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

D.A.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

D.A.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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Hideaway Studio Proudly Presents: The String Collection…

Warm Evocative Synth Strings….

 The String Collection GUII have always had a bit of a soft spot for evocative cinematic synth strings and especially pseudo realistic string ensembles. Probably as a result I’ve almost subconsciously amassed (and sometimes restored) a small collection of historically important string synths over the years and found to my delight that they blend and layer very nicely with one another. These include my 1938 Novachord, arguably the world’s first polyphonic string synthesizer, the 1972 Eminent 310 Unique which features an early incarnation of the Solina Strings and its direct relative, the ARP Omni. I have also been playing with a number of discrete methods to generate exponential sawtooths, passive tube buffered L/C formant resonators, analog chorus circuits and tube processing. The way most of these early polyphonic instruments worked was very different from the later voltage controlled synths and they very much have a tone and texture of their own. The triple parallel analog BBD based chorus stages with multiple free-running LFOs on the Eminent 310 and Solina alone are significantly more lush and complex than the single stage chorus sections found on later synths. A number of tube processed layers and blends were brought together to form the basic 16 instruments loaded into the layering engine to form the The String Collection…


“This instrument is really made with the creative musician in mind , simple , efficient, reliable and inspiring…”   Claude Samard-Polikar Musical director, musician and arranger for Jean Michel Jarre and award winning film/video games composer. www.claudesamard.com

“I have Gforce VSM, K8U, Synth Magic, Tronsonic, etc. But after playing the demo song against a few of my fav’s, I feel like hideaway really has its own identity and spin on a familiar territory. I like the sound of its playability. It just works! Check it out.”  KK, Chronic Audio NYC www.chronicaudionyc.com

“Just to let you know – I hate you.  I was really only going to look at your page and admire the work.  Suddenly my mouse started clicking away.  Now I have spent all my “play” money and part of my food allowance.  Expect me for dinner at some point if I can ever get away from my computer.  This stuff is just Gorgeous!”  hueynym, KVR Forum

“This is startlingly beautiful! Well done – it’s a privilege to own such a great collection of synths, and I’m happy you share them with the world. I love the sound of real orchestras, but there’s something about the synthetic voices of the 1960s and 1970s that really works well with modal and minor key pop music.”  Ray Savage

“Thanks so much for yet another great sounding, great looking and very cleverly programmed instrument! The price is equally great.  11 stars (of 10)…”  Tpot, KVR Forum

Hideaway Eminent 310U

More Details & Purchase via Kontakt Hub

Download Contents:

•244 generously long 24-bit samples
•16 multi-sampled voices/partials
•4-Voice Layering Engine with ability to save
•12 editable example instrument patches
•2 example layered multi patches
•User Manual

System Requirements:

•Requires Kontakt version 4.2.4 or higher
•Around 600Mb Free Hard Disk Space

Credits

D.A.Wilson (Hideaway Studio) Sound Design, Sample Set & Example Instruments. Stephen Howell (Hollow Sun, RIP) Layering Engine Concept, GUI Design & Graphics. Mario Krušelj Layering Engine Script

HS-K4L-A006 V1.01 05/05/13HideawayStudioLogo

© D.A.Wilson, Hideaway Studio 2013

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

D.A.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
D.A.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

Hideaway Studio Presents: Monopolyphonix…

MP_Layering_EngineMonopolyphonix was in many ways a celebration of another successful resurrection of an old classic saved from the grave. Much like the Minimoog, ARP Omni-2 and Novachord left their sonic fingerprints on S-VX and The Orbitone Collection, a recently restored Farfisa Syntorchestra manufactured in 1974, gave its all to the creation of Monopolyphonix…

Why the name? Well the Syntorchestra comes from a strange era quite early on in the history of affordable portable synthesizers where manufacturers were quite experimental and tended to do their own thing. This was especially the case with early polyphonics. The net result is that weird and wacky user interfaces and synth architectures were quite the norm in those days!

