patch and the following one were inspired by Jan Hammer's music for two episodes "Miami Vice" featuring an old girlfriend of Tubbs. The patch is a split voice, with bass strings on the left and vibes with sustain on the rignt.
13: FLUTEMRMBA Kevin M. Bevins (Vol.2-n°2-issue #5, February 1986)
This patck, like the precedent one, was inspired by Jan Hammer's music for "Miami Vice". The patch is a layered voice combining flute and marimba sounds.
14: GUITARDAMP Reggie Turner (Vol.2-n°3-issue #6, March 1986)
15: WHATTHE... Gordon Alexander (Vol.2-n°3-issue #6, March 1986)
Compare this patch with the #16: both use algrithm #9, but in different ways.
16: SLAPRHODES Kevin M. Bevins (Vol.2-n°3-issue #6, March 1986)
This patch is a split voice, with thumb-slap bass on the left and Rhodes on the right. Ops #1 and #2 create the Rhodes sound, while Ops #3, #4, #5 and #6 are used for the slap bass.
17: SHRINGING Cam Roberts (Vol.2-n°3-issue #6, March 1986)
Use modulation wheel to introduce brightness.
18: FM-T. BASS Reggie Turner (Vol.2-n°4-issue #7, April 1986)
19: DX7 TALKY Reggie Turner (Vol.2-n°4-issue #7, April 1986)
20: PEDALSTEEL Joel Fairstein (Vol.2-n°4-issue #7, April 1986)
Use aftertouch for downwards pitch bends. The pitch-bend effect is created by setting the LFO speed to: for upward pitch bends, set the LFO wave to SAW DOWN; for downward pitch bends (as in this patch), set the LFO to SAW UP. Other important settings: PMS to 4, LFO SYNC ON and LFO DELAY to 0. In the Function mode, set the aftertouch range to 50 (or to taste), with PITCH ON. Both AMPLITUDE and EG BIAS should be OFF. All of these settings are reflected in this patch.
21: NEUTRNPLUK Ken Como (Vol.2-n°4-issue #7, April 1986)
The patch was created for the song "Neutron Dance", recorded by the Pointer Sisters. The "stuff" characteristics are determined by the feedback applied to Op #6. With some modifications to the output levels, this could also be used as a left-hand Bass patch.
22: DEEPPURPLE Bob Lewin (Vol.2-n°5-issue #8, May 1986)
Foot controller must be down for percussive effect!
23: SKY SYNC Greg Lanz (Vol.2-n°5-issue #8, May 1986)
This patch has a fairly warm sound with an interesting "squeaky" attack produced by Op #3 and the pitch envelope.
24: DX PIANO 2 (Vol.2-n°5-issue #8, May 1986)
This patch was the first-prize winner of a recent DX Voicing Contest held by the DX User Group in Japan. The theme of the contest was "a distincly DX backing Voice". The winner's name was not given to us. The comments below were provided by the User Group:
This is a very useful piano voice, not at all obtrusive. Rate 4 is held down, so the sound won't sustain too long. It's not at all harsh or pretentious - excellent for backing play.
25: HORROR (Vol.2-n°5-issue #8, May 1986)
This patch was the first-prize winner of a recent DX Voicing Contest held by the DX User Group in Japan. The theme of the contest was "a ghost". The winner's name was not given to us. The comments below were provided by the User Group:
This one is a real shocker. At first you think it's going to fade out gradually, but suddenly...! Press and hold several notes in a dissonant chord. The surprise value is unavoidably lost the second time.
26: LIGHTWAIT Lowell Levinger (Vol.2-n°6-issue #9, June 1986)
This is a "processed" pianolike voice that is responsive to touch.
27: SHORTHORNS Lowell Levinger (Vol.2-n°6-issue #9, June 1986)
This voice works well for short stabs, but also has a nice swell for a short crescendo on half-note. It is also useful for cadenzas or solos.
28: CIRRUS Philip Freihofner (Vol.2-n°6-issue #9, June 1986)
29: LYRICWOW Cedric D. Reverand II (Vol.2-n°6-issue #9, June 1986)
This patch is designed for use in lyrical (not rapid) playing, and there's a "wow" sound in it. Essentially, it's all done with envelopes. The stack of Opsa #4 #6 provides the initial attack, because the envelopes swiftly go to max. The sound decays rapidly because of L2 at 38 in Op #4. Meanwhile, the other stack of Ops #1-#3 is responsible for the brassy sound that comes in a bit later. The envelopes of Op #2 and Op #3 get off to a slow and low start and add the harmonics as the ooze in. Op #1 actually serves as a transition between the two sounds, largely because of the R1 at 51. The aftertouch is optional. The foot control is set for 50, but it should just be slightly touched, enough to add a shade of vibrato.
