The Legacy Project

Legacy is a project that took almost an entire year of every night and weekend I could throw into it. It is the definitive collection of samples from early analog synthesizers. All of the patches were painstakingly sampled directly into a DigiDesign ProTools system for maximum fidelity. All patches are multi-sampled at C and F in every octave of the keyboard. Many other CD's have 1 multi sample per octave, but by supplying more samples per octave, you get a sound that is much closer to the original synthesizer patch.   Bruce Henderson

Legacy Audio Sampling CD

This CD is crammed as full as I could get it with samples from the 680MB Legacy collection (the CD is 73:51 long). All the tracks have never touched analog after their initial recording. This allows the sample to retain as much of the dynamic flavor of the original instruments as possible. While no sampling CD is ever as cool and as fun as actually owning one of these rare treasures, this sampling CD allows you to have some classic sounds while you search for that last affordable mint condition Arp 2600.

Legacy CD-ROM

The Legacy CD-ROM is now available for Akai samplers. If you find looping to be a pain in the backside, you may be interested in this. All of the samples are perfectly pre-looped using Jupiter Systems Infinity^tm looping tools. In addition to the vast array of analog sounds that you get with the Legacy Audio CD, there are many "bonus patches" featuring samples that we couldn't squeeze into 74 minutes of audio. The initial release is in Akai S-1100 format (which can be read by most samplers on the market today).

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Legacy Track list

• TestTone
• Arp 2600
• Arp Odyssey
• Korg Lambda
• Korg MS-20
• MiniMoog
• Moog Taurus
• Oberheim 2 Voice
• Oberheim OB-8
• Oberheim OBXa
• Oxford OSCar
• Sequential Circuits ProOne
• Sequential Circuits Prophet 5
• Roland Juno 106
• Roland Jupiter 6
• Roland Jupiter 8
• Roland TB-303 Bass Line
• Linn LM-1
• LinnDrum
• Roland TR-808
• Roland TR-909

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Arp 2600

One of the more famous of the Arp synthesizers, this artifact is a 3 VCO semi-modular synth. It hand many unique and useful features. The Arp 2600 featured a patchable architecture using 1/8" "Banana" plugs. It was one of the first synths to use sliders for all controls (in contrast to the Moog standard of using knobs / pots).

This unit featured speakers built into the tolex covered case and even a stereo spring reverb. The sound of its filter is usually very sharp, and in patches where deep VCO FM is used, this synthesizer can produce harsh cutting sounds perfect for leads. These Arp 2600 samples are Mono, and are from one of the last 2600s made by Arp before they ceased production.

Track 1

Index 1 Arp Filter Punch C1-C5
Slight FM on VCO1, pronounced filter envelope

Index 2 Control Bass C1-C5
Sub Octave FM of VCO2, Moderate filter resonance

Track 2

Index 1 Satellite Bass C1-C5
3 VCO sawtooth detune, Medium Filter resonance

Index 2 System Bass C1-C5
Square wave, LFO pulse modulation

Track 3

Index 1 Fathom Bass C1-C5
Low, rich bass, 3 VCO detune

Index 2 Ratchet Bass C1-C5
Pluck attack bass patch

Track 4

Index 1 Encryptor C1-C5
Lead / Bass patch with heavy FM

Index 2 PWM Lag C1-C5
Lead / Bass patch with envelope controlled PWM

Track 5

Index 1 The Glider C1-C5
Smooth lead patch with percussive attack

Index 2 Robot Chubby C1-C5
Fat Bass / Lead patch

Track 6

Index 1 Radium Brass C1-C5
Harsh brass patch

Index 2 The Pulsar C1-C5
Heavy square / pulse wave FM

Track 7

Index 1 Vocal Lead C1-C5
Fast filter envelope and moderate resonance

Track List

Arp Odyssey

Classic 37-note, 2-VCO, duophonic synthesizer Almost as common on '70s records as the Minimoog. Sometimes used in tandem with it, adding sharpness to the Moog's warmth Early Mk Is have some components encased in resin - possibly to protect trade secrets and/or maintain temperature stability. But now prevent them from being repaired. These samples are mono and are from a second generation (black + gold) Odyssey.

Track 8

Index 1 The Wide One C1-C4
Moderate filter chirp, solid lead patch

Index 2 Too Deep C1-C4
Extra low bass

Track 9

Index 1 Acid Base C1-C4
The Odyssey filter at its finest

Index 2 Rez it up C1-C4
Now with ever more resonance

Track 10

Index 1 Sand Blaster C1-C4
Raw Gritty lead sound

Index 2 Odyssey Brass C1-C4
Buzzy brass patch

Track 11

Index 1 Subterainean C1-C4
Super low bass... Watch your woofers!