1974 Farfisa SyntorchestraWhat makes the Syntorchestra quite unusual is that it features a complete polyphonic divide down section running in complete isolation in parallel with a basic monosynth each of which capable of producing similar timbres. This is quite unlike the paraphonic synth sections of the ARP Omni for example. The result is a rather odd combination of the perfect pitch characteristics of a polyphonic divide down synth beating, phasing and interacting with the far from perfect pitch tracking of a monophonic synth. With some careful front panel tweaking the two sections can be brought together to produce a surprisingly big sound. It also boasts one of the warmest analog synth pianos I think I’ve ever heard. It’s a very basic sound but really quite beautiful through reverb. The monophonic section can produce an array of chime, twang and almost Theremin type timbres too.

I was really very keen from the start not to let this library turn into yet another virtual offering of an old classic and therefore treated the instrument more as the raw material for an array of new sounds that reached beyond the original.


More Details & Purchase via Kontakt Hub


Equipment Used:

All sample material captured from a recently restored 1974 Farfisa Syntorchestra. Analog Chorus Unit, RME Fireface.

Download Contents:

•165 generously long 24-bit samples
•16 multi-sampled voices/partials
•4-Voice Layering Engine with ability to save
•34 editable example instrument patches
•12 example layered multi patches
•User Manual

System Requirements:

•Requires Kontakt version 4.2.4 or higher
•Around 250Mb Free Hard Disk Space

Credits

D.A.Wilson (Hideaway Studio) Synth Restoration, Sound Design, Sample Set & Example Instruments. Stephen Howell (Hollow Sun, RIP) Layering Engine Concept, GUI Design & Graphics. Mario Krušelj Layering Engine Script

HS-K4L-A005 V1.01 01/04/13

© D.A.Wilson, Hideaway Studio 2013HideawayStudioLogo

A New Addition to The Blue Zone: Sustained Infinity…

Sustained Infinity GUI

Sustained Infinity was made by hooking up a Watkins Copicat into a mixer and feeding its output back into the tape delay input but mixed in with a tone from a Minimoog model D to excite it into frequency controlled feedback by tweaking the EQ on the mixer in the regen path. The sliders were ridden to slowly entice and sustain feedback and then carefully held off everything descending into chaotic madness.  Three takes were made and transposed down by several octaves in Kontakt and looped on a random round robin.

Please note there is occasional clipping – the beast was very much tamed by hand and proved almost impossible to prevent completely.

The Blue Zone is a progressing series of experimental instruments released by Hideaway Studio in installments for Kontakt 4.2.4 and above.


Infinity Tape
“This one is too beautiful….absolutely lovely sound”  DavyAch, KVR Forum

Credits

D.A.Wilson (Hideaway Studio) Sound Design, Sample Set, Patch, Multi & Demo

Stephen Howell (www.hollowsun.com) GUI Concept, GUI Design & Graphics.

Mario Krušelj Synth Engine Script

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HS-4KL-BZ08 (23/03/13)

Two New Additions to The Blue Zone Series

Here are two new additions to The Blue Zone Series:   Tri-Phased Intervals and Water Strings

Tri-Phased Int GUI Tri-Phased Intervals was made by feeding a late 1960’s Philicorda GM751 into the Triple Tube Hybrid Phaser – then capturing long samples across five octaves and transposing down and resampling as bailed intervals.  One of only three examples world wide, the Triple Tube Hybrid Phaser is something I conceived a couple of years ago and is an analog processor with a particularly convoluted signal path.  This unique design is in effect three overdriven tube buffered 4-stage analog phaser blocks fed and tapped in a complexHideaway GM751 series parallel chain with tube mixing and multiple feedback paths.  A complex triple LFO generator permits a variable phase spread between each phaser block which permits anything from a deep plunging effect to swirly heaven.   The phaser was setup for maximum swirl and the resulting signal was passed through an analog chorus.  Hideaway Studio_Triple Tube Hybrid Analog PhaserEach captured sample was looped and set to start at random positions in the phaser cycle.  The result is pure organic swirl!

For instant gratification simply plug in your favourite sustain pedal and play an enormous chord… for the next 10 minutes whilst you’re teleported to another place!

 

“Holy cow that sounds good!”  nofrets, KVR Forum

Play a Big Chord and Sustain…

Moonlight Snow:  A demo of the layered multi bundled with Tri-Phased Intervals…

Water Strings is a multi-sampled composite of various analog sources including the Water Mixer concept (see below), 1938 Novachord #346 and Vocal Resonators – spanning over 75 years of audio technology!  Although there is no doubting the Novachord is a pretty special and historically instrument as is, it is also a superb source of sample material for interesting new and organically loaded sounds!