30: SOL-RXPLUS Stephen Solum (Vol.2-n°8-issue #11, August 1986)
This patch uses Ops #1 and #2 for the drum enhancement while Ops #3-#6 are used for the cymbal enhancement. For more information on this patch, see the accompanying article on page 4. Remember, this patch isn't designed to be used by itself, but rather in conjunction with an RX11 or RX15 digital rhythm programmer.
31: LIV DNGLSY Ted Wiseman (Vol.2-n°9-issue #12, September 1986)
This patch is the result of experimentation with the LOG DRUM voice on ROM 4. The sound began to revive memories of a reccuring theme for the soundtrack "The Year Of Living Dangerously", which used synthesizers extensively. Octaves in the low range work well for rhythmic ostinatos; sixths in the lower midrange sound better than denser chords; and the high end is good for bell tones.
31: ARCTICKEYS Bill Cammarota (Vol.2-n°9-issue #12, September 1986)
Ops #5 and #6 create high pick pluck. Op #6 has "pick" frequency with "pluck" envelope. Ops #3, #4, #5 and #6 form upper harmonics and picking sound. Level 4 at 99 on Ops #4, #5 and #6 create string noise. Ops #3 and #4 are detuned with Ops #1 and #2 to fatten up the sound. Full velocity on final output of "pick" stack (Ops #3, #4, #5 and #6) for maximum expression. Ops #1 and #2 form fullbodied sound of guitar.
02: SLAPCONGAS John Chowning (Vol.1-n°1-issue #1, October 1985)
Tight EG on Op #5 rate 2 creates slap; feedback on Op #6 adds slap noise. Lower rate 2 of Op #5 to 50 and below for snare effect. Nice timbral change results if frequency of Op #4 is altered in the range from .60 to 2.78. Change frequency of Op #3 to "tune" conga; range from .50 to 3.00. The basic FM pair (Ops #1 and #2) create the foundation of the sound; complex FM stack (Ops #3, #4, #5 and #6) create the harmonics and slap. Ops #1 and #2 form solid conga timbre. Quick EG rate 2 at 49 eliminates pitch EG effect. Op #3 has longer decay (rate 2) so that pitch EG effect comes through. The combination op Op #1 and Op #3 creates a nice contrast. Move mod wheel to max for great random drum effect.
03: VICSRHODES Manny Fernandez (Vol.1-n°3-issue #3, December 1985)
Basic sound of piano is produced by Ops #6 and #4. Op #4 is set to fixed frequency of 1.778 to create a slow chorusing effect. Op #5 is set to fixed frequency of 229.1 to create the "thump" of the hammer. Ops #1, #2 and #3 are used to create the sound of the tine sound of the Rhodes. The "stuff" comes from Op #3: although the 14:1 ratio of Ops #1 and #2 creates a good approximation of the tine, the overall harmonic structure is much more complex and includes some non-harmonic (clangorous) components. Thus, Op #3 is set to a ratio of 20.72 (start at 14.00, and move up using the Frequency Fine parameter). Try setting Ops #2 and #3 EG Level 4 to 95 and Rate 4 to 80, to create a harpsichord-like effect in the tine sound.
04: BASPIANBRS Jim Johansen (Vol.2-n°1-issue #4, January 1986)
Ops #1 and #2 create the bass sound. Ops #3 and #4 create the tine piano sound. Ops #5 and #6 create the brass sound, which is activated using the BC1 breath controller. The bright "tine" sound (created by having Op #4 at a frequency of 14.00) keeps the piano sound audible after after you bring in the brass with the breath controller.
05: SITAR VIII Charlie Foege (Vol.2-n°1-issue #4, January 1986)
Notes by Charlie: the SITAR VIII patch is my eight "transmutation" of what was originally a BELL sound. I own a sitar myself, and have been quite particular about making this patch sound as close as possible to the real thing. With this sound, I had to compromise the sound of the 7 top (melody) strings and the 18 bottom (sympathetic) strings of the sitar, all in one patch. In order to make sure that the sympathetic sound would not get in my way while playing a lead line, I oriented my compromise to emphasize the melody strings of the sitar. With a second tone generator, I had the SYNPATHY patch to the sound of the SITAR VIII, and a beautiful combination of programs occurs.
06: SYNPATHY Charlie Foege (Vol.2-n°1-issue #4, January 1986)
Notes by Charlie: this voice is intended to be used in combination with the SITAR VIII voice on the opposite page.
