In some cases:
-saved classic kits like 808/909 with default panning and base width filter settings on snare/toms etc.
Hats and other cymbal sounds with lfo settings like random attack or tiny tune variations so i could load some default starting sounds.
-saving looped sounds like single cycle waveforms after tuning to C .
-save a breakbeat with all needed settings to use the timestretch lfo trick. Load the sound and replace the sample from the +drive if needed. In other words a default timestretch recall āsoundā
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Yeh i remember reading something like that a while back. it definitely isnt a real bass guitar
I donāt save any sounds, unless I save a set of them with a project that may need work at a later date.
I view each sound as something for a given project, day, and do not save them for other purposes. Iād prefer to make all new sounds for everything I do. This doesnāt include things like sampled drum sounds as an example.
Sound design is a huge part of my process, and is actually the most fun part for me, so creating new sounds for any music I make is just part of the deal.
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I donāt save sounds even if I would.
The point is that 1GB is not much for storing samples, so every few months it happens that I delete some samples to make space for new ones. That means that if I saved a sound that use one of those samples the sound will be broken (is it true, isnāt it? 
).
I am also more in the resampling team. Although i use some sounds too. Especially when I want to p-lock something.
I know people who spend hours putting together a pool of patches/presets, which they then use later.
I also know people who put a lot of time into their DAW template, which they use as a starting point for every new bit of material.
Not sure I yet have the ideal method for myself, but since Iām a software engineer (40-odd years experience), saving and backup are part of my DNA. ā¦but my approach doesnāt necessarily work best for artistry. When I work with my partner, Iāll obsess over clearing up mistakes, whereas heās happy to leave them in.
If itās DAW plugins, Iāll typically save the settings as part of the song save, rather than saving to a preset. External synths - I pretty much have to save, since itās the only way to pull up the track to continue work on it. Synths with no patch/preset storage - Iāll normally record the audio. Otherwise, I donāt normally record the audio since I can reproduce it from the plugin on-demand.
ā¦but it depends what we really mean by āsound saverā.
The thing you always really want to save is that killer p-lock sound you made with oh so much intention and, erm, a lot of happy accidents!
But the real killer is, of course, that you canāt! Really frustrating. I think if we could save p-locks there would be a lot more Sound saving. Even more true on the Digitone in my case at least.
(I know there are work-arounds but theyāre too time-consuming to be useful most of the time).
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Thatās where I sample it into my MPC for later.
Sure - depends on the sort of work youāre doing. For lots of production work, being able to recall the p-lock Sound in another project would be a massive help.
I choose or create new patches/samples for every project. Iāve often thought about starting a new project with the full set of sounds from a previous one and see where that takes meā¦
ā¦in fact Iām going to do it this weekend. Thanks for being unintentionally inspirational!
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You canāt change the world
But you can save the sounds
And when you save the sounds
You change points of view
If you change points of view
You may change workflow
And when you change workflow
You may change the world
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Mistakes are what I do best. While others toil over perfection, I wow with crackle and misdirection.
Mistakes are often the source of all new great things that happened to mankind.
Like gated reverb snares in the 80ās: Q. How do I set up a gated reverb?
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Nah - it works. Tension in a band is demonstrably a good thing at times. We donāt get anywhere near the level of say - Stewart Copeland vs. Gordon. 
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