Index 2 Mouglie C1-C4
Vaguly Moog like lead sound

Track 12

Index 1 Empire Brass C1-C4
Harsh brass patch with lots of VCO FM

Index 2 Bendies C1-C4
Brass like with a pitch envelope. Use as a lead

Track 13

Index 1 Cybernetix C1-C4
Heavy on the FM with the filter wide open

Index 2 Small and Round C1-C4
A very round patch, good as bass and leads

Track 14

Index 1 The Res Police C1-C4
With VCO and Filter FM... This gets really thick

Track List

Korg Lambda

One of the rarer "Ensemble" synths of the mid to late 70's. Featured separate voices circuits for keyboard style instruments (like organ and piano) and symphonic instruments (like strings and choir). It featured large, colored rocker style switches similar to those found on home organs. The instrument is stereo, and features a very noisy chorus circuit that gave it a very aggressive sound. These samples are stereo, and start at F1 (the first sample is the low F on the 4 1/2 octave keyboard)

Track 15

Index 1 Lambda Strings F1-C6
The harsh aggro chorus really makes these strings

Index 2 Lambda Choir F1-C6
Ultra warm analog choir with heavy chorus effect

Track List

Korg MS-20

A nifty little synth that has become quite a cult favorite. This synth features a 3 octave keyboard, and a generous quantity of knobs and patch points. This synth was patchable using standard 1/4" phono plugs, and featured a section for doing pitch to voltage conversion and envelope following of external instruments (such as a guitar). Known for having a rather thin sound, the patch capability of this synth made it very versatile. It features 2 VCO's with ring modulation, and a 2 pole high pass and a 2 pole low pass filter.

Track 16

Index 1 Super Rounds C1-C4
General purpose MS-20 patch

Index 2 Cyclon Pulse C1-C4
Pulse wave with ring modulation

Track 17

Index 1 Violet Bass C1-C4
Filter envelope on low pass

Index 2 Y and X C1-C4
Heavy ring modulation

Track 18

Index 1 The Pipe C1-C4
High pass and low pass filters together

Index 2 Electrosphere C1-C4
High pass filter sweep, low pass res

Track 19

Index 1 Devotee C1-C4
Cross modulated bass texture

Index 2 Protex Bass C1-C4
Bass patch with plenty of filter

Track 20

Index 1 Sampson C1-C4
Heavy ring mod guitar patch

Index 2 Mysterious C1-C4
Low pass and high pass sweep

Track List

MiniMoog

This is perhaps the most famous of the Moog synthesizers. Originally designed to be a synthesizer that someone other than a university could afford, it had 3 VCOs and the now famous Moog "Ladder" filter. It's sound is very rich and warm, and synthesizers that can do a passable imitation are only now coming on the market (such as the remarkable Oberheim OBMx).

This synthesizer has long been prized for its outstanding bass sounds. Early versions of this synth were notorious for not being able to hold their tuning for more than several minutes. Later versions were much more stable, and are one of the most sought after synths in the vintage market. These samples are from F1 to C5, and are mono, and are from a MiniMoog that has been modified to have VCO sync.

Track 21

Index 1 Earth Shaker F1-C5
Huge bass patch

Index 2 The Bear F1-C5
Growling bass / lead

Track 22

Index 1 Spud Brass F1-C5
Brass patch ala Devo

Index 2 Just Sync 1 F1-C5
1 VCO synced, wide filter

Track 23

Index 1 Soul Miner F1-C5
Extra low bass

Index 2 Back and Forth F1-C5
Bass / Lead patch in the Devo tradition

Track 24

Index 1 First Bass F1-C5
Rich bass sound the MiniMoog is famous for

Index 2 Still open F1-C5
Rich MiniMoog resonant lead

Track 25

Index 1 Eternal PWM F1-C5
All VCOs in pulse mode

Index 2 Brass From the Past F1-C5
Rich MiniMoog brass patch

Track List

Moog Taurus

The mainstay of several progressive rock bands, the Moog Taurus bass pedals combined MiniMoog like sound at lower octaves. It has several preset modes (Tuba, Bass Violin, etc) as well as a synth mode that could be programmed via controls on a "stalk" that extended up several feet from the bass pedal cabinet (on the Taurus II). This synth was known to play havoc with sound systems, owing to the fact that it could generate sustained high intensity low notes. This synth can be found on mid to late 70's recordings by Genesis, Yes and Rush (among many of others). Think of it as a Moog for your toes These samples are from C1 to C2 and are mono.

