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Here is an "all file" with the patches I use, some 80s sounds (Tears For Fears, New Order, Siouxsie And The Banshees, Japan, OMD, Eurythmics)... More than 40 patches. Hope that it's useful for someone. Be careful and back up yur previous settings!

Hi Mike Martin did a live seminar on YouTube: https://www.youtube.com/watch?v=Fby6I6lHfYM&feature=youtu.be On "PX-5S Programming: Analog Style Explorations". The resulting sound was incredible, and I've been looking for it as a download on this forum. It seems it is nowhere here So I meticulously tried to mimic the settings that Mike made to the sound in the Hex Layer Engine on his PX-5S until the point (at 49:32) in the above mentioned video where he saves it to memory. I would like to emphasize that this file is only an imitation - not the original. About the sound: You can manipulate the LFO using the modulation wheel. I have named the it "Analog" (as in the video). Finally, I uploaded a short audio demo of the sound. 🎹 Jay

TheWayItIs.mp3

Ok, not technically from the 80's, but I justify it by saying it came out in nineteen-eighty-ten. 1. The hip-hop scratch in the beginning is the low E, F, and G. 2. Slide whistle is C#6. The sad attempt at mimicking the sample voice is at C6. 3. Sax is in octave 5. 4. Hip-hop breakdown percussion sounds for the bridge are the bottom A and Bb. GrooveIsInTheHeart.mp3

1. The arpeggiator is triggered from the highest G, B, and C. Start with pedal 1 down for arpeggiator synth zone on. Also, start with Slider 6 down. 2. Pizzicato: play octaves 5 and 6. 3. When you start the percussion, release pedal 1 to quiet the arpeggiator. If you do it with one foot, it's like stopping at a red light. 4. Slider 6 turns on the "chime" voice for the instrumental. 5. Press pedal 1 again at the end to bring the arpeggiator synth zone back in. (I cut the MP3 short because I totally messed up and didn't want to re-record the sample.) HereComesTheRainAgain.mp3

Performance notes: 1. To start, begin percussion (pedal 2) and bass quarter notes. 2. When synth comes in, hold down pedal 1 and play bass chords in 2nd inversion (root in middle). Pedal 1 will trigger the arpeggiator to play the bass quarter notes so your right hand is free for the... 3. "Bell" synth is in the highest octave. 4. Guitar for verse is in the 2nd highest octave. OutOfTouch.mp3

This one is maybe a bit too ambitious, but here it is. There are two stage settings and two phrases. The second stage setting is specifically for the bridge. One of the two phrases is set to the main phrase player for percussion. The other is mapped to the arpeggiator in zone 1. The latter is used for the percussion intro for the song. Instead of a quick sample MP3, I've included the whole song as I would play it live (hopefully, without the cringey mistakes) so you can see how it all fits together. Verse/Chorus Stage setting (Rio_____.ZPF): 1. The random arpeggiator uses the top E, F#, and B 2. Intro percussion is started by pressing the lowest C# (or lower) key. Start the main percussion (pedal 2) on the first downbeat of measure 5. Make sure when installing the files that the zone 1 arpeggiator points to the RIOINTRO.ZPH phrase. 3. Distortion guitar is in octave 5 4. Chorus "strings" synth is octave 3&4 5. At the beginning of the chorus, "reset" the percussion by pressing the stage setting button again. This compensates for the extra two measures in the song (the percussion phrase is four measures long). If you don't do this, the percussion won't feel right because it will be two measures off. Bridge stage setting (RioBridg.ZPF): 1. Originally, this was set to switch from the main stage setting with the pedal using a CC, but it turns out there is a problem with this. A non-hex-tone will sustain over a stage-setting change, but only if it's changed with a Program Change. The CC method of changing stage settings apparently doesn't work like this, so I had to time the switch just right so that the bass didn't cut out. instead, I gave up on that and just change it with the normal stage setting buttons. 2. This was a lucky bonus: the arpeggiator continues playing across a stage setting switch! So the "swirling" synth in the background makes use of the arpeggiator from the previous stage setting and you don't have to do anything to trigger this. 3. The voice for the solo I didn't want to sound too much like a saxophone, because... well... I'm playing a keyboard, not a sax, so I don't feel like it would have come across that well. There's a sax in one of the hex layers to at least suggest a sax lead. The synth also swells slowly for the last note held from the solo. I put Pedal 1 on sustain so you can either play a snare (which I decided I didn't like, but it's in the MP3 anyway), or get ready to switch stage settings. 4. When you switch back to the first stage setting, the arpeggiator switches back to the random pattern. I love my PX-5S! Rio_full.mp3

