A sneak preview of Hideaway Studio's new Klockwerks realtime DDS Clocked FX System in action...

Klockwerks draws upon the concept that many have experimented with in providing a digital signal processor with an externally generated variable CPU clock in place of its original fixed frequency source. This method of modification opens up a very interesting world as time is no longer periodic and linear. Since most digitally generated acoustic effects rely on clocking audio into a buffer at a regular rate all manner of interesting effects are realised when the clock rate is modulated in realtime. Such effects were discovered a long time ago when the first BBD based chorus and delay units were developed. These early devices relied on variable clocking to achieve realtime pitch shifting effects effectively due to the sample rate at the point the audio was loaded into the front of the memory buffer being different by the time it arrived at the end of the buffer. This causes a stretching and compressing effect on the timing of the samples which can result in some very curious effects – especially if the memory is forming the basis of a complex effect such as a reverse reverb or a multi-tapped delay. Almost all current retrofitable modifications offered to enable such effects tend to be manually or voltage controlled with little in the way of sanity checking and often the effect can be rather random/uncontrollable with high potential for causing the modified FX unit to crash.

Klockwerks overcomes this by offering a much more controlled environment for CPU clock modulation using an advanced computer controlled DDS subsystem (Direct Digital Synthesis) operating within parameters tested to be within acceptable working limits for the Donor FX Unit. The system goes several stages further by then offering a number of modulator programs that modify the CPU clock frequency and offer a significant number of realtime parameter sources via 4 MIDI CC controllers (MIDI CC20 thru 23), MIDI Clock, Note On and Note Velocity as well as an analog CV input. All patches created on the Klockwerks system can then be attributed to a patch on the Donor FX Unit and stored in non-volatile memory as a named patch for instant recall via program changes.

Introducing Hideaway Studio's Klockwerks

Various test recordings of a number of custom and low volume studio equipment designs over the years by D.A.Wilson (Hideaway Studio) including a number of tube hybrid rackmount audio processors originally conceived and built for Jean-Michel Jarre...

Studio Equipment by Hideaway Studio in Action...

Some sonic challenges I've set myself from time to time to synthesize various sound effects from scratch in the studio using all manner of custom designs, vintage studio equipment and test gear....

All Sound Design, Recordings & Compositions Copyright D.A.Wilson, Hideaway Studio.

Synthetic Sound Effects...

Made with Korg Wavestation being utterly mangled by Hideaway Studio's infamous Klockwerks DDS Clocking system under MIDI control...

There was no pitch bending on the Wavestation - that was all created in real-time by Klockwerks sliding the clock rate to an old ART MultiVerb LT by the same MIDI notes sent to the Wavestation with a slow slew rate dialled in to create a weird sliding effect.   Because the clock rate is not musically related to the pitch, the results are very much atonal in this case.  The Multiverb LT is running 100% wet to achieve this effect.

Klockwerks draws upon the concept that many have experimented with in providing a digital signal processor with an externally generated variable CPU clock in place of its original fixed frequency source. This method of modification opens up a very interesting world as time is no longer periodic and linear. Since most digitally generated acoustic effects rely on clocking audio into a buffer at a regular rate all manner of interesting effects are realised when the clock rate is modulated in realtime. Such effects were discovered a long time ago when the first BBD based chorus and delay units were developed. These early devices relied on variable clocking to achieve realtime pitch shifting effects effectively due to the sample rate at the point the audio was loaded into the front of the memory buffer being different by the time it arrived at the end of the buffer. This causes a stretching and compressing effect on the timing of the samples which can result in some very curious effects – especially if the memory is forming the basis of a complex effect such as a reverse reverb or a multi-tapped delay. Almost all current retrofitable modifications offered to enable such effects tend to be manually or voltage controlled with little in the way of sanity checking and often the effect can be rather random/uncontrollable with high potential for causing the modified FX unit to crash.

Klockwerks overcomes this by offering a much more controlled environment for CPU clock modulation using an advanced computer controlled DDS subsystem (Direct Digital Synthesis) operating within parameters tested to be within acceptable working limits for the Donor FX Unit. The system goes several stages further by then offering a number of modulator programs that modify the CPU clock frequency and offer a significant number of realtime parameter sources via 4 MIDI CC controllers (MIDI CC20 thru 23), MIDI Clock, Note On and Note Velocity as well as an analog CV input. All patches created on the Klockwerks system can then be attributed to a patch on the Donor FX Unit and stored in non-volatile memory as a named patch for instant recall via program changes.

