100 Xpander/Matrix12 single FX patches by Arthur Springer.
They are freely distributable.

The SPRINGER.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: MONSTER    01: SWISH      02: RAZZBERI   03: MARTIANS   04: ECHOTHUN
05: WHEEE      06: NIGHTFLY   07: WESTWRLD   08: ELEFANT    09: GURGLES
10: WARNING    11: DINOSNRL   12: INVASION   13: MOUTHFUL   14: SLEEPER
15: HIC-UPS    16: DOIING     17: SQUEAK     18: PROPEL-R   19: RAYGUN
20: ROC-ET     21: SPUTTERS   22: HOMERUN    23: BONG       24: ASTHMA
25: POP-TOP    26: HAIRBALL   27: ELECTROM   28: BUG-WALK   29: NOIZE
30: NU-SHOES   31: BOTL-BLO   32: SLVRFOIL   33: STUK-CAR   34: UPSETUMY
35: CAVEPIPE   36: SPARKZ     37: LOOSBORD   38: IGNITION   39: SEEDSPIT
40: ROBOT      41: H20BUBLS   42: AIRGUN     43: BEAM-UP    44: PUNCHBAG
45: ORP        46: TINGLES    47: TINYTING   48: SPONG      49: FLAREGUN
50: HANDBALL   51: DRUMP      52: SPRONG     53: WAVSPACE   54: CARHORN1
55: CARHORN2   56: JETZ       57: MOREJETZ   58: AIRLOCK    59: MICRO
60: MOONDROP   61: TINCAN     62: NEONLITE   63: SPITOON    64: SOLARIZE
65: FLYSAUCE   66: STATIONS   67: DATA       68: JUICY-F    69: UNLOCKED
70: TORPEDO    71: FLUSH      72: DRAINO     73: COMPUTER   74: MACHINE
75: ZIPING     76: ECHOPIPE   77: TWI-ZONE   78: PHAZER     79: THRUSTER
80: RATTLES    81: HA-HA      82: THUNK      83: ASTROHEL   84: METALHIT
85: PUPPIES    86: SNICKERS   87: SINGLONG   88: NEPTUNE    89: LUNAR
90: SSSNAKE    91: MOONWALK   92: UNIVERSE   93: FROGGIE    94: NO-AIR
95: WHOOSH     96: SPACEMAN   97: CASHBOX    98: LAWNMOWR   99: ALIENS


ART SPRINGER STRIKES AGAIN (free)
Reviewed by Mike Metlay
     All right, gang, I know what you're expecting in this space, so I'll oblige you 
and get it over with. Ready? Here goes: "WAHOOLAZUMA! Everybody's 
favorite twisted puppy is back from the audio torture chamber, and he's brewed up 
the most brain-slashing package of monstrous elektronoyze EVER! This stuff's 
great for warping your brain patterns, killing your cat, etc..."
     Okay. Happy now? Good, now let's get serious. I heard from Art recently that 
he didn't get a terribly good response to his first mailing, and that few, if any, 
XUG members looked him up for his second set of patches

 He seemed in a pretty good humor about it, but I couldn't help wondering if my 
presentation of his patch set didn't scare a lot of people away just by the wording. 
So, with a new patch set from Art (more diverse than the first two) in hand, I'd 
like to try again.
     One of the most unhealthy trends I see in today's patch-editing software is the 
patch randomizer, that cute but overused utility that generates random patches at 
the click of a mouse. Literally thousands of these random patches are being sold 
by unscrupulous hackers as "original sounds," and a whole new generation of 
MIDI morons is springing up (pardon the pun) whose idea of "good programming 
chops" is the ability to tweak a randomly generated sound into something that 
(almost) works. No program of this type exists yet for the xpander, and I'm glad of 
it: the lack of computer-generated garbage on the market forces the user 
community to seek one another for new ideas, rather than some electronic I 
Ching. We come together in this Group to share ideas and learn from one another 
and I believe that studying another human being's work beats watching a 
computer coughing up random numbers. Which brings us to the music of Art 
Springer.
     In my opinion, these patches are important. VERY important. I get so enthused 
about Art's work because I see in him a reflection of my college days, when I 
puttered about with ARP and Buchla modular monsters creating sounds for the 
sheer joy of it, putting together tonalities never before heard on Earth rather than 
trying to make a realistic shakuhachi. This was, and often still is, the meat and 
potatoes of electronic music to me. And when I hear Art telling me that people-
Xpander users!-are returning his work because it's "too weird," I know 
something's wrong. The Xpander isn't a sampler or a digital piano. It's not an 
imitative instrument by nature. It's a powerful, multiply interfaceable modular 
synthesizer with a great deal of flexibility. Art Springer takes a stance on its use 
that no other Group member has had the courage to try: using its Power as a CV 
percussion device to enhance the sounds of his more traditionally oriented synths. 
(By the way, Lionel and I are big fans of his music ... it's not as inaccessible as 
you might think, and the odd tonalities make his dance pieces a lot of fun.) This is 
a new idea to a lot of  you, and I don't blame you for being frightened. But it's 
better to learn from someone whose ideas differ from yours than to convince a 
computer to feed you something safe. I'd like to suggest something simple to start 
with: get one of Art's sound sets, trigger your Xpander with your drumbox, and 
try writing music with these sounds as part of the atmosphere rather than 
conventional drum noises. Or do something completely different. The important 
thing is to try to expand (hm) your horizons to something new. These sounds of 
Art's do take getting used to, but I think you'll learn a lot from them. Trust me.
