RUSH sounds/patches HELP!

[Qbert]

Hello from Edmonton Alberta CANADA!
I just recently purchased this fabulous Prophet REV 2 8 voice board and I need help!  I just joined this forum with the hope someone can direct me to the right place or better yet provide me with the particular sounds and replace the factory set sounds in my board.
I went into all the 4 sound banks but cannot seem to find the sounds I need for a band Im putting together.
I understand that incredible sounds can be created but I don't have the knowledge for it.  Is there anyone who can help me by sending me patches consisting solely progressive rock type of sounds/pads/leads i.e. Genesis, Yes, Marillion, Rush, Asia, Xinema, Emerson Lake & Palmer, Pink Floyd, Knight Area and IQ.  Please remember this is for a RUSH tribute and I need patches from the Hemispheres album era through the 80's until Hold Your Fire.  With the patches mentioned above, I can find suitable sounds and mildly tweak them.  I do not need harsh leads or drums or any sequence type sounds.  I see there is something called synthonia.com but the volume I offered there doesn't quite offer the samples I need.  Can someone please advise me.  Thanks!

[S Y Z Y G Y X]

There is a sound set by AnalogAudio1 called Prophet Classics.  Sounds like the typical prog rock type sounds that may work for you. 

Just google Prophet Classics AnalogAudio1 and you’ll be able to take a listen of some of the patches on the YouTube video of that soundset. 

[Qbert]

There is a sound set by AnalogAudio1 called Prophet Classics.  Sounds like the typical prog rock type sounds that may work for you. 

Just google Prophet Classics AnalogAudio1 and you’ll be able to take a listen of some of the patches on the YouTube video of that soundset.

[AlainHubert]

Hello fellow Canadian and welcome to the forum.

I'm also a REV2 owner, and Rush fan from the era you talk about, and most of the sounds of the synths in those days comes from Oberheim, Minimoog, and then later on a lot of PPG stuff.

Some of those patches are impossible to replicate on the REV2, due to the peculiar way the LFOs work. I'm talking about the sounds of "Camera Eye". It was done on a custom Oberheim 8 Voice that Geddy Lee used. I've recreated it on the Behringer DeepMind 12 quite easily, but the REV2 is incapable of it.

Moreover, the overall tone of the REV2 is not very "Oberheim", even with the filter set to 12 db mode. The DM12 gets a lot closer to it IMHO. The OB6 can do a lot of the sounds that were used on those albums, even though it's missing a couple of voices of polyphony.

Here's what the DM12 sounds like on that particular patch.
https://soundcloud.com/thealien666/camera-eye-deepmind-12

As hard as I could try, I could not get that on the REV2.
The OB6 can also do that, but requires two hand manipulation to raise the filter modulation, as heard here:
https://soundcloud.com/thealien666/ob6-camera-eye

The famous Tom Sawyer intro patch can be faithfully done on the REV2 however, since it requires the ability to disconnect the keyboard control from the oscillators and control the filters cutoff frequencies with full keyboard tracking, as heard here (thanks to infindebula on YouTube for an excellent tutorial on how to correctly program it on the OB6, but can be also programmed in this way on the REV2 but it sounds better on the OB6):

[Qbert]

Thank you kindly for your response.  I would have loved to get the OB 6 but its a lot more money.  I will have to stick with my recent rev 2 purchase and find new patches and leads that sound beautiful even though it may not be exact.  I also have a KORG TRITON as my main board and I had help from a buddy who programmed the LFO sound for CAMERA EYE.  I really need beautiful soft pads to put behind the music which actually fills the music and sounds better.  Leads for LIMELIGHT and JACOBS LADDER, MARATHON... I need beautiful sounds for those songs.  The only new patches I found online are MASSIVE LEADS & PROPHET CLASSICS.  If you have another site you think I should look at, please do let me know. 
Again, thank you for taking the time to reply and sending me your clips.  God bless you.
Q*bert

[AlainHubert]

I've bought a Prophet REV2 patch set from GEOSynths which include several beautiful pads, strings and leads. Perhaps that could interest you ?