The Deep Blue:  A demo of a Layered Multi from the Water Strings Download in Action…

TEQ9B Glow

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Hideaway Studio Proudly Presents: The Pentodian Resonator Choir

ThePentodianChoir_GUI A selection of twelve unique synthetic choirs made up of 215 hand crafted vocal formants. At least 50% of the samples in this collection were created using little more than a handful of discrete circuits and vintage lab gear all processed with vintage classic analog and tube technology and brought together in the same proven 4-voice layering engine as the Orbitone library….

Passive L/C Resonator Formant Circuits based on the 1938 Novachord….

NC346 ResonatorsThe Celestial Choirs featured in The Pentodian Choir started off life as little more than a series of short pulses created by an old hand-configured analog lab signal generator. The frequency of the pulse train was gently modulated using the swept oscillator function to act as a vibrato. The pulses were converted into exponential ramps using a passive wave shaper circuit similar to those found in early string synths and the resulting sawtooth fed into a Triple Passive L/C Resonator circuit based on the 1938 Novachord formant resonator section. This is little more than three coils of wire and three capacitors! The resulting waveform was then impedance buffered using the entire vertical signal path of a 1968 Tektronix 545B tube oscilloscope! The output from the vertical signal output socket was then fed into a prototype tube overdrive unit and into a tube equaliser.

Novachord ResonatorWell over 100 samples were painstakingly captured by hand configuring the equipment for each note and then sampling the results. The samples were further EQ’d and loaded into multi-samples.

Some of multi-samples were further processed with an analog chorus unit.

Polymoog Formant Resonators…

DW Rehoused Polymoog Resonator cropped

Two of the choirs were created by feeding the brass organ stop from a 1972 Eminent 310U into a rehoused 1978 Polymoog Resonator Section. This proved remarkably effective and a similarly successful choir was made by feeding a string patch from a Matrix 1000 into the resonator. A third choir was the result of recording the previous results hot onto a 1967 Revox G36 tube tape machine and resampling.

The Vox Box…

HideawayStudio_VoxBoxProto

A curious solo vocal effect was created using a prototype concept consisting of a triode based relaxation oscillator feeding a passive L/C resonator passed into a tube band pass filter modulated by the same LFO as the pitch vibrato.

Equipment Used:

Hand configured analog pulse signal generator modulated by LFO, DIY Passive pulse to exponential wave shaper circuit, DIY Passive Triple L/C Formant Resonator Circuit based on 1938 Novachord impedance buffered with Y-amplifiers from a 1968 Tektronix 545B tube scope! DIY Tube Overdrive, 1972 Eminent 310U fed into rehoused 1978 Polymoog Formant Resonator Section, prototype analog chorus, 1967 Revox G36 tube half track tape machine, prototype Tube VoxBox, Hideaway Studio TEQ-9B Active 9-Band Gyrator Tube EQ, TL Audio EQ-2011 Tube EQ.


More Details & Purchase via Kontakt Hub

“I love the The Pentodian Resonator Choir library. I thought it would be good, but I seem to be reaching for it every time I need a choir-like sound at the moment.”   Shangsean, KVR Forum

“Pentodian Resonator Choir … Love it, absolute no brainer!!”  don1thedon, KVR Forum

“Love this thing, and not the first I bought from Hideaway and really clicked with it straight away. Keep up the good work!”  Vicshere, KVR

Download Contents:ThermionixSetup_FX3
•215 generously long 24-bit samples
•12 hand made multi-sampled resonator choirs
•4-Voice Layering Engine with ability to save
•12 editable example instrument patches
•8 example layered multi patches
•User Manual

System Requirements:
•Requires Kontakt version 4.2.4 or higher
•Around 500Mb Free Hard Disk Space

Credits

D.A.Wilson (Hideaway Studio) – Equipment Design, Sound Design, Sample Set & Example Instruments. Stephen Howell (Hollow Sun, RIP) – Layering Engine Concept, GUI Design & Graphics. Mario KrušeljLayering Engine Script

Usage Restrictions & Copyright Notice (see below)

HideawayStudioLogoHS-4KL-A004 V1.01 (09/02/13)