Patches for the Yamaha DX21, Roland MKS80, Casio CZ101 and Ensoniq ESQ1 make up this month's selection of readers' sounds for you to try for yourself.
If you're still waiting to see your particular synth featured in these pages, then why not be the first to submit some sounds?
Don't forget that if your patch gets published, you'll receive a free year's subscription to MUSIC TECHNOLOGY with our compliments. So send us your favourite sounds on a photocopy of an owner's manual chart (coupled with a blank one for artwork purposes) accompanied by a short demo-tape (don't worry too much about classic performances and impeccable recording quality; just present your sounds simply and concisely - and convince us you're the best of the bunch). Include a decent-length description of your sound and its musical purpose in life, and write your full name and address on each chart. And remember, edited presets are all very well, but an original masterpiece is always preferable. OK?
Michael Vickerage, Devon
Michael finds his way into the Patchwork pages once again, with a wonderfully realistic horn sound for the DX21, used to great effect on his tape against a wash of strings. If you own a DX21, it's well worth the effort to try this one out.
Alan Smith, Hants
Bruford's bong came to "reside" inside Alan's CZ101 after he saw the man himself in a recent Rockschool demonstrating "the delights of his kit". Inspiration led Alan to create this patch in homage, and to give it a very silly name indeed. However, it had the desired effect and yes, Alan, a free sub will be forthcoming.
Igor Czerniawski, Poland
Proving once again how well-travelled and Cosmopolitan we are here at MT, this patch comes all the way from Poland - the strangely-named Aya Slap Bass. And that's just what it sounds like - an Aya! I don't know what it means either, but it sounds good. Igor reminds you MKS80 owners out there that the switch on the back panel should be in mix mode, and that you should use only one output.
David Pickering Pick, Cheltenham
This patch is "an attempt to get a realistic, full-bodied and expressive orchestral brass sound, particularly for use in 'orchestra' simulations". David adds that the sound is "very velocity sensitive, so you get muted brass at low velocities, and power at higher ones."
Gear in this article: