A New Addition to The Blue Zone: PM3211 AirVox

PM3211 AirVox GUIPM3211 AirVox is a celebration of the return of yet another old gem to the living world.  This time it was 1976 Polymoog #3211 recently acquired by the musical genius that is Will Gregory of Goldfrapp.   Rescued from the US as a very dead but promising example I set about an intense couple of weeks breathing life back into her.   Some 45 CMOS chips, 37 LEDs and a retrofitted switched mode PSU later along with a deep cleanse resulted in sound – glorious sound!..

PM3211 AirVox is the 1st multi-sample to be captured from #3211 with Will’s kind permission and includes 3 demo instruments and 3 multis…


Polymoog 3211a
 Polymoog 3211c

HS-4KL-BZ16 (29/06/13)
Kontakt 4.2.4 and above.

A New Addition to The Blue Zone Series…

Tube Elec Sust GUI Tubed Electrostatic Sustain is my first to be created using a wonderful 1966 Fender Echo-Reverb tube electrostatic “oil can” delay which I recently fixed up.   This bizarre old technology creates a delay by writing an audio signal in the form of a continuously varying electrostatic charge onto a rotating metal disk (like a photocopier) which sits in a bath of dielectric oil – hence the name “oil can delay”.   The technology was developed by Tel-Ray and is just about as analog as it ever gets with its overdriven tube preamp and wonky belt driven disk.

The instrument was created by overdriving the tube stages with several cycling PWM waves from a CS01 synth.

 

Echo Reverb

Credits

Dan Wilson Equipment Restoration, Sound & Patch Design

– Stephen Howell GUI Design & Graphics

Mario Krušelj TBZ Engine Script

HS-4KL-BZ15 (09/06/13)

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A New Addition to The Blue Zone Series: Triple Phased Halo

Triple Phased Halo GUITriple Phased Halo is the latest addition to The Blue Zone Series for Kontakt 4.2.4 and above. It was made with two tube generated bell ratios each created by feeding mixed dual sine waves from a 1960’s tube infested Panoramic Two Tone Generator fed hot into the Minimoog’s external input with the filter running in self oscillation at a fixed ratio.  The results were passed into the Triple Tube Hybrid Phaser and a number of loops created in Kontakt…


Triple Tube Hybrid Analog Phaser_Internal

Credits

Dan Wilson Equipment, Sound & Patch Design
Stephen Howell GUI Design & Graphics
Mario Krušelj TBZ Engine Script

HS-4KL-BZ14 (02/06/13)

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An Atmospheric New Offering for The Blue Zone Series: After Dark

Afterdark GUIsAfter Dark is the latest atmospheric addition to The Blue Zone Series for Kontakt 4.2.4 and above. It comprises of 4 multis and 7 instruments made with several pieces of cherished gear in the studio including the Minimoog (FM plucks), a Studio Electronics Omega 8 (xmod bells), and two high frequency 1960’s tube signal generators mixed to form an audible superheterodyne effect similar to the Theremin…

Below is a quick improvised demo of the 4 multis bundled with the release in action:

Ice Fields… a cold place..
After Dark… a frightening place!.
Temple Pings… a spiritual place..
Blue Halo… a warm place..

 

Omega8 Blood
Credits

– Dan Wilson Sound and Patch Design
– Stephen Howell GUI Design & Graphics
– Mario Krušelj TBZ Engine Script

HS-4KL-BZ12 (18/05/13)

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This Week’s Addition to The Blue Zone Series…

Heavenly One GUII spend a lot of my time restoring and revamping old studio gear and it’s often nice to celebrate the return of an old faithful with a sample or two. This 1985 Crumar Bit One was somewhat distressed when it arrived with several broken keys and had a habit of crashing until numerous contacts were cleaned. The Bit One was designed by Mario Maggi, the same creator as the mighty Elka Synthex. Although the Bit One was significantly less feature rich, it was still an interesting offering with its dual free-running master oscillators featuring a variable detune control and Curtis filters. One area this slightly odd beasty excels at are plucked instruments thanks in part to the phasey/edgy results of setting the detune control to just off zero. The shifting phase effect between each bank of oscillators on each key-on is often cited as a shortcoming… I really rather like it!  Although the Bit One is not everyone’s cup of tea I have found its qwerks quite endearing.

BitOneRevampedHeavenly One comes in two parts… Heavenly Harp is a large multi-sample playing on the effects of the Bit One’s shifting phase and Heavenly Pad is a cyclic phaser pad using a blend of eight instruments which have been processed with the Dual Pentode Buffer and I think the two work nicely together as a multi.

DualPentodeBuffer

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HS-4KL-BZ11 (21/04/13)

Two New Additions to The Blue Zone Series…

Tape Dreams GUITape Dreams is a double offering with a common theme…

Controlled distortion is something that absolutely fascinates me and is something I’ve been exploring for a number of years now and is very much part of my sound. Guitarists have drawn apon the potential musicality and movement imparted by complex distortion for decades, but it often surprises me how its potential is often overlooked when it comes to synthesis.  There are many forms of distortion and the complex interplay between input source material and all number of non-linear effects in controlled situations can be very beautiful.

For me, more often than not, I use tube circuits and analog effects to manipulate source material but increasingly I’m becoming very interested in what analog tape has to offer…

Tape and ReelArmed with a gorgeous 1967 Revox G36 all tube half track which I fixed up last year and a Watkins Copicat which I totally rebuilt from a wreck I set about trying out two concepts…

The first sound I’ve called Twisted Tape and was made by feeding a slow PWM wave from a CS01 into the Copicat for a few seconds and then pulling the (delightfully worn out!) tape loop away from the erase head and muting the input signal thus leaving a continuous loop of lumpy saturated organic goodness – how typically analog! – it started off as a cold PWM pulse train and is almost flute like off tape.

Wave Reversal was made by recording an arpeggiated effect and blending it with some other source material of mine. Several seconds of the resulting composite was then recorded fairly hot onto the Revox at 7.5 IPS, the tape was reversed and then played backwards at 3.25 IPS. The sound was then transposed down a further octave. Several long loops were created in Kontakt and a random round robbin configured to trigger them.

Hideaway_Revox_G36


Credits

– Dan Wilson (Hideaway Studio) Equipment Restoration & Sound Design

– Stephen Howell (Hollow Sun) GUI Design & Graphics

– Mario Krušelj TBZ Engine Script

HS-4KL-BZ10 (12/04/13)

A New Addition to The Blue Zone….

Cyclic ResonanceCyclic Resonance is another very organic offering made by creating two lightly filtered wave sequences on a Waldorf Microwave I and feeding them into the Dual Tube Hybrid Filter where both the tube BPF and multimode filter stages were in near resonance with both cutoff CV channels modulated by an LFO. The filter gets caught up in the harmonics as the LFO sweeps across the hot spots and also has the effect of accentuating the inherent noise in a nice way…


Dual Tube Hybrid Filter II

Credits
Dan Wilson (Hideaway Studio) Equipment & Sound Design

– Stephen Howell (Hollow Sun) GUI Design & Graphics

– Mario Krušelj TBZ Engine Script

HS-4KL-BZ09 (06/04/13)

“Just taken ‘Cyclic Resonance’ for a test drive and love it. The sound has a exceptional natural purity and yet maintains its ‘other worldly’ electronic character. Great work Dan, another wonderful and extremely useful addition to the ‘Blue Zone’ catalogue.”
Pete Tytler

“If you own Native Instrument’s Kontakt version 4 or higher you may want to check out some of the beautiful instruments Dan has created. They are exceptional for pads and ambient music in general..  They are reasonably priced and have been really professionally crafted.”  Bobbotov, ambientonline.org

“I am in love with the Blue Zone Series, it has very lovely nuances, and just kinda works all by itself, even a single note.. There is a purity in your signal, its liquid smooth and subtle like wind…. and brings a sense of peace that normal synth pads haven’t in a long long time.”
Forrest Gore aka vaisnava www.atmastudios.com