There are a few demos of his work on his YouTube channel:
https://www.youtube.com/user/magikroom/featured

And you can get it from his web site:
https://www.geosynths.com/prophetrev2

BTW, the song MARATHON was done entirely with digital synths (PPG 2.2 if I'm not mistaken), no analog synth anywhere in there.
It would be difficult to obtain that type of cold, brash timbre from a REV2 or OB6, or anything else analog, IMHO.

Cheers from Montreal !

[Qbert]

My main board is a KORG TRITON... and I was able to create a similar sound to the digital synth sound used on the song Marathon.
I want to create the chorus sound with the bell.  I think it can be done on the REV II.  Im not trying to get exact sounds... but the ones that do the song justice! lol
Regards!  

[creativespiral]

Your DM12 patch sounds great, Alain!     I was wondering what the LFO setup you have for the Filter Cutoff Poly Rhythm?... I played around with a Rev2 patch, trying to get closer... using three separate LFOs (Key and Clock Synced) at 1/2 step clock, 1.5 steps and 2 steps... but the rhythm seems off.   

This is as far as I got so far:
https://soundcloud.com/jason-cooper-35/rev2-camera-eye-test/s-Uxljl

Are you using clock sync'd LFOs on the DM12?

I'm also a REV2 owner, and Rush fan from the era you talk about, and most of the sounds of the synths in those days comes from Oberheim, Minimoog, and then later on a lot of PPG stuff.

Some of those patches are impossible to replicate on the REV2, due to the peculiar way the LFOs work. I'm talking about the sounds of "Camera Eye". It was done on a custom Oberheim 8 Voice that Geddy Lee used. I've recreated it on the Behringer DeepMind 12 quite easily, but the REV2 is incapable of it.

Moreover, the overall tone of the REV2 is not very "Oberheim", even with the filter set to 12 db mode. The DM12 gets a lot closer to it IMHO. The OB6 can do a lot of the sounds that were used on those albums, even though it's missing a couple of voices of polyphony.

Here's what the DM12 sounds like on that particular patch.
https://soundcloud.com/thealien666/camera-eye-deepmind-12

[AlainHubert]

Your DM12 patch sounds great, Alain!     I was wondering what the LFO setup you have for the Filter Cutoff Poly Rhythm?... I played around with a Rev2 patch, trying to get closer... using three separate LFOs (Key and Clock Synced) at 1/2 step clock, 1.5 steps and 2 steps... but the rhythm seems off.   

This is as far as I got so far:
https://soundcloud.com/jason-cooper-35/rev2-camera-eye-test/s-Uxljl

Are you using clock sync'd LFOs on the DM12?

I'm also a REV2 owner, and Rush fan from the era you talk about, and most of the sounds of the synths in those days comes from Oberheim, Minimoog, and then later on a lot of PPG stuff.

Some of those patches are impossible to replicate on the REV2, due to the peculiar way the LFOs work. I'm talking about the sounds of "Camera Eye". It was done on a custom Oberheim 8 Voice that Geddy Lee used. I've recreated it on the Behringer DeepMind 12 quite easily, but the REV2 is incapable of it.

Moreover, the overall tone of the REV2 is not very "Oberheim", even with the filter set to 12 db mode. The DM12 gets a lot closer to it IMHO. The OB6 can do a lot of the sounds that were used on those albums, even though it's missing a couple of voices of polyphony.

Here's what the DM12 sounds like on that particular patch.
https://soundcloud.com/thealien666/camera-eye-deepmind-12

Thanks creativespiral.

The DM12 has an LFO mode called "global" (if I remember right) where all the LFOs of all voices are acting as one single LFO, set to Random. Unfortunately the REV2 cannot really do that, especially because of the quirky way the Random LFO waveform works (or should I say doesn't work right, since each voice gets a different random value instead of the same one for all voices on each steps). I've asked for this feature to be added in upcoming firmware revisions, but got turned down by DSI with their argument that they don't follow what other manufacturers do.
Sure, having separate LFOs on each voice provides more possibilities, and the DM12 also offers that, but having a unified LFO mode is also useful at trying to recreate patches from more limited polysynths of 40 years ago.

The patch itself is nothing too fancy, and you've managed to come really close in your demo. It's only missing the randomness of the LFO modulating the filter cutoff.

Cheers.