07: WHIRLIEPNO Nick Rieser (Vol.2-n°1-issue #4, January 1986)
Notes by Nick: this is a rather simple voice which came about when I discovered (by accident) how pure the sound of the square wave is on the DX7. That is the predominant sound here, along with a positive sawtooth (operators #1 and #2) for depth (and for the attack sound). What is neat for me about this voice is that is is playable from one end of the keyboard to the other. The timbres shift nicely as you move up and down the keyboard, and the sound stays close to that of its electric ancestor. You also have the feeling that you are playing a non-electric instrument. There are appropriate rewards for digging in (velocity-wise) in all keyboard locations. It's easy to neglect this distinctive sound from the late '60s and early '70s, since it lost out to another famous electric piano sound in the long run. We forget the it voices beautifully, including clusters around middle C, that it sounds pretty to begin with, and that it can be a very welcome change of pace from your stock of electric piano sounds.
Notes by publisher: to increase the "bite" of the sound, raise the output level of Op #2. Try raising the output level of Op #2 to suggest different models of the same basic instrument. For additional tremolo sound, raise AMS of Op #2 or #4 for a mild effect. For a more pronounced effect, raise AMS of Op #5. To add "spike" to the low end, raise the L Scale Depth of Op #4 0r #6 - but take it easy on Op #6!
08: ACOUGUIT L. Kevin Rockwell (Vol.2-n°1-issue #4, January 1986)
Ops #1 and #2 produce the "stuff" - the pick sound.
09: PORTA-B Lance Armstrong (Vol.2-n°2-issue #5, February 1986)
This voice reproduces the sound of a Hammond Porta-B with 6 of the drawbars pulled all the way out. To create other drawbars mixtures, you will need to change the relative output levels of the operators; and, if you want to emulate a different grouping of 6 drawbars, you will need to program in the relevant pitch, keyboard level scaling, and output levels for the drawbars you are reproducing. Use the charts as a guide. For me, the final test of this patch was to pipe the DX7 through a Leslie, via the input on the Hammond preamp, play the Hammond and then the DX7, and try to notice any difference. My big brother, who is a Jimmy Smith fan, couldn't tell the difference. He thought the DX was the Hammond!
10: ELEC GRAND Gregory Emler (Vol.2-n°2-issue #5, February 1986)
11: SPACEMUSIC Doug Cooper (Vol.2-n°2-issue #5, February 1986)
This patch produces a mellow chordal sound with a shimmering metallic edge. Hold sustained chords will to engage the repeating metallic overtone effect (which is caused by the delayed sample-and-hold LFO). To increase the depth of the metallic overtone sound, engage the MOD wheel.
12: BASSTRVIBE Kevin M. Bevins (Vol.2-n°2-issue #5, February 1986)
This patch and the following one were inspired by Jan Hammer's music for two episodes "Miami Vice" featuring an old girlfriend of Tubbs. The patch is a split voice, with bass strings on the left and vibes with sustain on the rignt.
13: FLUTEMRMBA Kevin M. Bevins (Vol.2-n°2-issue #5, February 1986)
This patck, like the precedent one, was inspired by Jan Hammer's music for "Miami Vice". The patch is a layered voice combining flute and marimba sounds.
14: GUITARDAMP Reggie Turner (Vol.2-n°3-issue #6, March 1986)
15: WHATTHE... Gordon Alexander (Vol.2-n°3-issue #6, March 1986)
Compare this patch with the #16: both use algrithm #9, but in different ways.
16: SLAPRHODES Kevin M. Bevins (Vol.2-n°3-issue #6, March 1986)
This patch is a split voice, with thumb-slap bass on the left and Rhodes on the right. Ops #1 and #2 create the Rhodes sound, while Ops #3, #4, #5 and #6 are used for the slap bass.
17: SHRINGING Cam Roberts (Vol.2-n°3-issue #6, March 1986)
Use modulation wheel to introduce brightness.
18: FM-T. BASS Reggie Turner (Vol.2-n°4-issue #7, April 1986)
19: DX7 TALKY Reggie Turner (Vol.2-n°4-issue #7, April 1986)
20: PEDALSTEEL Joel Fairstein (Vol.2-n°4-issue #7, April 1986)
Use aftertouch for downwards pitch bends. The pitch-bend effect is created by setting the LFO speed to: for upward pitch bends, set the LFO wave to SAW DOWN; for downward pitch bends (as in this patch), set the LFO to SAW UP. Other important settings: PMS to 4, LFO SYNC ON and LFO DELAY to 0. In the Function mode, set the aftertouch range to 50 (or to taste), with PITCH ON. Both AMPLITUDE and EG BIAS should be OFF. All of these settings are reflected in this patch.
21: NEUTRNPLUK Ken Como (Vol.2-n°4-issue #7, April 1986)
The patch was created for the song "Neutron Dance", recorded by the Pointer Sisters. The "stuff" characteristics are determined by the feedback applied to Op #6. With some modifications to the output levels, this could also be used as a left-hand Bass patch.
22: DEEPPURPLE Bob Lewin (Vol.2-n°5-issue #8, May 1986)
Foot controller must be down for percussive effect!
