Hollow Sun Details for Fusion Sound Packs # 1-10 All Company, Trade and Brand Names Shown, Listed Or Implied Below Are the Property of Their Respective Owners

Hollow Sun Details For Fusion Sound Packs # 1-10 All company, trade and brand names shown, listed or implied below are the property of their respective owners. HOLLOW SUN #01 02/10/06

Fusion String A lush, new string sound suitable for almost any occasion. Use it for rich orchestral Ens arrangements, melodies, pads, etc.. Extensively multi-sampled and seamlessly looped for a totally smooth sound ______Nebulae A big atmospheric, swirling pad/SFX sound. ______Chorus ElGrand The legendary CP70 electric grand piano through a rich chorus. ______Phase Off An evolving, phase shifted pad. ______Equigene Strings Swirly, phased shifted ARP String Ensemble reminiscent of Jean-Michel Jarre's trademark sound ______Very Tiney A genuine Rhodes electric piano with emphasised tines ______Fusion Choir Ens A rich male/female choir ______Wurli 200 An authentic Wurlitzer EP200 extensively multi-sampled. Instant Supertramp! ______Phase Off Another swirling, evocative pad sound ______Big Octave A powerful string ensemble sounds with a low octave Strings ______Road To Glory A mellow, jazzy variation on the Rhodes sound ______RP String The classic ARP String Ensemble meticulously multi-sampled for an authentic sound Ensemble ______Electric Grand A 'straight' Version of the CP70. Assignable Knob 4 introduces a tremolo effect as on the real thing ______IIx ARR1 The original breathy vocal pad from the original sampler! As used by Tears For Fears, Thomas Dolby and others ______High Altitude The new Fusion string ensemble with an octave up creates a soaring orchestral texture Strings ______Wurli 200 Chorus The Wurlitzer EP200 with a rich chorus effect ______Fusion Choir Pad An ethereal variation on the new Fusion Choir Ensemble ______Fusion String A mellow pad version of the new Fusion String Ensemble Pad ______Electrode Pan The new Rhodes with a characteristic autopan effect ______JMJ Eminent Another phase-shifted string synth Strings ______Wurli 200 The Wurlitzer with the characteristic tremolo effect that was a feature of the original Tremolo ______

HOLLOW SUN #02 02/17/06

Tape Choir The huge, anthemic Gothic choir sound from the legendary tape playback keyboard. S1 pitches it down an octave to re-create the 'half-speed' factory mod that some users had done to their Trons and which creates a truly ominous sound! ______OmniGlobe A powerful, evolving wavetable synth sound ______Piannette Dream A Hohner Pianet layered with a delicate glockenspiel and smothered in effects creates this haunting electric piano sound. S1 introduces another element to the sound that is reminiscent of Vangelis' album 'China'. ______Ultra Lush Does what it says on the tin! Analogue strings layered with the new Fusion String Ensemble Strings to create arguably the lushest, smoothest string sound! ______B3 88 8888 888 A Hammond B3 with all the stops out! ______IIx Swanee The original sampled pan-pipe sounds from the original sampler! ______Vocks Conti An authentic Vox Continental transistor organ sound from the 60s. Surf's up!! ______Tape Violins The classic string sound from the legendary tape playback keyboard. S1 pitches it down an octave to re-create the 'half-speed' mod that some users like Barclay James Harvest had done to their Trons! Assignable Knob #1 introduces an octave split to re-create the sound the 'mixed strings' tape bank used by Tangerine Dream and others. ______IIx PizTwang A powerful, deep bass sound ideal for underpinning a track as used by Peter Gabriel on Bass 'Rhythm Of The Heat'. The original was created using a combination of slowed down piano and other sounds ______B3 88 8888 88Vib A Hammond with all the stops out and hint of vibrato ______Piannete The subtle, 'plummy' tones of the Hohner Pianet ______VPCoder Choir Classic vocoder choir sound much loved by the Japanese fusion band 'Casiopea' and also used by Phil Colins, Tony Banks, Vangelis and many others ______B3 Gospel A Hammond B3 with the drawbars set for a 'gospel' sound ______IIx MarBlock The original marimba sound from the world's first digital sampler. As used by Peter Gabriel on tracks such as 'San Jacinto' and others. ______JP Strings A rich analogue string sound from a JP6 in 'unison' mode (all six oscillators stacked on top of each other!!!) ______B3 Jazz A jazzy Hammond organ sound ______IIx ViolSus Although not a realistic string sound, this makes a lovely mellow pad sound for almost any occasion ______FarCheeza The cheezy sound of a famous Italian transistor organ ______Gothic Chorale The Tron choir layered with the new Fusion Choir Ensemble creates this big, bombastic chorale sound ______Scrapey Strings The smooth Fusion String Ensemble layered with the fragile Tron strings. ______