Track 26

Index 1 Mellow Moog C1-C2
Medium filter brassy bass

Index 2 Concert Bass C1-C2
Open filter sting bass

Index 3 Tight Moog Bass C1-C2
Synth style moog bass with a tight filter

Index 4 Wide Brassy Bass C1-C2
Round brass bass patch

Track 27

Index 1 Quiet Synth Bass C1-C2
Filter almost closed, saw tooth wave

Index 2 Mellow Synth Bass C1-C2
Same sawtooth patch, a little more filter

Index 3 Round Synth Bass C1-C2
A little more filter on the same patch

Index 4 Bright Synth Bass C1-C2
Saw tooth bass with a wide open filter

Track 28

Index 1 Wide Bass C1-C2
Square wave bass with lots of filter

Index 2 Resonette C1-C2
Square wave bass with resonance

Index 3 Bright String Bass C1-C2
String bass with open filter

Index 4 Deep Saw Bass C1-C2
Saw tooth bass with closed filter

Track 29

Index 1 Smooth Bass C1-C2
Beautiful Moog resonance filter on this

Index 2 Deeper Green C1-C2
Wider resonance filter setting on this bass

Index 3 Deep and Wide C1-C2
Wide thick bass pad with an open filter

Index 4 Moody Bass C1-C2
Quite brooding bass pad

Track 30

Index 1 Super Low C1-C2
Tight filter, lots of bass power

Index 2 Rez You Down C1-C2
Tight filter, this time with more rez

Index 3 Bass of Power C1-C2
Wider filter setting with moderate rez

Index 4 Cro-Magnon C1-C2
Low bass with moderate rez

Track List

Oberheim 2 Voice

Tom Oberheim originally made a small add on synthesizer box called an SEM (Synthesizer Expansion Module). It featured a variable state 2 pole filter that had a sound that was unique at the time when all of the other synthesizer manufactures were producing instruments with 4 pole lowpass filters. The success of the SEM module prompted Tom (one of the deities of synthesis) to create a dedicated synthesizer built from SEM modules. Thus the Oberheim 2 voice was born. It's sound is unique and distinctive, featuring a much brighter sound. The synthesizer itself features a very fun to program analog sequencer. This item is very rare, as are its cousins the 4 voice and 8 voice. The samples of the 2 Voice are mono, and are from a showroom perfect 2 Voice owned by Ed Winquest of SST in Los Angeles.

Track 31

Index 1 Power Squared C1-C4
Wide open filter, 4 VCOs in unison

Index 2 Voice of Destruction C1-C4
Vocal pad that shows off the multi mode filter

Track 32

Index 1 Snap it Open C1-C4
Pluck type attack with a wide open filter

Index 2 Columnator C1-C4
Square wave unison with medium res

Track 33

Index 1 Octave Spread C1-C4
Unison sawtooth waves in octaves

Index 2 Octave Square C1-C4
Lots of 2 pole res, 4 VCO unison

Track 34

Index 1 Flow Phaser C1-C4
Saw tooth pad with 2nd voice delay

Index 2 Orchestral C1-C4
Thick orchestral brass patch

Track 35

Index 1 Rez-idual C1-C4
Brassy type resonant patch

Index 2 REZ-O-MATIC C1-C4
Heavy 2 pole resonance, saw tooth unison

Track List

Oberheim OB-8

The Oberheim OB-8 was the last of the "OB" series of synthesizers produced by Oberheim. It was an extension and refinement of the architecture found in the OBX and the OBXa. It featured 2 sync-albe VCOs that could produce saw or pulse wave, along with a selectable 2 pole or 4 pole lowpass filter. The output was stereo, and the panning of each individual voice was adjustable by small knobs sticking through one of the wooden sides of the instrument. The OB-8 featured many powerful performance features, and the famous Oberheim twin lever control system. This set of samples are in stereo, and are from one of the last OB-8's made, that features factory MIDI.

Track 36

Index 1 The Pick C1-C5
Percussive sawtooth patch

Index 2 Sweep and Wide C1-C5
Unison saw tooth filter sweep

Track 37

Index 1 Gravel Bass C1-C5
Pluck bass with tons of resonance

Index 2 On The Rise C1-C5
Filter sweep sawtooth pad

Track 38

Index 1 Power Saw C1-C5
Saw tooth unison lead

Index 2 Hendrix C1-C5
Guitar type unison lead with variable sync

Track 39

Index 1 UniBass C1-C5
Deep filtered bass

Index 2 Spirit Eye C1-C5
Resonant square wave unison with VCO sync

Track List

Oberheim OBXa

Perhaps one of the beefier synths ever made (in terms of the sound), the OBXa is believed to be responsible for the famous synth line in "Jump". This synth design was a half way point between the module based design found in the SEM and the integrated design found in the OB-8. The OBXa was built of 8 individual voice cards, each a separate synthesizer. Although not multi-timbral, it had the capability to play in "dual" mode. This allowed 4 voices to be assigned to be assigned to 2 different patches, that could either be played on different halves of the keyboard, or stacked to create a thicker sound. This instrument also featured one of the best selection of live performance controls available on any synth. This set of samples are in stereo, and are from one of the later OBXa's (this particular one has several nice JLCooper modifications).

Track 40

Index 1 Inorganic C1-C5
Organ pad with medium leslie

Index 2 Technoid C1-C5
Thick Oberheim synth patch

Track 41

Index 1 Millenium Brass C1-C5
Thick brass patch

Index 2 Xtra Padding C1-C5
Thick saw tooth pad

Track 42

Index 1 Bee Tree C1-C5
Organ patch with loads of leslie

Index 2 Subdivisions C1-C5
Massive unison pad

Track 43

Index 1 Snap Back C1-C5
Resonant chirp attack patch

Index 2 HypeCube C1-C5
Square wave unison pad

Track 44

Index 1 Hollow There C1-C5
Hollow sounding patch

Index 2 The Force C1-C5
Massive square wave unison with an open filter

Track 45

Index 1 Shattered C1-C5
Resonant pluck patch

Track List

Oxford OSCar

Perhaps the rarest instrument in this collection is the OSCar made by Oxford Synthesizers in the early 80's. It featured a powerful VCO system that could produce waveforms by specifying the harmonics, as well as the standard saw, square and pulse waves. The filter on this instrument had a very rich quality, not unlike that of a MiniMoog, but different in several ways, most notably was a knob for adjusting the width of the filter resonance peak. This synthesizer is monophonic, has 24 patch locations, and a built in sequencer and arpegiator. This artifact has achieved cult worship status among those who have actually had the pleasure of playing one. These samples are from one of the earlier OSCars that came with MIDI.