"Under Pressure" bass D3 First bass synth D2 "Sub" bass synth D1 Piano D6/G6, A5/D6 IceIceBaby.mp3

Performance notes: Bass octaves 1 &2, "bottle blow" bridge synth octaves 2&3, Bridge "sparkle" octave 6, chorus "piano" octave 3&4 IWantYourSex.mp3

Performance notes: 1. Intro pad in the top octave. 2. Intro synth on Em about C3 3. Steel drum pad at octave C4 DoYouReallyWantToHurtMeSample.mp3

Performance notes: 1. Hold pedal 1 to enable piano accompaniment at beginning (so you can play the intro synth) 2. On count 1 downbeat, start by starting percussion (pedal 2), piano accompaniment (pedal 1 down and F6), start playing bass. 3. Intro synth is in the top octave. 4. After the intro synth part is done, take over the piano accompaniment part and release pedal 1. Borderline.mp3

Performance notes: 1. The bass is constant with a locked arpeggiator. 2. The "harpsichord" synth is in middle octave, "Beep" synth in top two Cs, guitar for chorus starts on F6. SafetyDance.mp3

Performance notes: 1. Arpeggiator is the top C#, E, F#, A, B 2. The pedal turns on the delay for the piano synth chords. I wanted to do this with an arpeggiator, but there isn't a way to lock an arp on one zone, but not on another. This is close enough. YouSpinMeRoundSample.mp3

Performance notes: 1. Guitar + delay in octave 3 2. Turn off arp for instrumental in octave 6 3. Crash cymbal can be hit on C#1 with bass on D2 (if you can reach) CallMe.mp3

Performance notes: 1. For the arpeggiator, play a Dm9 in the top octave (D, E, F, A C). 2. The "horn" synth is in the middle octave. 3. Chorus arpeggiator, play Bm in the top octave (D, F#, B). SaveAPrayer.mp3

Performance notes: 1. Opening choir synth on A5 (velocity layered - play loud) 2. Opening guitar riff: hold choir on A5, play the riff in octave 6, but softly to not trigger the choir 3. Full percussion comes in with pedal 1 4. Chords are in octave 4, velocity mapped. Light velocity plays just the electric piano for the verse. 5. For the instrumental, play in octave 6, but with higher velocity to trigger chorus background pad behind guitar. EverybodyWantsToRuleTheWorld.mp3

Performance notes: 1. "Submarine" synth at G2. 2. "Buzz" emphasis synth at G3&G4. 3. Pedal 1 down for bass accompaniment synth 4. Chorus pad at G5 & G6. TaintedLove.mp3

Performance Notes: 1. "Whip" sound is Bb0 (bottom Bb key). 2. Chorus "siren" is E7/F7 (top E and F keys) 3. Bridge guitar is middle-C octave. WhipIt.mp3

Performance notes: 1. Bass in C1 octave, slap bass for verse in C2. Organ for intro and breaks in C4. "Scratchy" mute guitar in C5/C6. Psycho in top 3 keys. 2. Playing with a higher velocity on the mute guitar causes a sustain, useful for the bridge. WeDidntStartTheFire.mp3

Performance notes: 1. Synth lead is in the top octave. 2. Strings/guitar is in the second from top octave. 3. Guitar is in middle octave. 4. Pedal 1 adds "disco" percussion for the chorus. RockWithYou.mp3

Performance Notes: 1. Bass/guitar line: F#2, A2, F#3, where the F#3 also triggers the low bass synth. 2. Oscillator synth: F#5, C#6, F#6 3. "Breath" top two keys PersonalJesus.mp3

LoveShack.mp3

Performance notes: 1. Start arpeggiator on C#2 and C#3. The C#3 is a "scratchy" electric guitar with the same rhythm that comes in later with the pedal. The pedal can also be used to fade out the arpeggiator at the end of the song. IStillHaventFound.mp3

Performance notes: 1. Pedal 1 brings in strings for chorus. 2. Organ is the C6 octave and uses the arpeggiator to play rhythm guitar in the background. DontDreamItsOver.mp3