23: SKY SYNC Greg Lanz (Vol.2-n°5-issue #8, May 1986)
This patch has a fairly warm sound with an interesting "squeaky" attack produced by Op #3 and the pitch envelope.
24: DX PIANO 2 (Vol.2-n°5-issue #8, May 1986)
This patch was the first-prize winner of a recent DX Voicing Contest held by the DX User Group in Japan. The theme of the contest was "a distincly DX backing Voice". The winner's name was not given to us. The comments below were provided by the User Group:
This is a very useful piano voice, not at all obtrusive. Rate 4 is held down, so the sound won't sustain too long. It's not at all harsh or pretentious - excellent for backing play.
25: HORROR (Vol.2-n°5-issue #8, May 1986)
This patch was the first-prize winner of a recent DX Voicing Contest held by the DX User Group in Japan. The theme of the contest was "a ghost". The winner's name was not given to us. The comments below were provided by the User Group:
This one is a real shocker. At first you think it's going to fade out gradually, but suddenly...! Press and hold several notes in a dissonant chord. The surprise value is unavoidably lost the second time.
26: LIGHTWAIT Lowell Levinger (Vol.2-n°6-issue #9, June 1986)
This is a "processed" pianolike voice that is responsive to touch.
27: SHORTHORNS Lowell Levinger (Vol.2-n°6-issue #9, June 1986)
This voice works well for short stabs, but also has a nice swell for a short crescendo on half-note. It is also useful for cadenzas or solos.
28: CIRRUS Philip Freihofner (Vol.2-n°6-issue #9, June 1986)
29: LYRICWOW Cedric D. Reverand II (Vol.2-n°6-issue #9, June 1986)
This patch is designed for use in lyrical (not rapid) playing, and there's a "wow" sound in it. Essentially, it's all done with envelopes. The stack of Opsa #4 #6 provides the initial attack, because the envelopes swiftly go to max. The sound decays rapidly because of L2 at 38 in Op #4. Meanwhile, the other stack of Ops #1-#3 is responsible for the brassy sound that comes in a bit later. The envelopes of Op #2 and Op #3 get off to a slow and low start and add the harmonics as the ooze in. Op #1 actually serves as a transition between the two sounds, largely because of the R1 at 51. The aftertouch is optional. The foot control is set for 50, but it should just be slightly touched, enough to add a shade of vibrato.
30: SOL-RXPLUS Stephen Solum (Vol.2-n°8-issue #11, August 1986)
This patch uses Ops #1 and #2 for the drum enhancement while Ops #3-#6 are used for the cymbal enhancement. For more information on this patch, see the accompanying article on page 4. Remember, this patch isn't designed to be used by itself, but rather in conjunction with an RX11 or RX15 digital rhythm programmer.
31: LIV DNGLSY Ted Wiseman (Vol.2-n°9-issue #12, September 1986)
This patch is the result of experimentation with the LOG DRUM voice on ROM 4. The sound began to revive memories of a reccuring theme for the soundtrack "The Year Of Living Dangerously", which used synthesizers extensively. Octaves in the low range work well for rhythmic ostinatos; sixths in the lower midrange sound better than denser chords; and the high end is good for bell tones.
31: ARCTICKEYS Bill Cammarota (Vol.2-n°9-issue #12, September 1986)
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Vol.2 / N° 12-26 (September 1986 - November 1987)
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| 01. TAJ MAHAL 02. PLUKD CLAV 03. NOW--YOU 04. WEIRD-SCIN 05. FLUTE KLIK 06. B3 Var2 LL 07. EEYOWOO 08. DOUG17SYNT 09. EUROPA 10. REVHARMONY 11. FAIRLIGHT 12. SONG BELLS 13. STEEL PANS 14. SHIMMER 15. MR MOOG FC 16. 3 BOTTLES |
17. POLY-BLIND 18. CHIME MIA 19. RICKNGRETC 20. STEP ORGAN 21. CATHEDRAL 22. SOFT STEEL 23. FLAPYBASS2 24. PIANO 1B 25. 4FASTREPS 26. TOMTHOUSAN 27. HORN SWEEP 28. HIGH SYNTH 29. TUBA BROMP 30. KALIMBA 31. TEMPLEBELL 32. SAXOPHONE |
Comments (as published in the original issues):
01: TAJ MAHAL Paul D. Alexander (Vol.2-n°9-issue #12, September 1986)
This patch evokes the sound of Paul Horn's flute on his album "Inside", which was recorded inside of the main dome of the Taj Mahal in India. Ops #3-5 are used to give the echo and reverb to the sound. The feedback may be increased to give a more tuba-like sound on the lower portion of the keyboard. The MOD wheel (controlling the very fast LFO) can be used to interject a tonguing sound.