HOLLOW SUN #03 02/24/06

New Dawn A beautiful chime-led vocal soundscape that has depth, width and distance. ______Tape Flutes Nothing need be said about these - an authentic presentation of the famous 'Strawberry Fields' Tron flutes. The default settings give a haunting 'psychedelic' sound but, using the assignable knobs, can either be stripped down for a more 'raw' sound or transformed into a floating pad sound. ______Arco Strings A strong, heavily bowed string ensemble. This is velocity sensitive so that soft playing gives a slower envelope and harder playing becomes progressively more 'bowed'. ______Metal Digi Ostensibly a harsh, metallic digital bass sound, this sound also works well in the upper regions for other purposes. Knob 3 introduces another oscillator a 5th up which creates a distinctive sound. ______Sea Of Haze Another ethereal, floating soundscape that swirls and hangs in space effortlessly. ______Tape Watcher An authentic recreation of the classic Tron used in the track 'Watcher Of The Skies' by Genesis. The surreal, ominous opening chords to this track are one of the Tron's finest moments and was achieved using a combination of the standard violins and harsh brass by setting the Tron's mechanical rotary sound selector switch halfway between the two. ______Pea PG Delicate A delicate wavetable sweep from the innovative 80's digital synth. Sweep ______Dee 6 Klav The classic Hohner D6 Clavinet extensively and carefully multi-sampled. S1 creates the 'mute' variation. ______Digi Bass A strong digital bass. Also useful higher up. Analog E Piano An electric piano sound made from layering two e.piano sounds created on an Oberheim analogue synth. A good all purpose electric piano sound for many applications. ______Glockenspiel In contrast to the somewhat 'vintage' nature of most of the Hollow Sun releases, a sublime, delicate glockenspiel. Knob 1 creates a delightful, chorused carillon sound. ______Pea PG Vox A favourite from the PPG Wave 2.2 - the distinctive 'human vox' sound. ______Dee 6 Klav The D6 Clavinet with chorus. Chorus ______Pea PG Bass A hollow digital bass sound but again, useful in the mid and upper reaches too. ______Marcato Strings Heavily bowed strings. ______Lesly Klav The Clavinet through a rotary cab effect goes some way to recreating the opening sound from 'Lucy In The Sky With Diamonds'. ______Pea PG A strong and distinctive PPG Wave 2.2 wavetable sweep with a 'throaty' vocal quality Throatwave especially down low. ______Pea PG Slur Bell A sound that characterised the PPG when used by artists as diverse as Tangerine Dream and Robert Palmer. ______Pea PG Vox Another distinctive digital 'chime' sound from the Wave 2.2. Chime ______Pea PG Throatwave with a more percussive envelope - ideal for rapid sequencing and arpeggios. ThroatPerc ______Pea PG Classic Another PPG 'chime' sound. ______

HOLLOW SUN #04 03/03/06

Mighty Pipes A big church organ with all the stops out creates this truly powerful, majestic sound. Use as an accompaniment to 'Gothic Chorale' in your next horror movie soundtrack!!! Knob 3 brings in extra reinforcement down the bottom with a Principal pedal note. ______Spacestation Another evocative pad/SFX sound useful in almost any musical genre. ______Andalucian Strings A haunting combination of nylon acoustic guitar with a subtle string background layer. Use the assignable knobs to set the balance of the strings. ______UnimogueBass A chunky big analogue synth bass sound (though also useful for other duties). ______Sweet Tines A delicate electric piano that is strong on tines but with a full-bodied sustain. Ruff Organ A thick, distorted tonewheel organ ______Piano & Strings An evocative layer of grand piano and strings ______Dream Tines Delicate tines descend into a dreamy, ethereal, floating sustain. Slightly reminiscent of certain moments from the film 'Bladerunner' ______Night Organ This heavily chorused, thin and slightly cheezy organ will remind you immediately of cheap, early TV quiz shows ("And tonight... all the way from Norwich...." !!!) but, in the right circumstances can sound quite uncannily eerie! The assignable knobs can transform this innocuous sound into an equally eerie pad. ______Smooth Piano This is the piano element from the 'Piano & Strings' layered program. It is quite 'neutral' and useful where a dominant and distinctive piano sound is not appropriate. ______Krystal Strings A classic FM electric piano layered with a smooth string sound. ______Bar Room Joanna A vibrant - but trashy - 'honky-tonk' piano. Knob 1 controls the amount of detune. ______Ether Pad The 'Unimogue Bass' transformed into a heavenly, spacey pad using Fusion's potent synthesis capabilities. ______Krystal Rode The classic DX FM electric piano sound so beloved in the 80s. You too can now perform those Whitney Houston ballads with confidence ;-) ______Arr... Am I Piano! The raw, unadulterated sound of the 'classic' RMI Electrapiano. Although very rare now, it's astonishing to think that the RMI was used as a piano substitute by all the leading prog-rock keyboard players of the 70s - Tony Banks [Genesis], Rick Wakeman [Yes], Dave Greenslade [Greenslade] and many others. As you will hear, it's nothing like a piano but an interesting sound in its own right that is ideal for arpeggios and rapid sequencing. ______

HOLLOW SUN #05 - VINTAGE BEATBOX EXPLOSION!! 03/10/06

IIX Drums&Perc The complete drum and percussion library from the Fairlight IIx (the original sampling workstation!!!). Given that the tech-specs were mono, 8-bit and 30kHz sample rate with limited memory, don't expect sizzling long stereo cymbals, etc. - this is what you got for £25,000 back in those days!!! But these sounds just exude 'old skool' character and are still relevant today!

______El Em One The samples from the original digital drum machine, the Linn LM1, the beatbox that literally changed the way we work today!

After the 'synthetic' TR808 (which was largely regarded as a toy at the time by most!), here for the first time was a beatbox that offered 'real' drum sounds (albeit only twelve of them and 8-bit at that and with a bandwidth limited to around 13kHz!). Extortionate memory costs at the time restricted the inclusion of cymbal samples but there is no denying that the Linn LM1 was a seminal product that sounded great (especially at the time) and it appeared on many hit records of the 80s.

Only 500 of them were ever made and they were very expensive, costing - wait for it - five times as much as a Fusion 8HD!!!

______El Em Two The less expensive successor to the LM1, the LM2 (or 'LinnDrum') enjoyed enormous success and provided the rhythmic backdrop to a high percentage of hit records throughout the 80s. Increased memory allowed the inclusion of cymbal samples (albeit truncated and short) but the classic tom sound that kicked off Jan Hammer's 'Miami Vice' theme tune (a hit record in its own right) are in there along with a solid kick and snare, claps, tambourine, congas and more.

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Akai XR10 Hollow Sun prepared the sounds for Akai's first (and only) preset drum machine, the XR10, in the late '80s.

The brief was to provide drum sounds that were unlike those found in competing products at the time so as well as 'stock' kit and percussion sounds, the XR10 was also stuffed with many sounds of its time such as Peter Gabriel-style gated power toms, big Robert Palmer kicks and snares, trashy Jam and Lewis sounds, Simmons kit and others.

The product wasn't an overwhelming success as a drum machine due to its somewhat 'quirky' pattern/song programming user interface. However, it was very popular as a sound module when driven from an external sequencer as it provides a wide range of kit sounds from the era.

______Drum-U-L8r Following the success of the Linn drum machines, other manufacturers were keen to move in on that market territory and the Drumulator was one of the first to go head to head with the Linn. Whilst the LinnDrum was awash with sliders and pads for each individual drum sound, to get costs down, the Drumulator compromised with just four assignable pads and a single assignable slider to perform various tempo, level, pan and tuning duties but this did allow a $995 price point which was a steal (at the time!). The sounds, however, are solid and were used to great effect by a number of artists, most notably perhaps by New Order on 'Blue Monday'.

______Obie DX Oberheim were also quick to react to the success of the Linn products and responded with the DX. Twelve drum sounds with the same technical limitations of other products of the era but which found favour with many artists of the time such as Prince. Now, those 'old skool' sounds are enjoying a revival in many musical genres.

______KraftPerk The Teutonic synth-meisters were always at the vanguard of electronic drums and percussion since the mid-70s and this collection is an homage to those days. Assignable Knob 1 controls stereo width whilst Knob 2 shortens the decay/release time to create a more modern 'glitchy' sound.

______Sakata DPM48 Not much is known about this obscure digital drum machine. It appeared in 1984 shortly after the Emu Drumulator from unknown (Japanese?) manufacturer Sakata. However, it didn't achieve much success in that guise. Instead it is possibly better known as the Hammond DPM48. Yes... the famous organ manufacturers licensed the product and marketed it under their name presumably to raise their profile at a time when organs were not exactly the hottest product in town! Let's just say that neither company enjoyed a great deal of success with the product which is a shame because it wasn't actually a bad little beatbox at the time offering 17 sampled drum sounds, dedicated level controls and a host of individual outputs and synchronisation facilities.

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SDSV Kits The Simmons SDS5 (or SDSV as it is was officially known) was the world's first truly electronic drum kit. Prior to the Simmons, there had been electronic drum pad synths such as the Pearl Syncussion and the Electro-Harmonix 'Space Drum' but these were pretty much nasty 'byoo byoo' gimmick boxes that were essentially a sound effect adjunct to an acoustic drum kit or percussion rig and much beloved of certain naff disco tracks!!