Track 46

Index 1 Round Wound C1-C4
Mellow bass / lead sound

Index 2 Millibite Bass C1-C4
Pluck style bass sound

Track 47

Index 1 Fido Bass C1-C4
Filter sweep bass / vocal bass

Index 2 Steel Breeze C1-C4
Custom waveform with a filter sweep

Track 48

Index 1 Acidic Solution C1-C4
Slow filter envelope with wide res

Index 2 Jump Into It C1-C4
Punchy lead / bass

Track 49

Index 1 Daydream C1-C4
Slow filter envelope, xtra wide res

Index 2 Stainless Cascade C1-C4
Metallic custom wavefrom with a filter sweep

Track 50

Index 1 Dr. Sesismo C1-C4
Subsonic bass, guard your woofers.

Index 2 12 Angry Men C1-C4
Agressive filter / waveform combination

Track 51

Index 1 Liquid Metal C1-C4
Custom waveform with resonant filter sweep

Index 2 Launch Sequence C1-C4
Slow filter sweep with a harsh wave form

Track 52

Index 1 Munchausen C1-C4
More of that wonderful OSCar filter stuff

Track List

Sequential Circuits ProOne

This little wonder is a boiled down, monophonic Prophet. It has the same front panel controls, but does not have the ability to store patches. It does come with a built in sequencer and arpegiator. Up until the recent run up in vintage equipment prices, this was one of the most affordable and enjoyable analog synths to own. It featured very flexible modulation routing, lots of knobs, and that stunning Prophet sound. These samples are from C1 to C4 and are mono.

Track 53

Index 1 Stringy C1-C4
Moderate VCO FM pad

Index 2 MaHollow C1-C4
Hollow resonant pad

Track 54

Index 1 The Knife C1-C4
Gritty sawtooth / triangle FM

Index 2 Stormy Day C1-C4
Angry resonance filter FM

Track 55

Index 1 Bass-o-matic C1-C4
Square wave resonant bass patch

Index 2 Smoother Brass C1-C4
Smooth filter envelope brass

Track 56

Index 1 Microchip Bass C1-C4
Pluck filter bass with tiny amounts of rez

Index 2 Axe Grinder C1-C4
Buzzy lead with mountians of FM on the filter

Track 57

Index 1 Pro Sweeper C1-C4
Swept filter res, VCO square wave FM

Index 2 Photon Lead 10 C1-C4
Buzzy resonant lead

Track 58

Index 1 Statement of Faith C1-C4
Bass / lead patch with filter FM

Index 2 Octave Wave C1-C4
Octave VCOs with lots of FM

Track 59

Index 1 Acid Tribe C1-C4
Super resonant lead / bass

Index 1 Sequnecer Bass C1-C4
Short punchy bass great for 16th / 32nd notes

Track 60

Index 1 ProOne 15
various analog precussive effects, Kling Klang style

	Sample	Offset
	FX 1	00:00
	FX 2	01:31
	FX 3	02:54
	FX 4	04:04
	FX 5	05:28
	FX 6	06:45
	FX 7	08:04
	FX 9	09:45
	FX 10	11:05
	FX 11	12:43
	FX 12	13:45
	FX 13	16:59
	FX 14	18:14
	FX 15	19:34
	FX 17	20:53
	FX 18	22:00
	FX 19	23:21
	FX 20	24:36
	FX 21	25:52
	FX 22	27:11
	FX 23	28:48
	FX 24	30:07
	FX 25	31:45

Track List

Sequential Circuts Prophet 5

Labelled by someone as "God's favorite synthesizer", this was THE synth to have in the 80's. This instrument was one of the key ingredients to the line up of any band. 5 voices and a 5 octave keyboard. This was one of the first programmable synths, and it took the market by storm soon after its arrival. Earlier versions used less reliable SSM chips for their sound, while later versions used CEM chips. The earlier version had a much fatter, richer sound, while the later ones were much more reliable. They all featured a flexible modulation scheme that was responsible for the wide range of sounds this synthesizer could produce. All of them held 40 patches, except for the last ones produced, which could store 120 patches and came with factory MIDI (known as Rev 3.3). These samples are from a Rev 2 (SSM) Prophet.

Track 61

Index 1 Hawaiian Punch C1-C5
Extra punchy Prophet res patch

Index 2 Cygnus Pad C1-C5
Rough buzzy pad

Track 62

Index 1 P5 Brassy Pad C1-C5
Somewhat brassy filter sweep pad

Index 2 UltraBuzz C1-C5
A very buzzy pad [Ambient with a hangover]

Track 63

Index 1 Captian Squishy C1-C5
Percussive buzzy patch, moderate filter FM

Index 2 Inferno C1-C5
An extermemly buzzy Prophet patch

Track 64

Index 1 Step On It C1-C5
Retrograde Lead / Bass (Lots of res)

Index 2 Pipeline C1-C5
Hollow resonant pad, lots of filter FM

Track 65

Index 1 Open Skies C1-C5
Buzzy patch with a wide open filter

Index 2 P5 PWM pad C1-C5
Square wave PWM / FM patch

Track List

Roland Juno 106

Not overly popular when it was released, it has become a favorite among the new analog disciples. It featured a unique design with a single VCO with a sub octave generator. The Juno 106 had a reasonably decent sounding filter, along with a very noisy, but very useful chorus effect. This synthesizer is now prized for its ability to create punchy resonant bass sounds, as well as lush, sweeping pads. This is one of the few synths in the collection that features MIDI. The samples are in stereo (for that great chorus effect).