02: PLUKD CLAV Brian Kapitan (Vol.2-n°10-issue #13, October 1986)
Try releasing a key quickly to create unusual harmonic structures.
03: NOW--YOU Ken Como (Vol.2-n°11-issue #14, November 1986)
If you play the key G2, you will hear "now". If you play the key E4, you will hear "you". Also, if you play the keys above E4 rapidly, you may hear some Gremlins laughing.
04: WEIRD-SCIN Ken Como (Vol.2-n°11-issue #14, November 1986)
This is a sound-effects patch based on bell tones. When played normally, standard bell tones are produced. However, when the MOD wheel is engaged, things start to happen: at a 1/3 setting, the bells start to slide; at a full setting, the computer will start.
05: FLUTE KLIK Brian Kapitan (Vol.2-n°11-issue #14, November 1986)
06: B3 Var2 LL Lowell Levinger (Vol.3-n°1-issue #16, January 1987)
You can control the Leslie rotation effect from the Mod Wheel (by raising the AMS of Ops #3 and #6 to value of 3).
07: EEYOWOO Lowell Levinger (Vol.3-n°1-issue #16, January 1987)
Aftertouch pressure provides some pretty intense pitch modulation for wang bar effects.
08: DOUG17SYNT Doug Orlando (Vol.3-n°2-issue #17, February 1987)
This voice has a very percussive analog synth sound when played hard; when played with low velocity, the percussive operators will not be heard. As with most analog-type sounds on the DX, this one will sound best when played through some sort of chorus unit.
09: EUROPA Christopher Gillis (Vol.3-n°2-issue #17, February 1987)
The "aftersweep" heard when the keys are released is caused by the level 4 settings of Ops #1, #2 and #3: level 4 of the modulators (Ops #2 and #3) climbs to full output while level 4 of the carrier (Op #1) falls to zero.
10: REVHARMONY Jim Hughes (Vol.3-n°2-issue #17, February 1987)
11: FAIRLIGHT Steven Cooper (Vol.3-n°2-issue #17, February 1987)
Hold on keys for the synthesizer sound; a light, quick touch will give you wood bells.
12: SONG BELLS Bruno Choiniere (Vol.3-n°4-issue #19, April 1987)
13: STEEL PANS Edward Rich (Vol.3-n°4-issue #19, April 1987)
Use this patch as a starting point for your own steel drums creations. It was created by editing the factory TIMPANI patch. Play this voice with vibrant dynamics-hit it hard, just as you would a real pan, for loudness and brightness.
14: SHIMMER Paul Huang (Vol.3-n°4-issue #19, April 1987)
15: MR MOOG FC Bob Lewin (Vol.3-n°4-issue #19, April 1987)
This sound is intended for lead synthesizer work. It is scaled very simply, but the tone changes dramatically with the slightest movement of the Foot Controller. Aftertouch adds another dimension of expressive control. If desired, Portamento can be added to approximate yet another important lead synthesizer effect.
16: 3 BOTTLES Brian Silverman (Vol.3-n°5-issue #20, May 1987)
17: POLY-BLIND Mike Willemain (Vol.3-n°5-issue #20, May 1987)
This is a good, general-purpose poly-synth patch, as well as a screaming lead patch (because of the timbre variation available via the velocity sensitivity). Vibrato can be introduced using either aftertouch or the mod wheel.
18: CHIME MIA Mike Tucker (Vol.3-n°5-issue #20, May 1987)
Play mainly in the middle register of the keyboard. If you play in octaves, a nice chorusing effect is created.
19: RICKNGRETC Reggie Turner (Vol.3-n°6-issue #21, June 1987)
This is a "Pink Floyd" type of guitar sound.
20: STEP ORGAN Bruno Choiniere (Vol.3-n°6-issue #21, June 1987)
21: CATHEDRAL Barry Carson (Vol.3-n°6-issue #21, June 1987)
This patch recreates the sound of a cathedral pipe organ. A pipe organ swell pedal increases the volume of the instrument not simply by making the organ sound louder, but by adding ranks of pipes to the existing sound. This what the modulation foot controller does in this patch: with the controller in the off postiion, a soft organ sound at 16' and 8' is heard; as the pedal is depressed, other ranks of pipes are brought in. The footages of these pipes can be changed by changing the Frequency Coarse settings of the various operators.
22: SOFT STEEL Bryan Pape (Vol.3-n°6-issue #21, June 1987)
Foot controller must be down for percussive effect!
23: FLAPYBASS2 Greg Lanz (Vol.3-n°7-issue #22, July 1987)
This is a full percussive bass sound. It's great for funky bass lines.
24: PIANO 1B Ret Miles (Vol.3-n°7-issue #22, July 1987)
25: 4FASTREPS Jerry LaRosa (Vol.3-n°7-issue #22, July 1987)
This voice is best used with rock-type chord figures that repeat.