Dave Simmons had an altogether different vision... to make drum synthesis 'serious' and expressive.... a viable alternative to 'acoustic' drums. Working with Richard Burgess (then the drummer with the jazz/pop fusion band Landscape and probably most famous for their hit single 'Einstein a go-go' and now a respected producer), Dave Simmons devised a unique drum synthesiser that put the individual components of a drum sound under users' control. In fact, the sounds in this collection are actually from Richard's kit which he kindly lent to Hollow Sun many years back when creating the sounds for the Akai XR10 (see above).

The Simmons was a hit almost as soon as it was released in 1982. It sounded great, it sounded unique and those hexagonal pads just looked great in the growing trend for glossy pop videos and the emerging MTV and it was a firm favourite with the 'new romantic' bands of the time such as Duran Duran, Spandau Ballet, the aforementioned Landscape and countless others as well as more 'serious' drummers such as Bill Bruford.

______HS 8-Oh-8 The classic TR808 meticulously multi-sampled from the ground-breaking pioneer of programmable drum machines with variations of the basic kick and snare sounds included. It's hard to imagine that when the TR808 was originally released, it was scoffed at for its overtly 'electronic' drum sounds. Nowadays, it is a staple part of our musical vocabulary and these samples are as crisp and authentic as you are likely to find anywhere.

______HS 9-Oh-9 The more 'aggressive' successor to the 808, this soundset includes all the sounds sampled directly from the original with variations on the kick and snare.

______See Our 78 The genesis of Roland's innovation in drum machine design can be heard in this rare soundset - the full complement of sounds from the semi-programmable CR78 as used by Peter Gabriel ("Games Without Frontiers"), Jon Foxx ("Metamatic") and many, many others.

______NOTE: These programs have a drum arpeggiation triggered on keys that don't have sounds programmed on them so that they will provide a simple pattern.

And before you maybe complain that maybe some of the beatboxes have limited sounds and/or sound similar, that's how it was back then with each manufacturer vying for pole-position in the market at the time. The samples here are presented pretty much 'raw' and 'as is' from the originals and you can use and abuse them as you want!

Enjoy!

HOLLOW SUN #06 - OBIE SPECIAL 03/31/06 This Fusion download is a bit different as it features a specific vintage instrument - an old Obie Matrix 1000. These are therefore truly rich, vibrant and authentic analogue synth sounds

SuperStrings A thick, luxurious analogue string sound that is powerful across the whole range. Use Assignable knobs 1 and 2 to control attack and release for a more legato sound. S1 switches in a rich, swirly phase shifter whilst S2 drops one of the oscillators an octave for a truly dangerous sound!

______Mutrono A delicate (almost digital) plucked sound achieved through phase locking the M1000's oscillators with oscillator sync. Assignable knobs 1 and 2 allow the creation of some delicate pads. S1 takes one of the oscillators down an octave and S2 compresses the plucked envelope for a spikey sound suitable for arpeggiation and rapid sequencing.

______Hollow Ice A hollow, square wave derived sound. Played softly, it has a soft attack which becomes more percussive with harder velocity. Knob 1 affects overall envelope length alowing the creation of different 'chime' and other sounds and S2 increases the detune between Fusion's two oscillators. S1 switches on portamento/glide.

______Birdland Bass A truly classic synth bass sound suitable for almost any occasion in any musical genre - deep, solid and powerful. It can also be used as a leadline and comp sound as well. Knob 1 controls the sample start point allowing you to transform the sound from punchy and resonant to mellow and solid with the twist of one control. Knob 2 controls amplitude release time so that you can tailor the sound to the needs of your track. S1 pitches one of the oscillators down an octave (watch your woofers and your windows!!).

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Mini A hollow, detuned square wave that has any number of applications as a chordal part, arpeggiation and/or leadline. Knobs 1 and 2 control attack and release for the creation of glassy pads. S1 adds more detune and S2 switches in a rich chorus.

______Obxa A big, typical Obie sound. Knob 1 adds a slow attack AND increases resonance for dramatic filter sweep sounds; Knob 2 allows you to detune the two oscillators for an even fatter sound!!! S1 pushes one of the oscillators down an octave for an even bigger sound.

______SynBox A 'vox-humana', stringey type of sound - very 'Gary Numan-ish'. Knobs 1 and 2 allow you to create various ethereal pads.

______Prophet A big, PWM sound that Obie (presumably) thought sounded a lot like one of their competitor's synths! Knob 1 controls the start time of the oscillators and thus allows you to remove the characteristic envelope-swept pulse width modulation to create a softer sound. Knob 2 allows you to regulate overall release time.

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Solosync A big (and I mean BIG) sync sweep sound that's not unlike a wailing, distorted guitar. It is therefore useful as a Jan Hammer-like lead sound but is also effective for big, dramatic chords and it has a wicked bass end. Knobs 1 and 2 allow you to set attack and release whilst S1 switches in portamento/glide and S2 tunes the oscillators a fifth apart for a characteristic and popular sound of yesteryear.