Track 66

Index 1 Deep Bass 106 C1-C5
Tight filter Juno bass with no chorus

Index 2 Tactics Bass C1-C5
Extra deep bass with lots of sub octave

Track 67

Index 1 Super Air Stings C1-C5
Heavy use of the noisy Juno chorus

Index 2 Moody Pad C1-C5
Low string pad, milder chorus effect

Track 68

Index 1 Undertow C1-C5
Low bass patch with a lot of resonance

Index 2 Rotato C1-C5
Organ patch with moderate leslie

Track 69

Index 1 The Basement C1-C5
Deep bass patch with sub octave doubling

Index 2 Wide Brass C1-C5
Solid brass patch with type 1 chorus

Track 70

Index 1 Thick Brass C1-C5
Higher brass with type 2 chorus

Index 2 Major Dommo C1-C5
The filter envelope makes the patch

Track 71

Index 1 Juno 106 12 More fun percussive analog effects. Perfect for your next industrial ho-down or when you just can't get enough acid bleeps, bloops and burbles.

	Sample	Offset
	FX 1	00:00:00
	FX 2	00:01:02
	FX 3	00:02:07
	FX 4	00:03:12
	FX 5	00:04:17
	FX 6	00:05:24
	FX 7	00:06:50
	FX 8	00:07:59
	FX 9	00:08:64
	FX 10	00:09:67
	FX 11	00:10:70
	FX 12	00:11:72
	FX 13	00:13:00
	FX 14	00:14:04
	FX 15	00:15:07
	FX 16	00:16:14
	FX 17	00:17:19
	FX 18	00:18:28
	FX 19	00:19:31
	FX 20	00:20:42
	FX 21	00:21:51
	FX 22	00:22:58
	FX 23	00:23:67
	FX 24	00:25:00
	FX 25	00:26:10
	FX 26	00:28:21
	FX 27	00:29:35
	FX 28	00:30:43
	FX 29	00:31:52
	FX 30	00:32:62
	FX 31	00:33:73
	FX 32	00:35:13
	FX 33	00:36:31
	FX 34	00:37:65
	FX 35	00:39:13
	FX 36	00:40:42
	FX 37	00:41:72
	FX 38	00:43:22
	FX 39	00:44:53
	FX 40	00:46:07
	FX 41	00:47:34
	FX 42	00:48:62
	FX 43	00:50:19
	FX 44	00:51:34
	FX 45	00:52:52
	FX 46	00:54:14
	FX 47	00:55:34
	FX 48	00:56:51
	FX 49	00:57:65
	FX 50	00:59:30
	FX 51	01:01:08
	FX 52	01:03:74
	FX 53	01:05:50
	FX 54	01:07:35
	FX 55	01:09:29
	FX 56	01:11:17
	FX 57	01:13:03
	FX 58	01:15:12

Track List

Roland Jupiter 6

The last of the Jupiter keyboards, the Jupiter 6 had the same great architecture as the larger Jupiter 8. It had a powerful and flexible LFO system as well as reasonably good performance controls. The Jupiter 6 has 2 VCOs that are sync-able and can do FM. It comes equipped with a 4 pole filter that can either function as a low pass, high pass or band pass filter. As a result, this synthesizer is a natural for long filter sweep sounds. These samples are mono from one of the later ones produced, which feature a more powerful MIDI implementation. This particular specimen has several nice JLCooper modifications.

Track 72

Index 1 Cheeky Brass C1-C5
Mellow brass patch

Index 2 Cosimic Strings C1-C5
One of the world's thickest string pads

Track 73

Index 1 Brother Maynard C1-C5
Low and throaty analog vocal pad

Index 2 Terminal Lead C1-C5
Sharp lead / bass patch

Track 74

Index 1 Stratoblaster C1-C5
Unison guitar style patch

Index 2 Swimming Pad C1-C5
Swirling unison texture

Track 75

Index 1 Fat Boy C1-C5
Extra fat bass / lead patch

Index 2 The Signal C1-C5
Filter sample and hold LFO

Track 76

Index 1 It Flies C1-C5
Slow resonant filter sweep

Track List

Roland Jupiter 8

The grand daddy of the Jupiter line, this synth was a favorite of the european New Wave bands (much as the Prophet 5 was the mainstay in the states). It had the same rich sound found in the other Jupiters, but could function in a dual mode, where 2 sets of 4 voices each could be assigned to different areas of the keyboard or stacked. This stacking effect could be used to create very thick pads. This instrument also featured a powerful arpeggiator, including a "Random" arpeggiate function (a prime example of this is on Duran Duran's "Hungry Like The Wolf"). These samples were recorded from Ed Winquest's (SST) Jupiter-8

