Hideaway Studio 1946 Deagan Electric Chimes for Kontakt
Jan 19 2019 | 7.06 MB
Although tuned percussive instruments had long since been in existence JC Deagan was perhaps the most significant figure in the field to transform often seen as crude novelties into well respected percussive orchestral instruments with exceptional tuned harmonic haracteristics.
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Hideaway Studio 1979 GDS Shimmers for Kontakt
Jan 19 2019 | 35.1 MB
1979 Crumar General Development System, GDS Shimmers
GDS Shimmers was the first patch programmed in the voice editor when the full system was returned to working order for the first time in many years during major restoration in late 2014.
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Hideaway Studio The String Collection v1.01 KONTAKT
Dec 10 2018 | 589 MB
I 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.
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Hideaway Studio The Orbitone Collection II KONTAKT
24 May 2018 | 0.98 GB
Orbitone Collection II was conceived very much as an extension to the original release of complex warm electronic textures made with unusual combinations of vintage technologies…
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Hideaway Studio Polivox v1.1 KONTAKT
Dec 11 2017 | 512 MB
The Polivoks (Rus.: Поливокс) was designed by Vladimir Kuzmin with input on the aesthetics from his wife Olimpiada who was apparently inspired by Soviet military radios of the time. In production between 1982 and 1990 the Polivoks was manufactured at the Formanta Radio Factory in Kachkanar, Russian SFSR. With a retail price upon release of 920 rubles around 100,000 Polivoks were manufactured - peaking at a production rate of up to 1,000 units a month! Despite this, the Polivoks is not all that commonly seen an instrument outside of Russia.
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Hideaway Studio Synergenesis KONTAKT
August 14 2017 | 875 MB
The GDS/Synergy II+ is surprisingly capable of synthesizing all manner of percussive sounds including many of a similar but not identical nature to their analog counterparts from drum machines of yesteryear.
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Hideaway Studio Chromatix v1.2 KONTAKT
March 20 2017 | 1.01 GB
Chromatix is a celebration of yet another successful resurrection of an old classic saved from the grave…
This time it was a gorgeous 1983 Rhodes Chroma!
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Hideaway Studio Bass Machine KONTAKT
March 18 2017 | 333.28 MB
Bass Machine was in essence an attempt to revisit a commonly used trick of the trade whereby the warm roundness, power and motion of the Minimoog’s bottom end was blended with the bite and clinical accuracy of FM bass. The result is a nice example of where the whole is greater than sum of its parts…
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Hideaway Studio Aliasonix KONTAKT
March 18 2017 | 263.09 MB
An Early Soft Synth… Running on a 30 Year Old Home Computer!?
Most should realise by now that I have a fascination for rediscovering old technologies and combining the best of them in a constant attempt to create something new and unusual. Some of you will also know that I’m a big fan of the retro computing scene and especially the demo music scene that grew up around it during the mid ‘80s and into the ‘90s. Almost all of the time my technological foraging involves trawling up some physical lump of hardware but on recently rekindling my love of ProTracker on the Amiga I got curious one day and wondered if perhaps someone had attempted to not just play back samples as in Karsten Obarski’s pioneering Ultimate Soundtracker (that came close to bringing Fairlight Series II functionality to the unwashed masses on two floppy disks in 1987!) but rather to synthesize them from scratch…
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Hideaway Studio e-Grand KONTAKT
March 18 2017 | 51.97 MB
The Hideaway e-Grand…
The 1938 Hammond Novachord, 1974 Farfisa Syntorchestra and 1976 Polymoog 203A are all examples of three early polysynths capable of producing piano like timbres. The Novachord was without question the world’s first commercial all electronic polyphonic instrument designed to emulate the piano amongst other timbres. To design something that electronically synthesized anything even remotely sounding like a piano in 1938 is nothing short of miraculous and a huge credit to the incredible ingenuity of Laurens Hammond and his fellow engineers!! If you think I ever overstate this then look up his patents from the era – one of which is pretty much the definition of the basis of the modern analog synthesizer.
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