______JM Jar A pad sound with a strong resonant filter sweep. Knob 1 controls attack whilst Knob 2 increases detune for a fatter sound. S1 pushes one of the oscillators down an octave for a more menacing sound.

______Power OB This sound should carry a health and safety warning!!! It's big (as in HUGE!) and rasps at you unforgivingly in all areas. Handle with care! Knob 1 controls overall release and Knob 2 increases oscillator detune for an even bigger sound!! S1 transposes one of the oscillators down an octave - be afraid.... be very afraid!!!

______SuperStrings 2 A variation on SuperStrings using 'JP Strings' from HS#02 to flesh it out further. Knobs 1 and 2 control attack and release for all sorts of pad variations and S1 adds a swirly phase shifter.

______Hollow Prophet A combination of 'Hollow Ice' and 'Prophet' to create an almost digital sound that could have just as easily come from a PPG. Knob 1 controls the oscillator start of the 'Prophet' element whilst Knob 2 controls overall envelope time. S1 transposes one of the oscillators.

______Obiecord An almost harpsichord sound made ethereal by the use of dreamy effects. Knobs 1 and 2 allow control of attack and release whilst S1 does its usual oscillator transposition trick. S1 makes the whole envelope shorter and plucky and ideal for arpeggiation and rapid sequencing.

______JM Jar 2 A variation of 'JM Jar' that layers the ARP String Ensemble from HS#01. Knob 1 controls attack and Knob 2 increases oscillator detune for added thickness. S1 takes one of the oscillators down for added menace!

______SuperPad The ultimate smooth pad sound made from 'SuperStrings'. Very Peter Gabriel and Phil Collins (e.g. "In the air tonight') and useful in almost any situation. Knobs 1 and 2 control attack and release for further pad variations and S1 switches in a wide chorus effect.

______The assignable front panel knobs are all programmed so that dramatic and useful changes can be made to radically transform the sound quickly and easily without having to delve into Fusion's EDIT mode. Furthermore, all sounds have rich effects applied - these can removed (or at least tamed) in all cases using Assignable Knobs 3 and 4.

For more information about the featured synth, click here.

HOLLOW SUN #07 05/02/06 This latest download for Fusion features a wide range of sounds from a variety of digital synths either sampled in isolation or layered and programmed by Hollow Sun's Dan McCullough. All are extensively multi-sampled (typically at every minor third) and feature long, seamlessly looped samples that live and breathe and evolve over time, especially with complementary programming of Fusion's own synth/sampling engine and multi-effects.

Warm E. Piano A delicate, chiming electric piano suitable for softer ballads, etc..

______Digi Bells The name says it all really! Characteristic digisynth bells suitable for any number of musical applications. Also great for layering with other sounds in the MIX mode.

______Digi Symph A smooth, deep string pad sound that will fill out almost any track Strings ______B3 1-2 A simple but effective organ sound.

______DigiChoir A characteristic vocal sound suitable for chordal and/or melodic work. S1 takes one of the oscillators up a fifth.

______Digicord A bright and brittle sound reminiscent of a harpsichord but still overtly 'digital' in nature and suitable for comping, arpeggiating, rapid sequencing, etc.. It's an effective bass sound too.

______The Dream A big, dramatic and distinctive digital synth sound. Although labelled 'Volume' (*), Knob 2 allows you to introduce a thick and dramatic swirling flange effect. The dynamics are sympathetically programmed so that at lower velocities, the sound is actually quite delicate but with more aggressive playing, the sound takes on more menace, especially in the lower octaves.

(*) This is because as well as controlling the flange effect depth, it is also backing the main volume off a little to maintain a consistent level when the effect is applied.

______Drawstortion Organic distortion! The distortion is actually a component of the source samples' wavetables.

______Soul Bass A full but mellow bass sound with a 'fretless' quality about it. Knob 2 introduces an extra oscillator an octave up for a bigger sound that fills the audio spectrum. Also suitable for chordal work, etc., in the upper registers.

______Plastic Bass A sharp, resonant synth bass. Knob 1 controls sample start allowing a wide range of tones to be created with just that one control. S1 adds a sub-octave.

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Alpha 2 A shimmering, evolving digital pad sound with a resonant filter sweep and an expressive dynamic range.

______The Dream 2 This combination of 'The Dream' and 'Digicord' creates a cutting and dramatic sound. S1 switches on portamento.

______Ethercord A combination of 'Digicord' and 'Digi Bells' is used to create a sound that has a solid foundation with a floating, ethereal 'afterglow'.

______EP & Strings A layer of the electric piano and strings featured in this collection. You can control the tone and level of the strings element using Knobs 1 and 2.

______Digi Fretless A deep and powerful bass sound that could give the Moog Taurus bass pedals a good run for their money!!

______Chime Vox Swirl A combination of the choir and bell sounds that evolve and swirl around the stereo panorama to create a dreamy and mysterious soundscape. Knob 3 introduces a sub-octave that makes this sound almost a complete soundtrack in itself!