Here is a segued demo of the Klockwerks system in action:

https://soundcloud.com/hideaway-studio/klockwerks-sneak-preview-ii

Composition & Recording Copyright D.A.Wilson, Hideaway Studio 2021.

Wavestation & Klockwerks: Temporal Slyders...

The result of an afternoon in the lab experimenting and exploring a newly resurrected and slightly modified little 1964 EICO 488 variable frequency tube dual-channel multiplexing switch, a swept signal generator and a pinch of insanity :)

Several minutes of ensuing material was declicked in iZotope RX (yes, sadly the EICO's tube multiplexor, although lovely in tone and saturation, has a clicking/popping habit) cut up and then randomly triggered in Kontakt with random levels, panning, filtering and reverb depths to create a cacophony of Amazonian birdsong... well that was the general idea anyway...

Rain performance courtesy of my Blue Zone Kontakt library.

Sound Design, Composition & Recording Copyright D.A.Wilson, Hideaway Studio, 2022.

1964 EICO 488: Amazon Hideaway.. (SFX With Lab Gear)

Ever wonder what happens if you shine a flashlight through a glass full of water, olive oil and marbles, give it a spin and then record the resulting modulated shadows of light on the other side of the glass with an optical sensor?

All sounds from the optical sensor bar the rain which was courtesy of our back garden one soaking wet afternoon.

Incidentally, the long reverb tails on the thunder claps were the result of the contents of the glass slowly coming to a halt - only a very short reverb was added to increase the effect of outside ambience.

Concept, Sound Design & Recording Copyright D.A.Wilson, Hideaway Studio, 2022.

Sound of Light Through Oil, Water & Marbles (Optical Sound Experiment)

Setting myself another sonic challenge..  made with a 1978 Mk 1 Korg MS-20 making use of the MS-20's superb high and low pass resonant filters and ring-modulator auto-triggered and shaped from an external audio source via the built in Envelope Follower.  The sheer flexibility of the MS-20 really does allow this wonderful instrument to cover a lot of ground.

Composition & Recording Copyright D.A.Wilson, Hideaway Studio 2023.

1978 KORG MS-20: The Patch Cord Band..

NEWS UPDATE: The second batch of 25 pre-production units are nearing completion and am now taking pre-orders for delivery in June. A new Patch Editor/Librarian App & VST/AU plugin with full automation has also been developed complete with a new library of over 250 sound patches for Win/Mac/Linux and will be free to all Elfin-04 and 01 owners.

Introducing Elfin-04, Hideaway Studio's Compact New 4-Voice Polysynth Expander...
 
I have been working round the clock for weeks now on my dinky little 8-bit 4-Voice (4 x [2osc+1sub+LFO]) VA Poly Expander with 1960's style transformer-mixed output voicing and finally No's.000 thru 010 are born to the world and receiving very positive feedback from their new owners....... this 4-voice polysynth measuring just 16x12x3cm has full real-time control over her 32 parameters via simple midi ccs and 16 built-in patches. 

Based on an expanded form of a customized software synth-core design by ISGK in Japan, I think the Elfin-04's unique voice ouput/mixing transformers do add something for sure - they are driven full-swing with 60KHz PWM resulting in a lot of additional harmonics/mirror frequencies and some saturation that all gets trapped within the transformers which adds a richness/darkness to the sound (no-doubt inspired in part by my beloved DK Synergy). In the Elfin-04, the 4 voices are passively mixed but, unusually, by the topology of the output-transformers themselves which is a trick that used to be found in some more exotic 1960s valve test equipment where multiple signal outputs were mixed on isolated outputs (eg. my huge old Panoramic TTG-2 tube Dual Sinewave Generator). Also, each voice CPU is independently clocked so everything is genuinely free-wheeling across the voices so even the noise phases slowly when played on multiple notes and unison which is pretty cool.

Any questions, please PM me here on S/C or to EF86 on GearSpace.

All Sound Design & Recordings Copyright D.A.Wilson, Hideaway Studio 2025.

Hideaway's New Elfin-04 Polysynth: Detuned Unison Mode Montage 01

NEWS UPDATE: The second batch of 25 pre-production units are nearing completion and am now taking pre-orders for delivery in June. A new Patch Editor/Librarian App & VST/AU plugin with full automation has also been developed complete with a new library of over 250 sound patches for Win/Mac/Linux and will be free to all Elfin-04 and 01 owners.

Any questions, please PM me here on S/C or to EF86 on GearSpace.

Introducing Elfin-04, Hideaway Studio's Compact New 4-Voice Polysynth...
 