26: TOMTHOUSAN Sam Millender, Jr. (Vol.3-n°7-issue #22, July 1987)
This patch sounds great with reverb. For maximum effect, hit the keys hard. Hold the keys down for decay in pitch.
27: HORN SWEEP Kevin Snowden (Vol.3-n°10-issue #25, October 1987)
28: HIGH SYNTH Bob Harper (Vol.3-n°10-issue #25, October 1987)
This patch was designed to emulate the sound of the old Elka Rhapsody string synthesizer-high and thin, with a strange oscillation in the overallvoice. It sounds great when expanded with a stereo digital reverb. To control brightness, alter the output level of Op #5.
29: TUBA BROMP Bob Harper (Vol.3-n°10-issue #25, October 1987)
Being a fan of quirky marches, I developed this patch because none of the preset "tubas" I could find cut through enough on recordings. This particular version of the patch is fairly heavy-handed, meaning that not much pressure is required on the keyboard to produce a healthy "bromp" effect. For a more subtle sound, try experimenting with the velocity sensitivity of Op #2, Op #4 and especially Op #6.
30: KALIMBA C. Woodson Hall (Vol.3-n°10-issue #25, October 1987)
Play as you would a real kalimba-touch the keys lightly. The best range is from C4 through C6 (A4=440 Hz).
31: TEMPLEBELL C. Woodson Hall (Vol.3-n°10-issue #25, October 1987)
This patch is a high-pitched bell sound with sustaining partials. The best range is the top 1-2 octaves of the keyboard.
31: SAXOPHONE Michael Cloos (Vol.3-n°11-issue #26, November 1987)
There don't seem to be many programmers offering sax voices; this patch is offered as a starting point to get others going.
This patch evokes the sound of Paul Horn's flute on his album "Inside", which was recorded inside of the main dome of the Taj Mahal in India. Ops #3-5 are used to give the echo and reverb to the sound. The feedback may be increased to give a more tuba-like sound on the lower portion of the keyboard. The MOD wheel (controlling the very fast LFO) can be used to interject a tonguing sound.
02: PLUKD CLAV Brian Kapitan (Vol.2-n°10-issue #13, October 1986)
Try releasing a key quickly to create unusual harmonic structures.
03: NOW--YOU Ken Como (Vol.2-n°11-issue #14, November 1986)
If you play the key G2, you will hear "now". If you play the key E4, you will hear "you". Also, if you play the keys above E4 rapidly, you may hear some Gremlins laughing.
04: WEIRD-SCIN Ken Como (Vol.2-n°11-issue #14, November 1986)
This is a sound-effects patch based on bell tones. When played normally, standard bell tones are produced. However, when the MOD wheel is engaged, things start to happen: at a 1/3 setting, the bells start to slide; at a full setting, the computer will start.
05: FLUTE KLIK Brian Kapitan (Vol.2-n°11-issue #14, November 1986)
06: B3 Var2 LL Lowell Levinger (Vol.3-n°1-issue #16, January 1987)
You can control the Leslie rotation effect from the Mod Wheel (by raising the AMS of Ops #3 and #6 to value of 3).
07: EEYOWOO Lowell Levinger (Vol.3-n°1-issue #16, January 1987)
Aftertouch pressure provides some pretty intense pitch modulation for wang bar effects.
08: DOUG17SYNT Doug Orlando (Vol.3-n°2-issue #17, February 1987)
This voice has a very percussive analog synth sound when played hard; when played with low velocity, the percussive operators will not be heard. As with most analog-type sounds on the DX, this one will sound best when played through some sort of chorus unit.
09: EUROPA Christopher Gillis (Vol.3-n°2-issue #17, February 1987)
The "aftersweep" heard when the keys are released is caused by the level 4 settings of Ops #1, #2 and #3: level 4 of the modulators (Ops #2 and #3) climbs to full output while level 4 of the carrier (Op #1) falls to zero.
10: REVHARMONY Jim Hughes (Vol.3-n°2-issue #17, February 1987)
11: FAIRLIGHT Steven Cooper (Vol.3-n°2-issue #17, February 1987)
Hold on keys for the synthesizer sound; a light, quick touch will give you wood bells.
12: SONG BELLS Bruno Choiniere (Vol.3-n°4-issue #19, April 1987)
13: STEEL PANS Edward Rich (Vol.3-n°4-issue #19, April 1987)
Use this patch as a starting point for your own steel drums creations. It was created by editing the factory TIMPANI patch. Play this voice with vibrant dynamics-hit it hard, just as you would a real pan, for loudness and brightness.