Track 77

Index 1 On the Wire C1-C5
Tight stereo unison with pitch envelope

Index 2 Royal Canadian C1-C5
Wide stereo brass

Track 78

Index 1 Aggro Strings C1-C5
Agressive stereo strings

Index 2 Rezoscape C1-C5
Lush resonant stereo pad

Track 79

Index 1 Liquid Sky C1-C5
Resonant fitler pluck

Index 2 Overspeed C1-C5
Thick FM Unison

Track 80

Index 1 Cybernaut C1-C5
Sawtooth stereo spread with an open filter

Index 2 Crunchy Frog C1-C5
Resonant filter pan

Track List

Roland TB-303 BassLine

This little silver box was not a big favorite when it was first released by Roland. In the years since, it has become the definitive bass sound for techo / rave music. Now prized for it's harsh resonant sound and its ability to create bizzare sequneces of resonant bleeps, this instrument features a quirky step mode sequencer, and chrome plated buttons. These samples are in mono and were recorded from Steve Valdez's TB-303. Of special note is the fact the these notes are very short, and to obtain a real "303" feel, should not be looped, and played in mono (only 1 note at a time, with no sustain overlap).

Track 81

Index 1 Spectrum Bass C1-C4
Square wave with heavy resonance

Index 2 Ultra Bass C1-C4
Square wave with a tighter filter setting

Index 3 Razor Bass C1-C4
Square wave with an extereme amount of res

Index 4 Subcode Bass C1-C4
Square wave with medium filter and medium res

Track 82

Index 1 Cosworth Bass C1-C4
Square wave with alot of envelope, medium high res

Index 2 Valdez Bass C1-C4
Square wave with a tight filter and high res

Index 3 Analogic Bass C1-C4
Square wave with a open filter and medium high res

Index 4 Spring Steel Bass C1-C4
Square wave with alot of envelope, extreme res

Track 83

Index 1 Fossil Bass C1-C4
Square wave with medium amount of filter envelope

Index 2 Expert Bass C1-C4
Square wave, medium high res with a tight envelope

Index 3 Extreme Bass C1-C4
Sawtooth with high res and medium filter envelope

Index 4 Wavemaster Bass C1-C4
Sawtooth with medium res and medium filter envelope

Track 84

Index 1 Tubular Bass C1-C4
Sawtooth with light res and medium filter envelope

Index 2 Phosphor Bass C1-C4
Sawtooth with medium res and tight filter envelope

Index 3 Titanium Bass C1-C4
Sawtooth with light res and tight filter envelope

Index 4 Thermal Bass C1-C4
Sawtooth with medium high res and tight filter envelope

Track 85

Index 1 Turbo Rez Bass C1-C4
Sawtooth with medium high res and heavy envelope

Index 2 Micro Rez Bass C1-C4
Sawtooth with tiny res and tight filter envelope

Index 3 Chubby Bass C1-C4
Sawtooth with tiny res and medium filter envelope

Index 4 Lumpy Bass C1-C4
Sawtooth with no res and medium filter envelope

Track 86

Index 1 Twang Bass C1-C4
Sawtooth with medium res and medium filter envelope

Index 2 Lead Bass C1-C4
Sawtooth with no res and tiny filter envelope

Index 3 Percussive Bass C1-C4
Sawtooth with medium res and tiny filter envelope

Track List

Linn LM-1

The first of the modern drum machines. This was one of the physically largest drum machines ever created, and its sound was (at the time) a real break through. It featured digital recordings of real drums and percussion instruments. All of which were tuneable by knobs on the back panel. The sound of an LM-1 is very distinctive, mostly due to the fact that the samples were low resolution.

Track 87

	Sample			Offset
	BassDrum 1		00:00:00
	BassDrum 2		00:01:29
	BassDrum 3		00:02:55
	BassDrum 4		00:04:06
	BassDrum 5		00:05:27
	BassDrum 6		00:06:41
	BassDrum 7		00:07:51
	Snare 1			00:08:59
	Snare 2			00:10:16
	Snare 3			00:11:45
	Snare 4			00:12:72
	Snare 5			00:14:20
	Snare 6			00:15:40
	Snare 7			00:16:57
	Snare 8			00:17:70
	LowTom 1		00:19:04
	LowTom 2		00:20:40
	LowTom 3		00:21:72
	LowTom 4		00:23:24
	LowTom 5		00:24:47
	LowTom 6		00:25:66
	LowTom 7		00:27:06
	HiTom 1			00:28:18
	HiTom 2			00:29:52
	HiTom 3			00:31:08
	HiTom 4			00:32:33
	HiTom 5			00:33:54
	HiTom 6			00:34:70
	HiTom 7			00:36:08
	Closed HiHat 1		00:37:18
	Closed HiHat 2		00:38:27
	Closed HiHat 3		00:39:36
	Closed HiHat 4		00:40:46
	Closed HiHat 5		00:41:55
	Open HiHat 1		00:42:65
	Open HiHat 2		00:45:14
	Open HiHat 3		00:47:42
	Open HiHat 4		00:50:01
	Open HiHat 5		00:52:34
	Rimshot 1		00:54:74
	Rimshot 2		00:56:15
	Rimshot 3		00:57:28
	Rimshot 4		00:58:37
	Rimshot 5		00:59:42
	Claps 1			01:00:46
	Claps 2			01:02:01
	Claps 3			01:03:28
	Claps 4			01:04:48
	Claps 5			01:05:63
	CowBell 1		01:06:70
	CowBell 2		01:08:14
	CowBell 3		01:09:32
	CowBell 4		01:10:47
	CowBell 5		01:11:60
	CowBell 6		01:12:70
	Tambourine 1		01:14:04
	Tambourine 2		01:15:35
	Tambourine 3		01:16:61
	Tambourine 5		01:18:06
	Cabasa 1		01:19:18
	Cabasa 2		01:20:34
	Cabasa 3		01:21:48
	Cabasa 4		01:22:59
	LowConga 1		01:23:63
	LowConga 2		01:25:23
	LowConga 3		01:26:56
	LowConga 4		01:28:09
	LowConga 5		01:29:32
	HiConga 1		01:30:44
	HiConga 2		01:32:03
	HiConga 3		01:33:30
	HiConga 4		01:34:53
	HiConga 5		01:35:70