I have been working round the clock for weeks now on my dinky little 8-bit 4-Voice (4 x [2osc+1sub+LFO]) VA Poly Expander with 1960's style transformer-mixed output voicing and finally No's.000 thru 010 are born to the world and receiving very positive feedback from their new owners...... this 4-voice polysynth measuring just 16x12x3cm has full real-time control over her 32 parameters via simple midi ccs and 16 built-in patches. 

Based on an expanded form of a customized software synth-core design by ISGK in Japan, I think the Elfin-04's unique voice ouput/mixing transformers do add something for sure - they are driven full-swing with 60KHz PWM resulting in a lot of additional harmonics/mirror frequencies and some saturation that all gets trapped within the transformers which adds a richness/darkness to the sound (no-doubt inspired in part by my beloved DK Synergy). In the Elfin-04, the 4 voices are passively mixed but, unusually, by the topology of the output-transformers themselves which is a trick that used to be found in some more exotic 1960s valve test equipment where multiple signal outputs were mixed on isolated outputs (eg. my huge old Panoramic TTG-2 tube Dual Sinewave Generator). Also, each voice CPU is independently clocked so everything is genuinely free-wheeling across the voices so even the noise phases slowly when played on multiple notes and unison which is pretty cool.

All Sound Design & Recordings Copyright D.A.Wilson, Hideaway Studio 2025.

Hideaway's New Elfin-04 Polysynth: Polyphonic Patch Montage 01

Elfin-08 No. 000 (basically two stock Hideaway Elfin-04 Poly Expanders bolted together running modified firmware with a stereo output) fires up for the first time on all 10 of its 8-bit processors and 8 output transformers!....

The allocation of the 8 voices has been distributed between the left and right audio outputs with even voices on one channel and odd voices on the other giving a rather pleasing stereo effect. The Detuned Unison Mode on the 8-voice is just massive!

All of the sounds in the test recording are factory Elfin-04 patches loaded up from the new Elfin Controller VST/AU/Standalone (win/mac/linux) patch editor which currently has around 260 patches built in.
 
NB: I am building these 8-Voice proof of concept variants in very limited numbers for those who can't wait for the official Elfin-08 otherwise the current Elfin-04 offers the very same sound but with less polyphony.

Recording Copyright D.A.Wilson, Hideaway Studio 2025

Hideaway Elfin-08: 8-Voice Functional Prototype Awakens...

Hideaway Studio's ultra rare Dual Tube Hybrid Filter in Action - Originally designed and built for Jean-Michel Jarre in 2011 by D.A.Wilson as a live performance filter the unit features a complex and unusual union of a diode ladder with multi-mode input mixer and a resonant tube based band-pass filter tube buffered and mixed in parallel with a phase reversal option.  

The filter can be used in live performances via its 9 CV control channels using a modulation matrix and a hand controller.

The demo shows when used in this way various aspects of the filter can be sequenced as the filter is opened and closed.

Only two examples of this beast were ever built.

Composition & Recording Copyright D.A.Wilson, Hideaway Studio 2011.

The Dual Tube Hybrid Filter In Action...

A sneak preview of Hideaway Studio's new Klockwerks realtime DDS Clocked FX System in action...

Klockwerks draws upon the concept that many have experimented with in providing a digital signal processor with an externally generated variable CPU clock in place of its original fixed frequency source.  This method of modification opens up a very interesting world as time is no longer periodic and linear.  Since most digitally generated acoustic effects rely on clocking audio into a buffer at a regular rate all manner of interesting effects are realised when the clock rate is modulated in realtime.  Such effects were discovered a long time ago when the first BBD based chorus and delay units were developed. These early devices relied on variable clocking to achieve realtime pitch shifting effects effectively due to the sample rate at the point the audio was loaded into the front of the memory buffer being different by the time it arrived at the end of the buffer.  This causes a stretching and compressing effect on the timing of the samples which can result in some very curious effects – especially if the memory is forming the basis of a complex effect such as a reverse reverb or a multi-tapped delay. Almost all current retrofitable modifications offered to enable such effects tend to be manually or voltage controlled with little in the way of sanity checking and often the effect can be rather random/uncontrollable with high potential for causing the modified FX unit to crash.  

Klockwerks overcomes this by offering a much more controlled environment for CPU clock modulation using an advanced computer controlled DDS subsystem (Direct Digital Synthesis) operating within parameters tested to be within acceptable working limits for the Donor FX Unit. The system goes several stages further by then offering a number of modulator programs that modify the CPU clock frequency and offer a significant number of realtime parameter sources via 4 MIDI CC controllers (MIDI CC20 thru 23), MIDI Clock, Note On and Note Velocity as well as an analog CV input. All patches created on the Klockwerks system can then be attributed to a patch on the Donor FX Unit and stored in non-volatile memory as a named patch for instant recall via program changes.