14: SHIMMER Paul Huang (Vol.3-n°4-issue #19, April 1987)
15: MR MOOG FC Bob Lewin (Vol.3-n°4-issue #19, April 1987)
This sound is intended for lead synthesizer work. It is scaled very simply, but the tone changes dramatically with the slightest movement of the Foot Controller. Aftertouch adds another dimension of expressive control. If desired, Portamento can be added to approximate yet another important lead synthesizer effect.
16: 3 BOTTLES Brian Silverman (Vol.3-n°5-issue #20, May 1987)
17: POLY-BLIND Mike Willemain (Vol.3-n°5-issue #20, May 1987)
This is a good, general-purpose poly-synth patch, as well as a screaming lead patch (because of the timbre variation available via the velocity sensitivity). Vibrato can be introduced using either aftertouch or the mod wheel.
18: CHIME MIA Mike Tucker (Vol.3-n°5-issue #20, May 1987)
Play mainly in the middle register of the keyboard. If you play in octaves, a nice chorusing effect is created.
19: RICKNGRETC Reggie Turner (Vol.3-n°6-issue #21, June 1987)
This is a "Pink Floyd" type of guitar sound.
20: STEP ORGAN Bruno Choiniere (Vol.3-n°6-issue #21, June 1987)
21: CATHEDRAL Barry Carson (Vol.3-n°6-issue #21, June 1987)
This patch recreates the sound of a cathedral pipe organ. A pipe organ swell pedal increases the volume of the instrument not simply by making the organ sound louder, but by adding ranks of pipes to the existing sound. This what the modulation foot controller does in this patch: with the controller in the off postiion, a soft organ sound at 16' and 8' is heard; as the pedal is depressed, other ranks of pipes are brought in. The footages of these pipes can be changed by changing the Frequency Coarse settings of the various operators.
22: SOFT STEEL Bryan Pape (Vol.3-n°6-issue #21, June 1987)
Foot controller must be down for percussive effect!
23: FLAPYBASS2 Greg Lanz (Vol.3-n°7-issue #22, July 1987)
This is a full percussive bass sound. It's great for funky bass lines.
24: PIANO 1B Ret Miles (Vol.3-n°7-issue #22, July 1987)
25: 4FASTREPS Jerry LaRosa (Vol.3-n°7-issue #22, July 1987)
This voice is best used with rock-type chord figures that repeat.
26: TOMTHOUSAN Sam Millender, Jr. (Vol.3-n°7-issue #22, July 1987)
This patch sounds great with reverb. For maximum effect, hit the keys hard. Hold the keys down for decay in pitch.
27: HORN SWEEP Kevin Snowden (Vol.3-n°10-issue #25, October 1987)
28: HIGH SYNTH Bob Harper (Vol.3-n°10-issue #25, October 1987)
This patch was designed to emulate the sound of the old Elka Rhapsody string synthesizer-high and thin, with a strange oscillation in the overallvoice. It sounds great when expanded with a stereo digital reverb. To control brightness, alter the output level of Op #5.
29: TUBA BROMP Bob Harper (Vol.3-n°10-issue #25, October 1987)
Being a fan of quirky marches, I developed this patch because none of the preset "tubas" I could find cut through enough on recordings. This particular version of the patch is fairly heavy-handed, meaning that not much pressure is required on the keyboard to produce a healthy "bromp" effect. For a more subtle sound, try experimenting with the velocity sensitivity of Op #2, Op #4 and especially Op #6.
30: KALIMBA C. Woodson Hall (Vol.3-n°10-issue #25, October 1987)
Play as you would a real kalimba-touch the keys lightly. The best range is from C4 through C6 (A4=440 Hz).
31: TEMPLEBELL C. Woodson Hall (Vol.3-n°10-issue #25, October 1987)
This patch is a high-pitched bell sound with sustaining partials. The best range is the top 1-2 octaves of the keyboard.
31: SAXOPHONE Michael Cloos (Vol.3-n°11-issue #26, November 1987)
There don't seem to be many programmers offering sax voices; this patch is offered as a starting point to get others going.
|
Vol.3 / N° 26-46 (November 1987- July 1989)
|
|
| 01. DOUG22PICK 02. 3 INSECTS 03. MOVINGKEYS 04. AIPON 2 05. ANOLG BELL 06. ANTI-GBM2 07. NEBULA 08. FRBDN PLNT 09. COTTENKEYS 10. BASS SAX 11. DREAM SEQ 12. PIANODROPS 13. METAL SYN 14. ANGEL VOX 15. SLEDGE FLT 16. FANTASY 1 |
17. DIGTLHORNS 18. Nightshade 19. Femalevibe 20. Dharma 21. Pop Bass 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. |
Comments (as published in the original issues):
01: DOUG22PICK Doug Orlando (Vol.3-n°11-issue #26, November 1987)
Velocity
sensitivity varies the amount of "pick". The Modulation Wheel varies
the harmonics. Increase the output level of Op #6 to 99 for more
harmonics.
02: 3 INSECTS Tom Bajoras (Vol.4-n°4-issue #31, April 1988)
The
lowest keys give insect I (drone), middle C give insect II (chirp), and
the high keys give insect III (buzz). If properly performed, this
combination yields a convincing imitation of a summer night in the
wilderness.
03: MOVINGKEYS Kent Sparkling (Vol.4-n°4-issue #31, April 1988)
This
sound is nonimitative, with qualities of horn, organ and strings. It
makes a good pad for chord sketches, and has a nice animation of its
own. Change the speed of "movement" by adjusting the Frequency Fine of
Op #3 and Op #6. The Mod Wheel controls volume for Ops #1-2 and Ops
#3-4. Season to taste!
04: AIPON 2 David Levin (Vol.4-n°4-issue #31, April 1988)
This
patch is based loosely on some of Bill Schottstaedt's work on complex
modulating waves. While not a "piano" this patch has similar
time-dependent. changes that evoke a similar perception. This patch is subtle and best played in the middle octaves.
05: ANOLG BELL David Forbus (Vol.4-n°4-issue #31, April 1988)
This
bell patch has a different texture than those most associated with
digital synths. It is good for music in the style of Tangerine Dream's
"Rubicon" era.
06: ANTI-GBM2 David Levin (Vol.4-n°5-issue #32, May 1988)
A
complex beat (frequency) pattern is set up among the modulators to
produce interesting and unusual temporal changes in timbre when a note
is sustained. The percussive attack of this patch can be reduced by
lowering either the output level or the EG rate 1 of Op #2. The rate of
timbre shift can be controlled by varying the detuning in Ops #3-6.
07: NEBULA Tom Bajoras (Vol.4-n°5-issue #32, May 1988)
This sound works best in the top three octaves of the keyboard. It is useful for Tomita-like string/space pads.
08: FRBDN PLNT David Forbus (Vol.4-n°5-issue #32, May 1988)
Forbidden Planets - yes folks, it's another one of these space noises; but, how many other sounds make use of algorithm #21?
09: COTTENKEYS Ken Whitson (Vol.4-n°5-issue #32, May 1988)
10: BASS SAX Mark Phillips (Vol.4-n°6-issue #33, June 1988)
This
voice is part of an ongoing series in search of the "ultimate sax"
patch-as yet undiscovered. The Foot Controller is used to make changes
in the timbre over a fairly wide range of possibilities. (Of course,
any of the other controllers couls also be used for the same purpose).
This patch is probably best used for single-note passages.
11: DREAM SEQ Mark Phillips (Vol.4-n°6-issue #33, June 1988)
Tis
voice was diesinged for a dream sequence in a film score. Detuning
provides a complex vibrato pattern. Relatively slow attack envelopes on
some operators (and slow decays on all) cause the sound to evolve
gradually. The Mod Wheel and the Foot Controller are set up to effect
subtle changes in the timbre. (Of course, any of the other controllers
couls also be used for the same purpose.). This patch is effective when
used for chords with staggered attacks and releases.
12: PIANODROPS David Rubinstein (Vol.4-n°6-issue #33, June 1988)
This voice has a soft digital reverb effect with a mediun long sustain. It is useful in slow, melodic-feeling passages.
13: METAL SYN Brian Silverman (Vol.4-n°6-issue #33, June 1988)
14: ANGEL VOX J.H. Elizondo (Vol.4-n°7-issue #34, July 1988)
This a new age sound; it's also useful for calm leads and background swells.
15: SLEDGE FLT Brian Silverman (Vol.4-n°7-issue #34, July 1988)
16: FANTASY 1 Masami Nagata (Vol.4-n°7-issue #34, July 1988)
17: DIGTLHORNS Luther Baker (Vol.4-n°7-issue #34, July 1988)
I
was trying to get a horn sound other than the normal DX7 sound for
brass. I wanted it to come out sounding like the horns on an Oberheim,
but it came out being a horn sound that only a DX7 can produce.
18: Nightshade Gregory Thomas Meyers (Vol.5/n°6-7/issue #45-46, June-July 1989)
The voice most resembles a combination plucked chime/bowed trombone sound.
19: Femalevibe Gregory Thomas Meyers (Vol.5/n°6-7/issue #45-46, June-July 1989)
This voice is like a raspy mallet sound, but it allows the use of legato.
20: Dharma Ben Moore (Vol.5/n°6-7/issue #45-46, June-July 1989)
This is the most useful sound I have in my collection. It is a percussive string sound that can be used for just about anything.
21: Pop Bass Ben Moore (Vol.5/n°6-7/issue #45-46, June-July 1989)
This bass sound offers great dynamics for up-beat rock music.
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