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DX7 Patch Fake Book "Volume Two: From The Movies"
by Clark Spangler

VOLUME TWO: FROM THE MOVIES
01. CLOCK TICK     
02. GAL-ACTIC-     
03. 6-SHOOTER      
04. DBL.DING       
05. TOSCA          
06. TECNOWHACK     
07. ROSENVIBES     
08. ECHO MULTS    
09. BASS FLUTE     
10. BRUTE          
11. AIR-VOICE      
12. KITE           
13. OMINOUS 6      
14. ALLBASSES.     
15. GLISS ONE      
16. MACHINERY          
17. PLEC-DRONE     
18. SITAR-BELL     
19. DELAYS-EXP     
20. DRONE LR       
21. GUITAR LR      
22. SITAR LR       
23. HORNY-AT-C     
24. DREAM 1        
25. NASALPLECL     
26. OMINO 4        
27. VINEGAR BR     
28. OUTERLIMIT     
29. VOICEVOICE     
30. OUT THERE      
31. SPACE-1988     
32. BUG-SPOOKY           

Patches comments (as published by the author):  

This is a collection of used sounds. 

When I was ask to do a listing of sounds that had been used for different motion pictures and on various TV shows, it seemed like an easy project... until I remembered that one of my own specific philosophies is that I only use the same twice when the same movie is recorded twice. These, because of this concept that to me is important, are basic useful sounds that, with a few exceptions, are designed to be changed.

Changes?

Often, simple things like RATE 1 of the carrier(s) (how long it takes for a sound to start) or RATE 4 (how long it takes for the sound to stop). TRANSPOSE will allow you to move an interesting timbre to a different range for your purposes. LFO rates and depths also can make significant changes that will make some particular sound better for you.

A few of these sounds, however, are just plain good sounds that you probably shouldn't mess with. The BASS FLUTE to me is a gem... it records! An old ticking clock does sound like the clock-tick in this set. BRUTE is a brassy flute that's great glue (GLUE: fat behind a somewhat to small orchestra... a non-specific rich changing timbre).

OUT THERE and SPACE 1988 are not motion pictures/TV sounds. They were done for a science fiction convention in Seattle. These were to be "ambiance". They worked.

And perhaps that's the reality of all the sounds in this book. They have worked for me in different circumstances, and I hope they work for you. If not, change them.

I do.

Clark Spangler


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