100 Xpander/Matrix12 single patches.
They are freely distributable.

The URBANEK.SYX file contains the patch data for all 100 patches, 
from 00 to 99, exactly as it came from the synthesizer.  To load it 
into your synth, you should be able to send it directly by MIDI without 
any changes. The Macintosh freeware "SysEx" works fine.
The single patches all goes into slot 99 on your synth when loaded 
one by one, regardless of the number of the patch. 

Here's a list of the patches inside:

00: DEFAULT    01: VOICE1.0   02: VOICE1.1   03: VOICE1.2   04: VOICE1.3
05: VOICE1.4   06: VOICE1.5   07: VOICE1.6   08: VOICE1.7   09: STRIN1.0
10: STR1N1.1   11: STR1N1.2   12: STR1N1.3   13: SYNSTRIN   14: PHILHARM
15: FM-ORCH    16: FATENS     17: STREICH    18: SOFTSTRI   19: SYNT1.0
20: SYNT1.1    21: SYNT1.2    22: SYNT1.3    23: SYNT1.4    24: 5YNT1.5
25: SYNT1.6    26: SYNT1.7    27: POWERSYN   28: WONDERSY   29: SOLO
30: SOFTBASS   31: BASSSSSS   32: DARK       33: SYNBASS1   34: BIG BASS
35: BASS1      36: WOODBELL   37: BBAASS     38: BIGBAND    39: BIGBAND+
40: PUBRAZZ1   41: PUBRAZZ2   42: PUBRAZZ3   43: BLAESER    44: SYNFLUTE
45: ENS1       46: ENS2       47: ENS2+      48: WOW        49: FULL1.0
50: CHURCH.1   51: CHURCH.2   52: CHURCH.3   53: CHURCH.4   54: CHURCH.5
55: NO BX3     56: BX ORGAN   57: PX ORGAN   58: ORGAN1.0   59: ORGAN1.1
60: JOY        61: GEN-VAR    62: HOLE       63: PERCSYNT   64: BELL
65: SILENT     66: MOODCHAN   67: JOY-1      68: NO SENSE   69: BACKGROU
70: DIGI-XP    71: CLASSIC    72: BARPIANO   73: MYSTERY    74: INVADER
75: INVADER+   76: PHONECAL   77: VATIKAN1   78: VATIKAN2   79: SPAIN1
80: SPAIN2     81: NO PIANO   82: SPAIN3     83: COMPING    84: SOLOPERC
85: SPACELAB   86: VARISPEE   87: SPACE-FL   88: J.STRAUS   89: VOYETRA
90: SIMPLE     91: SYNGUITA   92: ROBOTWAR   93: GEDULD     94: HARDSYN
95: NO GROOV   96: ON STAGE   97: REVERB     98: ZUPFER     99: PATTERN


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.