Track List

LinnDrum

A more compact and upgraded cousin of the LM-1, the LinnDrum was very popular in the early and mid 80's. It featured 12 bit companded samples, with a larger selection of sounds available on after market EPROM chips that could be installed by users to get different kits. The sound of a LinnDrum is very rich and warm. This machine was a favorite of Peter Gabriel.

Track 88

	Sample			Offset
	BassDrum 1		00:00:00
	BassDrum 2		00:01:13
	BassDrum 3		00:02:29
	BassDrum 4		00:03:46
	BassDrum 5		00:04:59
	Snare 1			00:06:03
	Snare 2			00:07:48
	Snare 3			00:08:73
	Snare 4			00:10:16
	Snare 5			00:11:33
	Snare 6			00:12:48
	Snare 7			00:13:61
	Snare 8			00:14:74
	Snare 9			00:16:09
	Snare 10		00:17:18
	LowTom 1		00:18:25
	LowTom 2		00:20:39
	LowTom 3		00:22:17
	LowTom 4		00:23:53
	LowTom 5		00:25:03
	LowTom 6		00:26:23
	MidTom 1		00:27:40
	MidTom 2		00:29:55
	MidTom 3		00:31:35
	MidTom 4		00:32:67
	MidTom 5		00:34:17
	MidTom 6		00:35:33
	HiTom 1			00:36:45
	HiTom 2			00:38:33
	HiTom 3			00:39:71
	HiTom 4			00:41:19
	HiTom 5			00:42:37
	HiTom 6			00:43:51
	Tom 4 1			00:44:63
	Tom 4 2			00:47:04
	Tom 4 3			00:48:47
	Tom 4 4			00:50:00
	Tom 4 5			00:51:21
	Tom 4 6			00:52:36
	Tom 5 1			00:53:47
	Tom 5 2			00:55:63
	Tom 5 3			00:57:39
	Tom 5 4			00:58:66
	Tom 5 5			01:00:10
	Tom 5 6			01:01:23
	HiHat 1			01:02:34
	HiHat 2			01:03:37
	HiHat 3			01:04:42
	HiHat 4			01:05:50
	HiHat 5			01:06:60
	HiHat 6			01:07:73
	HiHat Open		01:09:14
	Crash 1			01:10:64
	Crash 2			01:13:15
	Crash 3			01:15:20
	Ride 1			01:17:60
	Ride 2			01:20:09
	Ride 3			01:22:22
	Claps			01:24:59
	CowBell			01:25:71
	Glass 1			01:27:08
	Sidestick		01:28:20
	Tambourine 1		01:29:33

Track List

Roland TR-808

This is one of the first successful Roland drum machines. In the time since its release, the 808 sound has become a legend, poping up over and over in some of the most popular dance music. Today it is highly prized by the makers of techno / trance music, it can fetch upwards of $1000.00 on the vintage market. It produced its sounds by analog synthesis, and of note is the huge booming bass drum sound that could be created by adjusting the decay of the bass drum track from the front panel. This drum machine featured a step mode sequencer no less bizzare than the one on the 303, but never fails to deliver the hits.

Track 89

	Sample			Offset
	BassDrum 1		00:00:00
	BassDrum 2		00:01:71
	BassDrum 3		00:03:05
	BassDrum 4		00:04:13
	BassDrum 5		00:05:23
	BassDrum 6		00:08:47
	BassDrum 7		00:09:52
	BassDrum 8		00:10:66
	BassDrum 9		00:12:05
	BassDrum 10		00:13:16
	BassDrum 11		00:14:52
	BassDrum 12		00:16:13
	BassDrum 13		00:17:47
	BassDrum 14		00:19:38
	BassDrum 15		00:21:23
	BassDrum 16		00:24:01
	Snare 1			00:27:25
	Snare 2			00:28:43
	Snare 3			00:29:61
	Snare 4			00:31:04
	Snare 5			00:32:21
	Snare 6			00:33:39
	Snare 7			00:34:56
	Snare 8			00:35:70
	Snare 9			00:37:08
	Snare 10		00:38:26
	Snare 11		00:39:40
	Snare 12		00:40:61
	Snare 13		00:42:05
	Snare 14		00:43:24
	Snare 15		00:44:45
	Tom 1			00:45:60
	Tom 2			00:47:00
	Tom 3			00:48:16
	Tom 4			00:49:30
	Tom 5			00:50:48
	Tom 6			00:51:66
	Tom 7			00:53:13
	Tom 8			00:54:39

