The section where MT readers submit their own synth sounds. Featured machines this month include the Korg Poly 800, Roland Alpha Juno 2 and Yamaha DX7.
Now that Patchwork is bigger than ever, you've an even better chance of seeing your favourite sound in print not to mention your favourite magazine on your doorstep free of charge. And if you're still waiting to see your particular synth featured in these pages, why not be the first to submit some sounds?
Many readers are now supplementing their patch charts with a short demo cassette of the sounds in question, and this is really good news for our over-worked (and generally hungover) editorial team. 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.
If you can't lay your hands on a cassette player, don't let that put you off submitting some patches - an interesting written description is a good substitute.
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, if possible, by a short demo-tape. 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?
Considering Stell (is that short for Stella Artois? - Ed) has owned his CZ1 for only a few weeks, we had our work cut out choosing one sound from the six impressive patches he submitted - so we're giving CZ1 owners a couple to keep them happy. The first, 'Brasso', is a bright, punchy fanfare-type brass sound which should cut through any mix, while 'Hammond' is an approximation of Stell's favourite B3 sound, the 4+3 drawbar setting, complete with Leslie slow phase effect. Neat.
Paul Williams, Reading
The Poly 800 might be updated, but it refuses to lie down... On his collection of patches, Paul comments: "'Harpsichord' sounds quite clean for rapid runs, arpeggios and trills at the top end of the keyboard.
"'Clav 1 & 2' are reminiscent rather than closely imitative of a Clavinet. 'Clav 1' is normally played staccato, but if a chord is held, a subdued crescendo gradually builds; if you wish, you can change this by reducing the values of break points 53 and 63. 'Clav 2' is a slightly different tone with no after-effects.
"Although it was created for a specific purpose, you may find 'Medieval Pipe' useful. It sounds most realistic played in polyphonic mode but using only single notes, particularly around the upper-middle keyboard range.
"The final patch, 'Solo with reverb' is a fairly powerful general-purpose program for chordal passages, arpeggios and lead lines. Play it double-handed, though, and you'll need to keep chords widely spaced to avoid muddiness. In monophonic mode, it'll provide a usable leadline."
Carl Logan, Barton, S Humb
To tie in with the review of the Music 5000 (see elsewhere this issue), we present a selection of percussion sounds for this BBC Micro add-on. The sounds include metallic clicks and dunks, traditional drum sounds, and noise-based sound effects, and should provide a basis for getting some good rhythm sections together.
Paul Lambert, Glossop
Now, its all very well programming a great chorus guitar patch (and this is such a patch), but remember that your playing technique is all-important if you're going to obtain those gentle 'strummed' chord sequences and plucked melodies. To demonstrate the sound's versatility, Paul has provided a few options for you to try on some of the parameters (though we didn't care for too high a Chorus Rate), so you should be able to fine-tune the sound to your own taste.
Gary Butcher, Cambridge
Gary programmed this patch to emulate the bass sound from Berlin's smash 'Take My Breath Away', and he comes pretty close, too. A surprisingly warm analogue sounding bass patch from the DX7, and the touch of reverb on Gary's demo showed 'Berlin' off to it best.
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