100 Oberheim Matrix 12 URBANEK Patches BY Peter Urbanek скачать в хорошем качестве

100 Oberheim Matrix 12 URBANEK Patches BY Peter Urbanek

After the last set of whacky sounds I wanted to document some more 'classic' Matrix 12 vibes. I found this great bank by Peter Urbanek. From the .txt PATCHES BY PETER URBANEK (free) Reviewed by Mike Metlay Peter's patches tend to be organized in sets, with several subtle variations on a theme, and named accordingly: VOICE 1.1, VOICE 1.2, etc. It seems that when a patch deviates enough from the basic form, he gives it a name of its own and groups it after the others of its ilk. For this reason, Peter's patch tape is organized quite neatly, making it easy to audition all of a particular type of patch. Heavy use is made of both Levers, both Pedals, Pressure, Velocity, and Release Velocity on many patches, for effects ranging from vibrato to ENV shape changes and resonant sweeps on note attacks. It should be noted by all that to Peter, "vibrato" means everything from triangle-wave warbles to deep noise-wave growls. His Multi Patch setups are meaningless: they're left over from the factory patch tape. Blanking them would've been nice. In contrast to the previous set, the patches here bear little resemblance to the sounds after which they're named. Each sound group, like VOICE, STRIN, CHURCH, etc., appears to describe the general character of a sound rather than it's true intent. Peter seems to enjoy the "analog synthesis for its own sake" approach to programming; he eschews realism in favor of timbre. And what timbres-thundering basses, blasting church organs that seem to belong to any church I've ever heard of, bizarre sound effects (though not on the level of the next tape reviewed) with random LFOS, rich filtered string pads ... all heavily overlaid with a grimy analog crunch that threatens to bury the listener. There are a few slightly altered factory patches as well, but these have also fallen to Peter's grim analog touch. In fact, there aren't that many different kinds of sounds on this tape; it has a definite "one flavor" feel to it throughout, and that flavor doesn't lend itself to realism, so if you're looking for variety or realistic sounds, look elsewhere. But if you want to learn exactly why no digital synth can cross an Xpander and live, these sounds would be a fine place to start.