V-Synth.com: Refill Patches

He's the symbol of synth hits and grandiose rigs. Simply, no keyboardist made a bigger splash onstage than Geoff Downes, especially during his early years with the supergroup Asia, and his massive-beyond-belief synthesizer rigs. But Geoff might be best known to the masses for his work with Trevor Horn in the Buggles. Their international hit "Video Killed the Radio Star" was the first song MTV ever aired. A landmark moment in synth-pop history....

(soft lead synth)

"Soft lead sound created from a basic string patch. Often, synth lead sounds are quite penetrating, but many sounds used say, on early ABBA recordings for counter lines are quite mellow, but can still be heard. This sound utilizes both analog oscillators (2 slightly detuned). To maintain the ‘mellow’ texture, the sound also has two side-band filters applied through the powerful COSM filter synthesis. The attack time has been reduced to a minimum in the TVA section together with zero release thus creating a very basic envelope, and almost a reverse effect. Finally, in order to ‘carry’ the patch, a long stereo delay, slight chorus and medium length plate reverb have been added. The result is a smooth, but cutting synth texture."

(spiky keyboard strike)

"This sound is useful as a front-end combined possibly with another softer sound. It is created from applying analogue HQ (Hi Quality) Saws to both oscillators. The second oscillator is slightly sharpened in pitch to give a bell-chiming effect. It almost gives a sitar-like quality to the sound. A lo-fi processor has been applied to give a knocking or percussive texture to the front end, and also a dual filter to shelve off any low end boom to the sound, making it playable and sounding clean in any register. There are several effects added: a slight low end boost in the MFX sector, a gentle chorus to add a bit of modulation, so that it is not so stark sounding, and a stereo delay."

(voicebox with bend and wah)

"2 x Voice-based PCM waveforms make up the basis of this patch - (VOC-Indian & CHR-AahChoir). I was trying to get the effect of a guitar talkbox, complete with ‘bent’ notes. In the general section I added a slow-ish portamento to a mono sound. Then I fed the sound through the COSM filters, using one speaker simulator (the original talkbox needed a small speaker to operate). The final master effects I settled for were: an autowah in the Multi FX section, which is to simulate the ‘talking’ effect, and also some overdriven feedback on the chorus, to mess the sound up a bit distortion-wise, and finally a short room for the ‘garage’ effect. I was partly referencing the riff effect on Bon Jovi’s ‘Living’ on a Prayer’ in this instance."

(cross between a wood and reed)

"Here, I am trying to create a hybrid wind instrument that sounds part like a flute and part like an oboe. The 2 PCM waves assigned are these 2 elements: WND-Oboe & FLT-Moceno. Down a register, by co-incidence it almost has the property of a bassoon. Played in 5ths, it has quite an Elizabethan or medieval texture, hence the reference to the ancient: sackbut, which was an instrument (with a trombone-style slide) that became almost obsolete several hundred years ago, but was a precursor to modern-day wind instruments. The modulation type is ‘envelope ring’ which creates a cyclical chorusing effect and breathiness. There are no other modulators applied which maintains purity, and the ADSR relies solely on the sustain boost in the envelope. To reduce any potential hardness and round the sound, in the multi FX section, I have also slightly boosted 100hz in the low end, and taken out some lower mid range. This gives a creamy mellow texture, which again makes it playable in any register. There is a long-ish hall reverb to give the effect of a church or even the Queen’s courtyard!"

(squeezebox)

"It’s not easy to create the sound of the good old-fashioned piano accordion. Much of the sound is created by the random out-of-tune quality that these instruments demonstrate. However, here I’ve got 2 analogue waveforms combining (HQ-saw & Ramp), and utilizing via COSM1, a side-band filter, and a speaker simulator in COSM2. The latter adds a slight distortion to the sound, which emphasizes the more reedy texture of the squeezebox. Due to the nature of this instrument, which generally speaks quite slowly, I have reduced the attack time to emulate this effect in the TVA envelope, and added a little release for continuity. Effects-wise, an isolator/filter in the MFX section which thins out the frequencies, a chorus to add to the slight out-of-tune quality, and a medium sized reverb."

(textural horn section)

"It is always useful to have some all-purpose horns in your patches. This patch combines both analogue and PCM oscillators. Oscillator 1 is an HQ-Saw, whilst Osc 2 is a PCM sample: BRS-Trumpet. For real authenticity and playability, it makes sense to combine two mediums in this way. You will notice how the two elements inter-react, with the sample giving the reality, and the analogue oscillator the warmer sustain. The velocity is set so that the harder the strike the more ‘stabby’ the horns become (obviously this works better and is more effective in a higher register). Down lower, a softer touch gives you more of the trombone quality. There is a slight delay on the attack, which is effectively how horn instruments respond. A touch of chorus and a long plate completes the horn section."