HOLLOW SUN #08 07/07/06 Fusion's latest sonic update features a wide range of sounds from a broad collection of different synths either sampled in isolation or layered and programmed by Hollow Sun's Dan McCullough. All are extensively multi-sampled (typically at every minor third) and feature long, seamlessly looped samples that live and breathe and evolve over time, especially with complementary programming of Fusion's own synth/sampling engine and multi-effects. There also brand new and unique VA and FM synth sounds in the collection

Destroyer A big, analog sound that is equally at home for chordal work. rapid sequencing/arpeggiation or bass lines.

______Duck Bass A resonant 'quacky' bass sound. Use Assignable Knob 1 to control the sample start time and hence eliminate the 'quack' component of the sound to transform it into a solid, almost 'fretless' bass sound. S1 adds and sub-octave and S2 adds portamento. Despite its name, also good for lead lines.

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Galactic An airy, evolving spacey pad/SFX sound. S1 adds a sub-octave for a denser texture and S2 adds long portamento for a kind of 'take-off' effect.

______Laz Harp A high, plucky sound that can lend its hand to almost any duty. S1 compresses the envelope time for a more percussive sound.

______MonoBass A thick and powerful bass sound. Assignable Knob 2 allows you to introduce a sub-oscillator for even more woofer-wobbling mayhem!

______Pipes A haunting square wave sound. S1 pushes one oscillator up a fifth for a more mysterious sound.

______Rubber Bass Another solid synth bass sound that is mildly resonant. S1 introduces a sub-bass and S2 adds portamento.

______Syncage A thick sync sweep sound that is useful for bass, chordal and leadline duties. S1 switches on portamento.

______Vibes A delicate, percussive sound.

______BenShimr A huge and majestic pad sound with a characteristic slur on the attack.

______Harmonovox An eerie synth vocal sound. S1 tunes one oscillator up a fifth.

______Toto Horn The name says it all - a synth brass sound reminiscent of the great band.

______Galactovox A combination of 'Harmonivox' and 'Galactica' creates this ethereal pad sound.

______Majesty This combination of 'BenShimr' and 'MonoBass' makes for a truly monstrous and dramatic sound. S1 adds portamento; S2 adds a sub-octave.

______Octave Sync 'Syncage' and 'Laz Harp' layered.

______Pipes A charming combination of 'Vibes' and 'Pipes'. S1 adds a 'fifth' tuning of one of the oscillators.

______Caverns A pitched atmospheric white noise effect.

______Europe Brass A recreation of a popular early analogue synth brass sound. Popular with Toto keys player,Toto, a favourite of Keith Emerson but probably most know from the massive hit 'The Final Countdown' by Europe.

______Fat Detune A big animated sound with a variety of applications from chordal work,as a bass, lead line or arpeggio.

______Fat Lead The name says it all! This is a monophonic lead line sound.

______Fooled Organ A recreation of the 'chopped' organ sound from the Who's "Won't Get Fooled Again".

______Howelling Wind A howling wind sound effect using asynchronous LFOs to control the sweeps in a constantly evolving fashion. Use the mod wheel to add a real-time interaction. Assignable Knobs 3 and 4 allow you to add rumble and/or more top end whilst Knob 2 adds a phase shifter effect to make it a bit more eerie and 'sci-fi'.

______JX Pad A recreation of a popular sound from the JX8/10 polysynth. It has a characteristic upwards pitch slur.

______[MW!] There A A fairly accurate recreation of the amazing Theremin and just like the real thing, you articulate Min and shape the sound yourself but using the mod wheel rather than the orginal's amplitude antenna. No sound is heard with the mod wheel at zero - you must open it yourself by 'playing' the mod wheel. With practice, you can create quite authentic Theremin recreations.

______Kitchen Sink A corny name but a great sound! A think sync sweep sound with a lot of control over the sweep using Assignable Knobs 1 and 2 which can transform the sound quite dramatically.

______Synth Strings An overtly synthesised but still useful string/pad sound.

______Kojoi A theoretical Japanese stringed instrument.

______Phantom A gentle synth sound that is notquite sure whether it's analog or digital!

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Sweet Lead A soft, haunting monophonic leadline sound with a slow, subtle filter sweep. Quite lovely and although ideally suited for dreamy pieces is equally effective over a harder backdrop as a good contrast.

______Smoothie A mellow, unobstrusive but rich and full pad sound.

______Random Formant Sample and hold effect applied to one of Fusion's vocal formant filter.

______To Meet A A recreation of a popular singing 'soprano' voice sound used by Japanese synthmeister, Soprano Tomita Isao San, on many of his astonishing renditions of romantic classical music by composers such as Debussy, Stravinsky, Ravel and others.

