Adam started synthlib back in 2015 with a dream of helping synth fans make the most of their instruments.
Jun 25, 2015
Evolving pad with brassy overtones. Great for long chords with close, staggered notes.
A real speaker ripper. Just a lot going on here. Stacked and distorted. Use sparingly for accents, or lay it on thick to quickly overfill the mix. Loads into User Bank 3, Program 17.
Like a cozy blanket to warm your toes. Not too thick with a moderately long tail. Loads into User Bank 3, Program 1.
One finger plays a dark sounding arpeggio on top of an evolving bass note. I may come back and fill in all the params at some point, but meanwhile you can load the sysex.
Sounds like a bass drum in the lower range, maybe toms or snare in the upper. Extend the EG decay for those longer, sustained kicks.
Here’s another bass drum. Cleaner and punchier than my last attempt. The sample shows off this patch alone, then part of a pattern.
A nice moog-style mono tone with a touch of glide and added brightness with higher velocity.
A sort of classic synth tone with analog waves and filter cutoff controlled by the envelope with plenty of resonance. Chorus and delay round it out.
Using slow LFO pitch modulation to create unstable-sounding oscillators like you might find in old, analog gear. This is similar to the “slop” setting on newer DSI prophets.
Taking advantage of the digital waves creates a unique and modern timbre with dark-to-bright swooshing from the LFO controlled filter.
Relaxed, light lead tone reminiscent of vintage movie soundtracks. The Juno 6 has stable oscillators, but we use the LFO to make it sound unstable.
LFO-modulated pulse width plus a darker filter make for some spacey, moving chords.
Monophonic lead tone with a bit of growl on the attack and a touch of glide between notes.
Rhythmic shimmering from LFO-controlled amp and filter. Gradually brightens as notes are held, and swooshes darker as notes are released.
The ESQ-1 has no reverb, but this eerie patch makes it sound like it does with long release times and LFO-modulated pitch during the release. It also shows how to use some of the less-standard oscillator waves.
Unstable-sounding oscillators plus some noise make for a vintage tone. Use it sparingly to accent certain chords.
Piercing, shrill and bright with long sustain and gradual darkening.
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