Track 90

	Sample			Offset
	Closed HiHat 1		00:00:00
	Closed HiHat 2		00:02:03
	Closed HiHat 3		00:03:12
	Closed HiHat 4		00:04:24
	Closed HiHat 5		00:05:33
	Closed HiHat 6		00:06:41
	Open HiHat 1		00:07:50
	Open HiHat 2		00:09:03
	Open HiHat 3		00:10:31
	Open HiHat 4		00:11:71
	Open HiHat 5		00:13:49
	Crash 1			00:14:62
	Crash 2			00:20:11
	Ride 1			00:26:00
	Ride 2			00:28:60
	Ride 3			00:30:17
	Ride 4			00:32:37
	Ride 5			00:35:05
	RimShot 1		00:39:74
	RimShot 2		00:41:00
	Claps 1			00:42:02
	Claps 2			00:43:37
	Claps 3			00:45:27
	Clave 1			00:46:43
	Conga 1			00:47:45
	Conga 2			00:48:58
	Conga 3			00:49:73
	Conga 4			00:51:12
	CowBell 1		00:52:38
	CowBell 2		00:53:73
	Maracas 1		00:55:35
	Maracas 2		00:56:37

Track List

Roland TR-909

The successor to the 808, the "Transistor Rhythm" 909 used sampled sound for the cymbals and analog synthesis for the remaining sounds. This combination made it one of the better sounding drum machines of the day. It is still used extensively by musicians creating dance music. With a cult following in some cases larger than the 808 faithful, these items have become scarce, while their sounds are making a resurgence in popular music.

Track 91

	Sample			Offset
	BassDrum 1		00:00:00
	BassDrum 2		00:01:11
	BassDrum 3		00:02:21
	BassDrum 4		00:03:33
	BassDrum 5		00:04:44
	BassDrum 6		00:05:57
	BassDrum 7		00:06:71
	BassDrum 8		00:08:08
	BassDrum 9		00:09:19
	BassDrum 10		00:10:31
	BassDrum 11		00:11:43
	BassDrum 12		00:12:60
	BassDrum 13		00:13:72
	BassDrum 14		00:15:09
	BassDrum 15		00:16:33
	BassDrum 16		00:17:58
	BassDrum 17		00:19:18
	BassDrum 18		00:20:45
	BassDrum 19		00:21:58
	BassDrum 20		00:22:70
	SnareDrum 1		00:24:09
	SnareDrum 2		00:25:25
	SnareDrum 3		00:26:40
	SnareDrum 4		00:27:63
	SnareDrum 5		00:29:08
	SnareDrum 6		00:30:28
	SnareDrum 7		00:31:55
	SnareDrum 8		00:33:04
	SnareDrum 9		00:34:28
	SnareDrum 10		00:35:49
	SnareDrum 11		00:36:72
	SnareDrum 12		00:38:21
	SnareDrum 13		00:39:47
	SnareDrum 14		00:40:74
	LowTom 1		00:42:26
	LowTom 2		00:43:70
	LowTom 3		00:47:10
	LowTom 4		00:48:56
	LowTom 5		00:50:31
	LowTom 6		00:52:10
	MidTom 1		00:53:53
	MidTom 2		00:55:12
	MidTom 3		00:56:43
	MidTom 4		00:58:10
	MidTom 5		00:59:49
	MidTom 6		01:01:16
	MidTom 7		01:02:57
	HiTom 1			01:04:21
	HiTom 2			01:05:57
	HiTom 3			01:07:12
	HiTom 4			01:08:56
	HiTom 5			01:10:11
	HiTom 6			01:11:48
	HiTom 7			01:13:09

Track 92

	Sample			Offset
	Closed HiHat 1		00:00:00 
	Closed HiHat 2		00:01:58
	Closed HiHat 3		00:02:71
	Closed HiHat 4		00:04:10
	Closed HiHat 5		00:05:24
	Closed HiHat 6		00:06:40
	Open HiHat 1		00:07:56
	Open HiHat 2		00:09:22
	Open HitHat 3		00:10:58
	Open HiHat 4		00:12:24
	Crash 1			00:13:65
	Crash 2			00:16:06
	Crash 3			00:18:26
	Crash 4			00:20:47
	Crash 5			00:22:56
	Ride 1			00:24:42
	Ride 2			00:26:15
	Ride 3			00:28:34
	Ride 4			00:30:39
	Ride 5			00:32:33
	Rim 1			00:34:13
	Rim 2			00:35:18
	Rim 3			00:36:23
	Claps 1			00:37:28
	Claps 2			00:38:48
	Claps 3			00:40:01
	Claps 4			00:41:26
	Claps 5			00:42:51

Track List

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