Klockwerks System in Action: Sneak Preview

A rare demonstration of what is perhaps one of the most complex and exotic analog phasers ever devised.   The Triple Tube Hybrid Phaser was originally designed for Jean-Michel Jarre by Dani Wilson at Hideaway Studio and is one of only a very small handful ever built.

On a huge custom pcb it comprises of three 4-stage phaser blocks similar to the Small Stone with tube (ECC83) pre-amp and post amps and tube buffers between each phaser.  The OTA based phasers are combined in an unusual series/parallel arrangement with their own regen paths each modulated by one phase of a triple phase LFO generator thus allowing the phase spread to be set between each phaser block from  all three on top of one another for a huge plunging effect to being 120 degrees out for a swirly effect.   There are variable controls for the LFO offset, depth, rate and spread as well as a variable regeneration level (heard being turned up in the first minute of the demo).

The stuttering effect heard later in the demo is where the spread control is being set to a new position thus allowing the phasers to realign and commence on new phase spread angles.

Please note the phaser was recorded into delay to generate some stereo spread.

Recording Copyright D.A.Wilson, Hideaway Studio

Triple Tube Hybrid Phaser: An Uber Rare Beast In Action!

Having another play with Hideaway Studio's truly insane Klockwerks system.

Here a classic Korg Minipops 45 is being fed into the a MultiVerb LT (patch 09) modified as a "donor unit" for the Klockwerks system.  The LT is being modulated with various LFO rates and waveforms from one of the clock modulator programs on the Klockwerks handset....  in this case the LFO shape, depth, offset and rate are being tweaked on the fly by hand but these can be acurately controlled from a MIDI sequence using up to 4 separate CC channels as well a CV input.  LFOs and slide effects can also be synchronised to MIDI clock at various clock rate divisions.

One powerful and unique aspect of the Klockwerks system is that it binds clock modulation patches with patches on the donor FX unit to form an instant recall system.  Such patches are stored in NV memory and then called up instantly via MIDI program changes.

Patch 09 on the MultiVerb LT seems to respond well to this sort of thing!... the resulting output is truly mangled beyond recognition!!

Recording Copyright D.A.Wilson, Hideaway Studio.

Klockwerks System in Action: Mangling a Korg MiniPops 45!

A bizarre watery effect created by feeding back the output of an ART LT FX processor to its input whilst randomly modulated by the Klockwerks System.. the regenerative path was created with a Binson tube Pre-Mix fed back via a DBX II 128 classic limiter and the Hideaway Dual Tube Hybrid Filter centred around 1KHz in tube resonance.   The resulting chaos was then further filtered with two Hideaway Studio TEQ-9B All Tube Gyrator EQs.   Before each plunge effect was wild self-oscillation which was removed using a mixture of Izotope RX and cut/paste.   Each plunge effect itself was created by rapidly winding down the clock frequency just at the point the self-oscillation was tamed.  No deliberate tone or noise sources whatsoever were used in the making of this recording.

I love this kind of pseudo chaotic self-making stuff!   Its a pig to setup but when it works it can be really interesting..

Original Sound Design & Recording Copyright D.A.Wilson

Klockwerks: Regenerative Waters...

UPDATED RECORDING 08/06/22 now with steam whistle SFX "accidentally" created whilst attempting to build a tube based VCO and ending up with a spectacularly unstable mess with a rather surprising unintended sonic result!

Whilst testing out a monster 3 cabinet classic Moog Modular during major overhaul to my surprise I ended up producing what sounded like there was something monstrously heavy heading my way!!...

Made in one live take with a 960 Sequential Controller feeding a 1528 Sample-Hold triggered by a 921 AUX LFO, 902 VCA modulated by the sawtooth from the S/H, three cross modulated 921B Oscillators into a CP3A 4Ch Mixer all feeding into a 907 Fixed Filter Bank which was madly being hand cranked band by band to create the pass by phasing effect...

The interacting speeds of the sequencer, LFO and sample/hold clock were carefully adjusted until everything started to chug in quite an uncanny manner!

Now with a little ambiance courtesy of the back garden! :)

Original Sound Design & Recording Copyright D.A.Wilson, Hideaway Studio 2019.

1977 Moog System 55: The Iron Horse.. (Updated Recording)

Demonstrating the stock Windy.+# patch on a Hideaway Studio Klockwerks handset in this case driving a old ART MultiVerb LT modified for Klockwerks..

