Nave Essentials – with over 160 patches for Waldorf Nave.
All sounds played with the iPad 3 running Waldorf Nave and the sound set “Nave Essentials”. Used Drum loops = demo content of Easy Sounds.
More infos: www.app-sound.com
Quick demo of the patches in the “Lead” category posted at elektron.se, the authors own opinions of the patches below:
“None of these sound very useful for my uses but I thought someone may like to hear them. For most patches I play a few keys and then adjust the mod wheel and pitch bend to see what effect – if any – has been programmed.”
Moog’s Source was their first to offer patch memory storage as well as some other new features. It boasted 16 memory locations so you could finally save and recall your synth patches. A casette-tape jack was also implemented to transfer your patches to and from an external tape and free up the on-board memory for additional new patches. But in an effort to modernize with the eighties, the Moog had replaced all buttons, knobs and sliders with flat-panel membrane buttons and a single data-wheel assignment format. At the time, this may have seemed far-out, but in all actuality it is the Source’s downfall.
Parameters are edited not with hands-on sliders and knobs but by assigning a selected parameter to the dedicated data wheel. This is very tedious and does not allow for true hands-on tweaking during performances nor can you adjust different parameters simultaneously or while playing. These days, the membrane buttons don’t always seem to work quite right either. However, those famous monophonic Moog sounds are still inside this synth which has two fat analog oscillators and the legendary 24 dB Moog filter.
The factory patches of the Moog Source, classic mono from 1981
0:10 Program 01 – LEAD 1
0:32 Program 02 – LEAD 2
1:00 Program 03 – HORN
1:31 Program 04 – FLUTE
2:04 Program 05 – CLAV BASS
2:24 Program 06 – VIBES
2:46 Program 07 – STRING BASS
3:07 Program 08 – HARPSICHORD
3:30 Program 09 – ORGAN
4:05 Program 10 – TRILL VOICE
4:54 Program 11 – TAURUS
5:36 Program 12 – SYNTHEVOX
6:29 Program 13 – SAX
6:55 Program 14 – WIND
7:22 Program 15 – SNARE DRUM
7:40 Program 16 – Bonus – modern Electro House synth sound
The JD-800 is Roland’s answer to half a decade of hard-to-program synthesizers. Covered in sliders that act as dedicated editors just like a classic analog synth, the JD-800 is an extremely programmable and hands-on digital synthesizer. It is also an interesting and great sounding digital synth with incredible flexibility and control. Internal ROM based waveforms are combined to build your sounds. The sounds are based on Roland’s D-50, but updated for the nineties with multimode filters – uncommon but welcome at the time.
The JD-800 came in a tough metal case capped off on the sides with large plastic covers. Programming may be a little too flexible for some users, but once you know what you’re doing with it, almost any sound you can dream up can be dialed in and stored.
Selection of pads made on the Alesis A6 Andromeda analog synthesizer, full details below:
All patches played use all the 16-voices A6 can offer simultaneously.. No processing, just straight output from the A6. YouTube conversion kills the high-resolving analog sound quality and fatness, but hopefully this gives you a glimpse into the A6 inner life… All played are Alesis factory patches. I’ve only had the synth for a couple of days now so just barely scratching the surface of it – here’s a proof that even with the much-chriticized factory banks you can make some good sounds. Use the “HD” quality mode button below to get the most out of it.
If anyone wonders, some pictures on the background are from our own Milkyway’s massive cosmic neighbour Messier’s catalog M31 Andromeda galaxy, one of the few galaxies that has blue-shift instead of red-shift like all other galaxies we see, meaning it comes towards us and with the “locked” gravitational pull our Milkyway Galaxy will collide and merge with the bigger brother Andromeda in a very distant future, forming a new galaxy. Hopefully the Solar system will not be thrown out into the vast emptyness of space or sucked into a black-hole due to the viscous gravitational play during the merging. The name for the synth is inspired from Andromeda – and I would say it’s a very fitting name for it
A hold down one note patch Anthony Distefano made in Absynth.
Patchin a groove from scratch and see what happens.
Starts with creating a bass drum, snare, hihat.
The antenna represent different parts in the video.
After the thick part in the antenna there are some nice grooves going on together with the deer horn.
Here is ‘hayeye’s 99 patches on Dave Smith Prophet 12.
DOWNLOADABLE FOR FREE on www.noisecollective.net forum in NSPA section after registration.
Sorry for low quality due the old iMac cam and video compression.
Korg Kronos Tutorial: 13 MS-20 Patch Panel Programming (use the 1080p quality to read the screens)
This tutorial shows how to use the MS-20 Patch Panel, the common input and output connectors will be explained. The following patch sections are in the tutorial:
– AMS Source Output Connector
– Total Input Connector
– Frequency Input Connector
– High Pass Filter Input Connector
– Low Pass Filter Input Connector
– Noise Output Connector
– VCA Area
– Mixer Area
– Modulation Generator Area
– S&H area (with Clock source)
– Feedback routings
At the end of the video there are several examples of common patch panel routings to get you started.
A modified patch/experiment from the Brain Seed Chronicles Page 10 “Funky Rhythm Generation”
This patch was a experiment to see how the Brain Seed could be used as an interesting random rhythm generator. The patch was clocked from one intellijel dixie then sent to the seed cycle input. The main analog percussion is being generated by using the “Seed” output going into the 1/volt CV inputs on a MakeNoise DPO, which is then running into one Optomix for fast attacks triggers. There is a second patch cable running into a MakeNoise Brains and two Pressure Points triggering the delay time/offset on a Synthesis Technology E580 Resampling mini-delay (BBD Mode). Feed back clocked/control from the K4815 Pattern Generator. Trigger out from the Brain Seed is running into a 4ms SCM with breakout V2. controlling the strike input on another Optomix making the white noise high-hats courtesy of the Steady State Fate Quantum Rainbow module. The Synthesis Technology E355 dual wavetable LFO output A is running into the shift input, adding in extra variations. One T-Gates output from one of the pressures points running back into the Freeze input. Master mix reverb was the eventide space pedal using the mix knob to wash out the end.
note: no drum machine or computers here