(slap synth bass)

"This fiery slap bass is largely created from two analogue oscillators. The secret of getting the ‘thump’ at the front end of the sound is reliant on the introduction of a sharp ‘brickwall’-style limiter in the COSM section. This produces a smacking effect. The sound has been modulated via FM, which also provides a fizzing aspect in the sustain (or ‘burn’). As well as the COSM1 treatment of limiting, the COSM2 is assigned to a lo-fi processor – which degenerates the sound slightly and tightens up the frequencies, thus making for a very even response sonically. Multi FX has been selected to Band Pass Delay – Low end rolled off, and a boost in the mid at around 5K. The delay carries the sound and the roll-off helps keep it tight sounding even in the lower octaves. A reverb is also added, so I just 2 used effects in this patch. "

(nasal choir)

"In order to get choirs to ‘sit’ in a track, it requires the application of some fairly resonant filters. Here, I am using 2 different PCM choir samples and affecting them with various filters to produce a ‘nasal’ sound. Because of the make-up of this vocal sample, the midrange is thus boosted, and it is easier to sync into a track. Many soft vocal ‘aahs’ and ‘oohs’ tend to disappear in a track due to the indistinct nature of the sound and require higher levels of presence in order to hear them. By modulating the oscillators through a ring modulator this provides a ‘morphing’ sound as the key is depressed and held, and consequently a sweeping nasal effect is produced. This is also panned via the LFO in the TVA section, thus creating a lot of movement in the stereo image of the sound. A complex series of Multi FX (keyboard Multi) has been added which comprises a delay, 3 band EQ, phaser and ring modulator and provides a ‘glassy’ result to the sustain."

(interstellar spacey synth)

"Galactica-style creation, useful for high spacey single note keyboard parts. The sound was created using heavy LFO modulation to 2 PCM choir sounds (one synthetic) assigned to the oscillators, both with ‘robot voice’ applied. Quite a lazy portamento has been selected to give a spooky quality. Some additional detuning in the 1st sideband filter (COSM1), whose waveform has been selected to triangle. In COSM2, the cut-off frequency has been boosted which provides a resonant sweep in the dynamic section (DYN-TVF). The sound is fed through EP Multi FX, which provides an enhancer, flanger and subtle tremolo. In addition the chorus effect and reverb are added to smooth the release of the patch. The result is both angelic and ethereal, but it also has a human quality, and a little graininess."

(Jupiter brass synth simulation)

"Creating the power of the mighty Roland Jupiter, which was famous for its brass powersynth, is the approach for this patch. Here, we are using 2 oscillators (HQ-Saw & Super-Saw), the former fattened up with the FAT function to create the classic Eighties sound. Quite a powerful resonation has been added in COSM1 which also has a dramatic envelope applied. This has the effect of the attack strike suddenly decaying into the sustained part of the sound (or the fizz) – very similar to how a natural brass instrument would respond. This creates a very bright synthetic sound, which can be effective for brass-y type keyboard chordal parts. Inspired partially by the keys part in ‘Jump’ by Van Halen, I have left the delay out in this instance and just added a small reverb. If you want to add the authentic tape delay to the proceedings (as per this song), simply ‘jump’ to MFX page and switch it on."

(chime-y synth with decay)

"Useful type of sound to cut out a lead melody in a track, or even as a gentle rhythmic vamp. This chiming synth sound was created at the starting point using a basic analogue pad patch. I have then added modulation and various other parameters i.e. quite wide tuning to give the sound a slight shimmer or vibration. This type of sound is reminiscent of the bright sounds used by say, Jean-Michel Jarre or Vangelis. It could also be applied to modern rhythmic dance tracks (Euro Synth/Club) if the overall release value is turned right down to a minimum, thus leaving no overhang. The sound has also been affected by a long tape delay (similar to an old Roland Space Echo), and a long plate. The result is a very analogue/retro sounding yet also modern day synth."