HOLLOW SUN #09 28.08.06 Another significant addition to Fusion's ever expanding sound library is now available featuring a variety of vintage keyboard samples plus a good range of VA synth sounds plus a raft of sounds and sound effects that you would only normally expect to hear emanating from some serious modular monster of yesteryear.

Programs 1-8 feature sampled material from legendary vintage keyboards. Tape Boys Choir The angelic sound of the Tron boy's choir.

Originally recorded at St. John's Wood, London, this is a rare but beautiful sound. Best used between G2 and F5 (the original Tron keyboard range). Use Assignable Knobs 1 and 2 to affect attack and release.

______Tape Mix Strings Three violins and a cello in unison create this this eerie and classic Tron sound.

______Tape Phaedra If you are at all familiar with Tangerine Dream's seminal 'Phaedra' album, this will strike a chord with you - the Mix Strings through a slow filter sweep to create an eerie, Gothic sound.

______Tape Brass The highly characteristic brass sound. S1 switches the pitch down an octave to re-create the 'half-speed' effect some people employed on the original.

______P5 Strings 1 A rich string sound from a genuine Prophet 5.

______P5 Strings 2 The same string sound combined with V-GER (below) to create a powerful layered sound.

______V-GER A big, dramatic FM sound.

______P5 Bass A solid synth bass sound sampled from a Prophet 5.

______Programs 9-24 feature Fusion's VA synth to re-create some classic sounds from a well- known single DCO polysynth. The synth's architecture has been replicated as closely as possible:

Single Oscillator (with phase-locked sub-oscillator) > Filter > Amplifier > Chorus with a single ADSR envelope and a sinewave LFO for modulation purposes

Like the original, is capable of producing a surprisingly wide range of sounds. The only concession made is the addition of a hint of reverb. In all the programs, Assignable Knob 3 can be used to remove the reverb. Knob 4 allows you to vary the chorus rate much like the switched chorus settings on the original. D'you Know A rich analogue string sound using a sawtooth wave as the basis. Strings 1 ______D'you Know A variation using an LFO-swept PWM instead. Strings 2 ______D'you Know Another string variation with a sub-oscillator for a thicker sound. Strings 3 ______D'you Know A smooth pad sound. Smooth 1 ______D'you Know A variation on the above with a sub-octave. Smooth 2 ______D'you Know A mildly resonant filter sweep. Assignable Knob 1 allows you to create a wider filter sweep Sweep and Knob 2 allows you to set the release time. S1 adds a sub-octave.

______D'you Know Inv A very characteristic inverted filter sweep popular on the original. S1 adds a sub-octave. Sweep ______D'you Know Brass A typical synth brass sound from the original. Knob 1 mellows the sound for a smoother brass sound whilst you can increase resonance with Knob 2. S1 adds a sub-octave.

______D'you Know PWM A pluckey sound with a distinctive PWM sweep by the envelope. S1 adds a sub-octave.

______D'you Know A pluckey square wave sound that is ideally suited for lead sounds but is also suitable for Square other applications. S1 adds a sub-octave.

______D'you Know Swell A slow, majestic filter sweep sound. S1 adds a sub-octave. ______D'you Know An effective organ sound. S1 switches out the default sub-octave. Organ ______D'you Know Bass A solid synth bass sound. S1 switches out the default sub-octave. 1 ______D'you Know Bass Another solid bass sound. S1 switches out the default sub-octave. 2 ______D'you Know Thick A thick, all-purpose synth sound that uses swirling LFO-swept PWM. Useful as a lead or bass sound but also suitable in other applications. S1 adds a sub-octave.

______D'you Know ARP1 A typical arpeggiated sound popular on the original. S1 adds a sub-octave.

______Programs 25-32 make use of Fusion's powerful VA synth to create sounds that are normally only heard coming from large modulars of yesteryear, not a modern workstation! In fact, many of them are inspired by pioneers of the early days of synthesis such as Morton Subotnick, Wendy Carlos and Isao Tomita. As such, many are atonal and somewhat abstract but can no doubt find a place in your work. Admittedly, these are not sounds for everyday use in mainstream music and are perhaps more suited to 'experimental' or abstract music but if nothing else, they show the power available in Fusion's VA synth and highlight the anti- aliased audio oscillators very effectively. Cross Mod [K1] Capable of synthesising very distinctive bell sounds, this uses Oscillator 2 modulated by Oscillator 1. Use Knob 1 to 'tune' the sound and create many different bell sounds. Knob 2 shortens envelope times for more percussive sounds. Although very 'enharmonic', this sound can produce a dramatic contrast in a track. Carlos used sounds like this to great effect, especially in 'Timesteps' from her score for 'A Clockwork Orange' and it was a favourite of Tomita's who used it regularly in his many interpretations of Dubussy, Ravel, Mussorgsky and Stravinsky.

