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Thank you! I first learned this piece on the organ, too; the Oxford Book of Wedding Music has an arrangement that is similar to this one. This particular synth is very restricted in terms of polyphony and won’t play a three-note chord, so I played the individual parts that make up the chorus in the part you are asking about.

@@NoiseSupply I heard about that limitation years back, so got it, and thank you for replying!

Thank you so much!

Thank you for your very kind comment!

Cheers! Modulated reverb from Silververb, plus an LFO on the second waveform in the tenor part.

Thank you! Yes, I’d quite like to purchase a synth that can do polyphonic playing, but sadly find it hard to justify from a financial point of view at the moment!

@@NoiseSupply Very understandable as good poly synths can cost as much as a car :D

Thank you! It's a Fuji XT3 that I've stuck on the end of the heaviest C stand I could find.

Thank you so much! It's not entirely a preset, but the knobs won't be entirely useful either as I am using an expression pedal in this video to control the filter without using my hands. I'm afraid I can't remember very easily exactly what I did, now, but I think I mentioned it to other commenters!

It's nearly spring here!

I'd think I'd make lots of very serious piano players angry if I did that! Might be worth it.

Thanks! BWV 1079; you’ll find it in the ‘diverse canons’, which in my Barenreiter edition are in part 3.

@@NoiseSupply Thanks a ton. I appreciate the deep cuts from Bach's works. Currently, I'm studying counterpoint/ baroque composition and your videos serve as an excellent resource! Especially, since I feel that the music is much more digestible on synthesizer (or harpsichord 😉)

Thank you! I seem to remember basically using a dual-oscillator setup with this one, set between the triangle and sawtooth waveforms. The top voice was set to 8' and 2', the inner voices to (I think) 8' and 4', and the bass voice was down an octave with a touch of sub-octave added too. I also used a Strymon Brig set to a very short delay time, with the modulation setting set to around noon, for a chorusing effect. Maybe that is something like what you've tried?

@@NoiseSupply Thanks so much. I think it's the combination of triangle & saw that do something special mainly. i used to use an Arp Odyssey, and a Kat Octave, and don't really remember the settings, on those, and lately (time passes so quick 30 years later) a DX7 II, which really has trouble creating this kind of voice. Something about 3rd harmonic creates the haunting hollow mellow & triangle for the brassy sound.

Thank you! No, this is a pretty simple patch with 8' and 4' oscillators set between the triangle and sawtooth waveforms. The main dynamic effect is switching the 4' oscillator on and off.

Haha yes; it's impossible to clean!

@@NoiseSupply I put saran wrap on mine 🙂

Thank you!

Thank you! I agree.

​@@NoiseSupplyThanks to you and your excepcional performances. Bach under an extraordinary new light. Brilliant.

Thank you! I’m pretty sure that patch is Oscillator I set to 8’, Oscillator II set to 4’, the filter set somewhere probably between noon and 1 pm, and both waveforms in between triangle and sawtooth forms.

Nothing wrong with the effects in DAWs! I used Logic's Silververb for this one.

@@NoiseSupply True, though the reason I originally bought the pedals (as well as a Korg Minilogue, Ableton Push 2, a few Korg Volcas, and a couple of midi controller keyboards) was to make production more of a 'hands on' experience. Unfortunately, it never got traction as a habit as I don't really have the space to have it set up permanently, which just created too much friction when inspiration struck. Consequently, the Minilogue and Push both got sold a while back too, though I've still got the Volcas. All that said, I covet the Sub/sequent 37 and it's a piece that I would most willingly 'make space' for, because it's a great looking piece of kit too. Maybe I'll keep the SuperEgo+ after all. Just in case. 😉