(soft holy pad backed with rhythmical moving stereo sequencer)

"This turned out to be a pretty wild sound. Using a combination of 2 very different oscillator types, I started with a very basic rhythm sequencer (Osc 2- DLP-Evrybeat) then processed it through a ring modulator, which creates a very squashed and brittle effect – quite industrial. Then I assigned the 1st Oscillator to a basic analogue ramp waveform to give a simplistic hymnal flavour underneath. This works best playing simple chords slowly, and the sequencer bounces around in the stereo. I set this up in the LFO section using the pan functions. I have selected the second oscillator to patch tempo at 137 BPM in the arpeggiator (Com) section, which creates quite a bizarre but unusual random hypnotic groove – almost trance-like."

(shell pad backed with pulse)

"Using a basic pad, this patch was formed adding a sweep (like shells washing on a seashore). Behind this is a slow rhythmic sequencer (at 130BPM) panning in the stereo. The patch is essentially made up of 2 different sawtooth waveforms, fed through TVF and dual filters in the COSM section. The LFO is panned creating a bright pulsing texture, the complex rhythm for which has been created in the multi step modulator. Try deselecting A,B,C, & D to change the rhythms (see com/step mod), or just hold down chords, and let the sequencer do the rest."

(belly synth strike with vocal layer)

"Classic bell attack with underlying vocal texture. Useful for solo arpeggiated keyboard parts, or just picking out a single line melody. This idea was created using an existing XT patch and modified in the following fashion: Osc 1 has a electric piano PCM sample assigned (KEY-MKS EP) or preset 76, and Osc 2 has a PCKM choir sample (CHR-AahChoir). There is one TV Filter added via COSM 1, which helps pick out the front end of the sound, but COSM2 is in thru-mode. The overall attack has been brought to the lowest denomination, as befits bell-like instruments. An addition of multi FX (predominant delay) and quite a strong chorus have been added to the effects to carry the sound a bit more."

(dark cyber FX)

"Hard, dark sounding spacey sound affected with intense flanging for cyber-type effect. This patch works best polyphonically – press any group of keys for full effect. It was created using 2 analogue oscillators (oscillator 1 generating the white noise effect, and 2 set to a ramp waveform). The noise is processed through an amp simulator (COSM1) and 2 through a dual band filter. The TVA envelope has a high level of sustain to increase the intensity of the patch, and minimum attack for a dramatic strike at the front of the sound. In the effects section, as well as a delay there is an extreme amount of flanging, which gives a sweeping ‘cyber’ sound or warping quality. There is also a medium reverb added for extra chaos. The result is a special effect, which has a sci-fi flavour."

(analogue bendy synth lead)

"This is a weaving analogue texture for retro-synth lead lines, similar to Eighties keyboard sounds used by say Duran Duran, Talk Talk, or Human League. The filter has been opened to reveal a rougher edge to the sound. There is quite a strong emphasis on the Juno waveform, which is indicative period-wise of 80’s type of analogue synths. Also, the 2 oscillators (an octave apart) are slightly detuned to create this type of singing sound, thus giving it a real ‘retro’ feel. Many old synths would have constantly shifting oscillator tuning which actually gave them their individuality. The TB filter treats the signal of Oscillator 2 (Juno) which results in a grainy, brassy aftertouch. There is a general level boost in the multi FX, and a reasonably lengthy reverb to add extra dimension to the sound."

(spitty lead organ)

"Hard hitting lead organ sound which is very playable across the entire keyboard. It has quite a few extra harmonics added to empathize with, and simulate a draw-bar organ. It is using a combination of an analogue waveform (LA-Saw), and a PCM organ sample. Generally speaking in patch creation, I find this to be the best type of mixture, as the PCM sample gives reality, and the analogue provides a warmer texture or underbelly. In this instance Oscillator 2 is detuned an octave to give the 16’ drawbar effect, and then slightly sharpened, (the old organs were rarely exactly in tune). A slight panned modulation for extra speaker movement is added in the TVA section also. General effects are of course: a slow rotor, chorus (which is a subtle chorale as available on most drawbar organs like a B3), and a short room reverb for additional authenticity – a little like the Hammond spring reverb unit."

(glassy tremolo synth shimmer)

"Quite a dramatic modulating patch. You would find it hard to recognize that the 2 oscillators making up the basis of this patch have two PCM samples assigned (a voice, and Wurly piano), as the result sounds nothing like these two elements. Subsequently, the patch has been severely modified – mainly affected by the FM synthesis selection. This has then been further affected through a filter, thus cleaning the sound of any unwanted frequencies. It therefore travels across the keyboard very well i.e. not too heavy on the bass end response. The ‘shimmering’ effect is created largely through a high level of LFO modulation in the TVA section, and this is then panned extremely – thus giving a left to right glassy shimmer. The Multi FX adds some delay and extra EQ, while the thick chorus smooths out the sound even more. The long reverb puts the whole thing in a big space."