______Ring Mod [K1] Similar to above but using Fusion's ring modulator instead.

______Sci-fi Descent A long, descending sine wave pitch sweep. Knob 1 introduces a sawtooth LFO sweep the rate of which can be set by Knob 2. Knob 3 controls the length of the descent.

______Ring Mod Ascent Almost the opposite of the above in that the sound rises. However, it also has the ring modulator switched so there is a descending element in the sound as the sum and difference frequencies are generated. Knob 1 adds square wave LFO modulation and Knob 2 controls its rate. Knob 3 controls envelope time. This is a recreation of a sound that Tomita (over)used on his first ever album 'Snowflakes Are Dancing' which were interpretations of the music of Debussy.

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Sawfilt Sweep Another sound that was often used by Tomita. It's a low pitched sound with a sawtooth LFO sweeping a slightly resonant filter. Play it down in the lower octaves so that the sound is so low, it's not heard as pitch but instead you can hear the individual clicks of the sub-audio oscillator. Knob 1 controls LFO modulation depth and Knob 2 controls the rate of the LFO. Tomita used this sound effectively to create a menacing low frequency atmosphere and he would manipulate the LFO rate in real-time to vary the sound (use Knob 2 to achieve the same effect).

S1 changes the sound's octave and S2 adds portamento.

______Sci-Fi Arpeggios Rising and falling atonal arpeggios by applying sample+hold to an LFO to create a stepped waveform. S1 changes the pitch sweep to upwards only and S2 changes it falling (Using both together as this creates rising and falling). Play with Knobs 1 and 2 to add variation - when the LFO rate and S+H rate change in relationship to each other, many different atonal arpeggios can be created that are reminiscent of some of the textures used in Morton Subotnick's seminal 1967 electronic music composition 'Silver Apples Of The Moon'.

______Classic S+H The clichéd (but classic) sound used by film makers to depict a computer running through some hefty calculations!

______Sine Wave Osc Turn your Fusion into a good old fashioned sine wave oscillator much like they would have used in the very early days of synthesis! Knob 1 sets the oscillator's frequency over an eight octave range and Knob 2 allows you to control the waveform's symmetry. Great for out-and-out sci-fi effects! Note the smooth, anti-aliased control of frequency and the lack of any audio aliasing artefacts at frequency extremes.

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HOLLOW SUN #10 xx.10.06 This latest update to Fusion's ever-expanding sound library features a wide range of sounds from modern, dreamy, 'new-age' pads to classic vintage.

Ancestral A wide, evolving soundscape.

______Prologue A rich pad tuned in fifths.

______Dream Synth A delicate digital vocal 'chime'. A classic PPG sound favoured by tangerine Dream and many others of the time.

______On Your Shore An atmospheric and evolving breathy pad.

______Velo Pad This one's unsure if it's digital or analog!!! S1 adds a fifth tuning interval.

______Kling EP A delicate digital electric piano sound.

______VeloVoxBel Delicate chimes with distant breathy vocals.

______Glass pad Brittle singing glass pad

______Mighty Mogue Three oscillators on full tilt from the synth that pretty much started it all!

______MiniMogue A rich, detuned string sound from an early original Mini. Strings ______Mogue 3Osc Rez A Mini's three oscillators tuned an octave apart with wide, slow resonant filter sweep. S1 adds authentic 'glide'.

______Mogue 3Osc 5ths As above but tuned a fifth apart.

______Mogue Tourist The classic sound from the famous bass pedals that underpinned many later Bass Genesis tracks. Solid and powerful. Also useful in the higher registers.

______MemMogue Pad A smooth pad sound.

______Mightier Mogue A big sound!

______Mogue 'JUMP' A chunky synth brass sound

______Mogue TriLead1 Two triangle waves so closely detuned that they sometimes almost cancel each other out on occasions to create a very 'organic', constantly evolving leadline sound. A firm favourite of the likes of Jan Hammer, Robin Lumley (Brand X) and Dave Stewart (Hatfield and the North) with its plucky, biting attack. Created using Fusion's VA synth to closely model the original Mini. S1 adds glide.

______Mogue TriLead2 As above but with a sub-octave.

______Mogue SquLead As above but using square waves - very much a trademark sound of Jan Hammer's.

______Mogue Opus 1 The string synth sound of the Opus. Not as respected or revered as other 'eminent' string synths (the Opus came to the market 5 or 6 years too late and pretty much vanished without trace in a world awash with 'proper' polysynths!), the string sound is actually smooth and lush and useful in any number of circumstances.

S1 adds a sub-octave

______Mogue Opus 2 As above but through a sworling phase shifter.

______Ancestral Shores A big pad sound that combines 'Ancestral and 'On Your Shore'.

______Mysts Of Time A big 'soundtrack' pad that combines 'Ancestral' and 'Prologue'.

______Frosted Glass A dreamy pad that combines 'Glass Pad' and a filtered version of 'Mogue Opus'.

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