Kenji's K5000 Patch Repository - Overview K5000 Resources - Overview
Patches from Leiter (

TriOD: Emulates a slightly overdriven vintage triangle
PolyAna: Roughly emulates an analog polysynth sound
Digit 89: Roughly emulates an 80's digital synth (tribute to my still
        comatose CZ-1)
Stomp: Uses noise and very short delay for an industrial perc sound
Kototron: Uses very short delay for sharp zing sound
FeedbckB: Emulates guitar feedback during the sustain, back pickup.
FeedbckN: Emulates guitar feedback during the sustain, neck pickup.
Holo215: "Hollow" waveform [every n<>any(n-n)]; reed-like.
Holo13: "Hollow" waveform [every n<>any(n-n)]; pipe-like.
Holo143B: "Hollow" waveform [every n<>any(n-n)]; bell.
Holo135B: "Hollow" waveform [every n<>any(n-n)]; vibe-like bell.
C Saw 20: Dark saw with HH’'s 2-7 boosted and 9+ cut, falling to 0.
	Somewhat like a 2% pulse.
C Saw 10: Medium dark saw with HH’'s 2-17 boosted and 20+ cut, falling to 0.
	Somewhat like a 1% pulse.
W Saw: Wavey HH profile with high fundamental and mid HH’'s and cut low and
	high HH’'s.
Jet: Since a noise PCM is identical coming from one generator or another, you
	can detune a noise against itself and get a heavy flange effect.
Pop: Uses extreme harmonic envelope and pitch envelope settings to get
	percussive effects.
LeiterEP: A dark EP.
L1 Acid: This one's based on an additive waveform (an emulation of an analog
	6 1/2% pulse), so you can tweak the harmonic knobs. The FF was
	intended just to remove the K5k click, but the FF knobs 
	can also be used for effects. MW adds "growl" (LFO->cutoff) and User
	3 controls the LFO speed. User 1 is velocity offset and User 2 is
	pan. Pan and growl only take effect at the beginning of a note.
L2 Poly: Brassy polysynth patch; waveform is similar to L7, but based on a
	12% pulse instead of a square.
B3+9's: B3 emulation at 888888008 plus two new "drawbars", for the ninth
	harmonic and the sub-ninth (an octave below the ninth). Not right
	for everything; but it has a Keith Emmerson quality.
B3 Full: An emulation of a B3 organ with all stops out.
B3888808: A B3-emulation organ patch with one ADD as drawbars set to
	888000000 and a second to 000808000. MW adds in overdrive, but it
	can sound better with external distortion and Leslie.
DopeBass: Bass sound with overdrive effect.
RW Bass: Sounds like round wound bass strings or low piano notes.
SineBass: Just a sine, with a second sine detuned to make tremolo on higher
CoolBass: Filter is velocity sensitive.
L7 Bass: Uses the same waveform as L7 Lead.
OW Bass: Two ADDs with different tones.
SolinaPd: An analog string-synth style pad.
CHH Cym: Short envelope version of OHH Cym.
OHH_Cym: Uses the random LFO to generate chaotically changing high
	frequencies. (More interesting and realistic than an 808 high hat,
	but won't fool anyone.) See the message board digest: The Random
	Wav Generator & Deterministic Chaos.
Jangle: Rickenbacker 12-string electric emulation
Jangle18: Identical to "Jangle", except it adds one more ADD detuned from the
	other two, so it sounds like an 18-string electric guitar.
Twang: Telecaster lead pickup emulation
L7 Lead: Uses an analog-style square waveform, with sloping sides and tops.
Obonus: Starts with an oboe-emulation waveform but adds synth-style filtering.
FrchHorn: French Horn emulation.
Xenopluk: A plucked string patch, maybe crossing a sitar with a pipa. The
	1st ADD is transverse force of a string on a bridge, the 2nd ADD
	is longitudinal force of a string on a bridge, the 3rd ADD adds some
	detuned high-harmonic "zing".
Recbrane: A drum patch based on the overtones of a rectangular membrane,
	roughly 5x6. Sort of a "sci-fi" timp or roto-tom.
Vibes: Based on Fletcher and Rossing, "The Physics of Musical Instruments"
	pp. 546-547 & 73-74. Vibe speed and depth are user knobs 1 and 2.
Marimba: Based partly on F&R pp. 535-539, partly on other ideas about
	"hollow" sounding waveforms. Velocity sensitive.
Crystal: Originated with F&R pp. 73-74, but different. Sounds like rubbing
	your finger on a crystal glass.
FKGuitar: A steel-string folk guitar patch that uses three ADD's for the
	string, seperating low, mid, and high harmonics to high-shift their
	pitch and "flange" them off each other. It also uses three PCM's for
	the attack, one set on "Folk Guitar Attack", one to add more body on
	the fundamental, and one to add a metalic transient.
Acoustic Guitar: (could also be a harp ...) patch based on a formula for a
	plucked string and data for the resonance of a guitar body, from
	Fletcher and Rossing, "The Physics of Musical Instruments".
Starfall: Uses a moving formant filter to generate many falling notes from
	the harmonic series of an additive source.
Fifth: This is an experimental patch that implies a "non-existant" fundamental
	by using the harmonics of different notes. It's not really a "playing"
	patch. Read Leiter's post about the fifth interval in the message 
	board digest (multiple source harmonics).
PWMtail1: Emulation of PWM going 50%->0% as it tails off, no effects.
RadioBs1: A detuned-saw bass patch, but only selected harmonics are detuned
	while others are left as is, so it has detuned character without
	sounding flangy.
NoyxHit1: Industrial sound, with noise PCM loops plus upper harmonics for buzz.
XTBell1: Soft bell patch combining harmonics of two notes a fourth apart.
XTSpace1: Spacy pad combining harmonics of two close notes.
Cloud Pipe: A patch that creates a psuedo-noise effect using only ADD. Read
	Leiter's post in the message board digest (Generating Noise With ADD).