(synthetic clavinet)

"This patch started out as clavinet-based, but I added analogue oscillators which modified it into much more of an overall classy analogue synth. Useful for keyboard ‘spreads’ and harmonic support. It should cut through in a band context, but is also designed to be a sound within itself, and would work well for arpeggiated parts (similar to a picked guitar such as a Stratocaster). The substance of this sound is essentially a saw-tooth with a little noise added via the other oscillator for impact. The envelope applied is pretty straightforward, shutting the strike down quite quickly and sinking into the sustain. The real modifications are apparent in the effects added – namely a multi tremolo and auto pan for movement, a heavy chorus, and a quickly decaying delay (i.e. just a single repeat with very little feedback)"

(vibes based electric piano)

"Electric piano using a PCM sample for the vibes effect. Tremolo is created by LFO ‘wobble’. I started off with one of the basic XT electric piano patches, then thought it would be interesting to add a PCM vibes sample, thus creating a cross between a an electric piano and a tuned percussion instrument. The vibes certainly add great colour to the front of the sound, whilst allowing the EP sample to carry the sustain. Then passing this through a ring modulator and speaker (hence trying to give an effect similar to that of the old Rhodes satellite cabs or similar). The sound is then LFO modulated quite strongly (for vibrato) and panned around for extra spacey stereo. The effects are fairly subtle – a lower mid duck, to make the sound more transparent, a modest chorus and small amount of reverb (simulating an old plate)."

(grainy brass synth pad)

"Crash power synth that is designed to warm up harmonic movement. 2 powerful analogue oscillators are used (one saw, one Juno) to make up this preset – thus producing a very classic polyphonic synth. The second oscillator has been detuned slightly to produce a beating aspect. Most older analogue synths behaved in this way. The cut-off filter has been wound open in COSM1 to brighten the sound. Only a little panning movement has been added, just enough to give a stereo picture in TVA. This sound should hold it’s own sonically in any environment, as it is quite cutting (but not grating). There is a slight slow ramp to the overall attack, which gives the effect of the sound surging in. Some basic effects are also added: Tape delay, chorus and hall reverb for added analogue authenticity."

(gliding choir effect)

"Choir with human-esque glides, particularly in the lower register causes an eerie quality. A quite glassy or saw-like sound is the result, as it makes a singing effect. The 2 oscillators both have the same sample assigned (CHR-SynOoh), although oscillator 2 is heavily boosted in level (overdrive) to produce the glass effect. These two samples then interreact through a dual filter in COSM. A slower attack and longish release provide more realism to the singing aspect. In fact, with this amount of release combined with the stereo delay it almost has the property of a spring reverb. Hence, I have not included any additional reverb in the effects sections but a bit of chorus for the vibrato quality of an electrical singing effect. It ends up sounding quite like a mechanical version of a Theremin."

(alien vox effect)

"Mad aliens noise with long sustain like spacey ‘chattering’. This is an out-and-out effect that may be of use in film-scores or just generally as a one-off. It is detailed as follows: Again this is a mix of an analogue waveform (HQ-Saw) and a PCM (SYN-Formants) for the latter, a sine wave assigned to the LFO and also brought down an octave against the pitch of the principle oscillator (1). The signal is then affected through COSM1 (Comb), and heavy limiting is added through COSM2 (100:1 ratio) – this creates a very even ‘drone’. I have added quite a lengthy release to the envelope to add a smooth decay. Whilst the master FX are not particularly noticeable, a tap delay, chorus and plate reverb do help to cause more mayhem to the sound and place it in another dimension."

(classic burning lead synth)

"The final frontier – powerful multi oscillator lead synth capable of burning with the best. Two analogue oscillators (sine and Juno) make up the basis of this patch. The Juno waveform is a favourite when it comes to creating retro-sounds. In Oscillator 1, FAT has been boosted. In Osc 2, a sharp detune has been made to give the beating effect which makes the sound more powerful. A small speaker has also been added in COSM2 that gives you even more of the burn effect. In order to carry the sound further, a series of effects have been applied in the FX section – a stereo delay, (often used to carry lead or synth solo lines), a chorus to smooth out the beating, and finally a plate reverb. The result is a fat, responsive analogue synth with no boundaries."



(Patch explanation by Geoff Downes.)