In this demo the MultiVerb is being modulated with a random LFO program.  The Klockwerks system is being fed from a Roland JX-8P (factory patch ArcoString) - first you hear the 8P directly into a conventional reverb - then the output from the Klockwerks system is brought into the mix.  Although lo-fi in nature, the effect can be really quite beautiful when used with care...

This is one of all manner of interesting effects the Klockwerks system can create.

Klockwerks draws upon the concept that many have experimented with in providing a digital signal processor with an externally generated variable CPU clock in place of its original fixed frequency source. This method of modification opens up a very interesting world as time is no longer periodic and linear. Since most digitally generated acoustic effects rely on clocking audio into a buffer at a regular rate all manner of interesting effects are realised when the clock rate is modulated in realtime. Such effects were discovered a long time ago when the first BBD based chorus and delay units were developed. These early devices relied on variable clocking to achieve realtime pitch shifting effects effectively due to the sample rate at the point the audio was loaded into the front of the memory buffer being different by the time it arrived at the end of the buffer. This causes a stretching and compressing effect on the timing of the samples which can result in some very curious effects – especially if the memory is forming the basis of a complex effect such as a reverse reverb or a multi-tapped delay. Almost all current retrofitable modifications offered to enable such effects tend to be manually or voltage controlled with little in the way of sanity checking and often the effect can be rather random/uncontrollable with high potential for causing the modified FX unit to crash.

Klockwerks overcomes this by offering a much more controlled environment for CPU clock modulation using an advanced computer controlled DDS subsystem (Direct Digital Synthesis) operating within parameters tested to be within acceptable working limits for the Donor FX Unit. The system goes several stages further by then offering a number of modulator programs that modify the CPU clock frequency and offer a significant number of realtime parameter sources via 4 MIDI CC controllers (MIDI CC20 thru 23), MIDI Clock, Note On and Note Velocity as well as an analog CV input. All patches created on the Klockwerks system can then be attributed to a patch on the Donor FX Unit and stored in non-volatile memory as a named patch for instant recall via program changes.

More demos of Klockwerks in action here:

https://soundcloud.com/hideaway-studio/klockwerks-sneak-preview-ii

Composition & Recording Copyright D.A.Wilson 2019.

Klockwerks: Windy.+# (Mangling the Roland JX-8P)

100% synthesized water effects made by feeding some randomised FM bell like sounds from an Orla DSE24 and pink noise from a Bruel & Kjaer type 1405 fed hot via a tube mixer into a gorgeous 1965 Bruel & Kjaer type 1612 Band Pass Filter Set.   Around 60 samples were captured with the filter set to each of the 3rd Octave frequency settings and then loaded across the keyboard and auditioned live in various combinations....

The classic Bruel & Kjaer Band Pass Filter Sets such as the type 1615, 1612, 2112 and 2113 are made up of banks of very high quality passive L/C resonators and are extremely selective with very high Q factors and have a sound all of their own!  There are few studio filters that could come close to achieving the same effect.
 
Sound Design & Recording Copyright D.A.Wilson, Hideaway Studio, 2020.

1965 Brüel & Kjaer type 1612: Waterwerks (SFX With Lab Gear)

D.A.Wilson is an Electronic Engineer, Sound Designer & Vintage Synth Specialist with a particular interest in combining vintage tube, classic analog and modern digital technologies working as a synth engineer looking after a very considerable amount of vintage studio equipment for Will Gregory (Goldfrapp / Moog Ensemble) and a number of other internationally celebrated electronic musicians and producers.  Having undertaken several major restorations and produced custom electronic designs for a number of major artists including Jean-Michel Jarre, Dani is also known for fully restoring two out of the world's four remaining 1979 Crumar GDS and partially restoring 1938 Novachord 346 (the only known operational Novachord in the UK) to playable order along with developing and producing the new Elfin family of 8-bit polysynths and the popular MIDI Front Panel Animator (FPA), Filter Defeat Module (FDM) and XD-280 Drive Emulator upgrades for the AKAI S612 sampler.

Demos of the S612 Upgrades in Action: 

https://soundcloud.com/hideaway-studio/sets/hideaway-studios-s612-front


Hideaway Studio Kontakt Sound libraries may be purchased directly from: 
https://www.lootaudio.com/category/kontakt-instruments/hideaway-studios
 

..and a nice introduction by Cory Pelizzari to the Hideaway Studio Kontakt Libraries:
https://www.youtube.com/watch?v=k-C7a3ChC9U&feature=emb_title


For more on releases from Hideaway Studio for Kontakt please visit the blog at:  www.hideawaystudio.net