Orbitone Collection II的构想很大程度上是对采用老式技术的非常规组合制成的复杂温暖电子纹理的原始版本的扩展…
1972年的Eminent 310 Unique本身就是组合风琴和弦乐合成器的一种非常不寻常的混合体，但特别之处在于它是三并行模拟合唱处理器，具有6个自由运行的时钟调制LFO，通常称为Orbitone。正是这种复杂的多径模拟效果使310U上的著名琴弦变得如此特殊，并稍加简化后的技术随后在Solina和ARP Omni琴弦合成器中获得了良好的效果。它最初的开发目的是有效地使高度移动的一锯齿变成三锯齿，而无需借助非常昂贵的费用和带有独立主振荡器的三个完整分频链的复杂性。
作为一个坦白的自认，有一天我突然想到，我手上有一个非常难得的机会，试图通过著名的Orbitone阶段喂食1938 Novachord 346。在咨询了310U的原理图一段时间后，我确定了一个可能合适的点来注入外部音频信号。令我高兴的是，这简直就是我听过的一些最自然的合成器弦。
现在装备了这个可怕的模拟效果处理器，我感到好奇，并通过它提供了许多其他来源，其中包括一种孤立的杂草丛生的乐器，即CS-01单合成器。以及Novachord我从Juno-106，CS-01，Crumar Bit One和Omega 8的310U Orbitone平台拨号获得的新补丁中采样的产品。此外，这些新采样材料是通过以下途径从乐器中获取的：一个模拟合唱单元，包括一系列黄铜和吉他音色。一些吉他声音也是通过将Minimoog 7751和Bit One通过1960年的Echo-Reverb（带有电子管缓冲静电Tel-ray“油壶”延迟装置）而产生的。通过将Juno-106通过重新安置的Polymoog Formant谐振器馈入，可以制作另一个谐振器合唱团。此外，直接从Eminent采样了一组器官停止器，并在电子音乐二人组Goldfrapp的Will Gregory的帮助下，将另一个大键琴音调拨入了Polymoog 203A 3211。
Orbitone Collection II使用与原始发行版相同的经过验证的4声音分层引擎，但可以在使用源工具和技术的不同组合构造的全新样本集上运行。
*使用的设备：1972年的杰出310U，1976年的Minimoog，1938年的Novachord，1978年的Polymoog共振峰共振器部分，1960年的回声混响管“油罐”延迟器，Polymoog 3211，Juno-106，Crumar Bit One，Studio Electronics Omega 8，CE- 300合唱，CS-01。
•Orbitone Collection I和II，由607个超长的24位样本组成
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…
Featuring The Worlds Oldest String Synth That Never Was!…
The 1972 Eminent 310 Unique was a very unusual mix of combo organ and string synthesizer in its own right but what was particularly special about it was the triple parallel analog chorus processor with 6 free running clock modulating LFOs better known as the Orbitone. It is this complex multi-path analog effect that makes the famous strings on the 310U so very special and slightly simplified technology was later used to good effect in the Solina and ARP Omni string synthesizers. It was originally developed to effectively make one rank of sawtooths become three with a high degree of movement without resorting to the very significant expense and complexity of three full divide down chains with independent master oscillators.
Being a self confessed boffin it suddenly occurred to me one day that I had a fantastically rare opportunity on my hands to attempt to feed 1938 Novachord 346 through the Orbitone stages on the Eminent. After consulting the 310U’s sea of schematics for some time I determined a potentially suitable point to inject an external audio signal. To my delight this resulted in quite simply some of the most organic synth strings I’ve ever heard..
All those lumps bumps and imperfections are thrown into a rich soup of analog processing and the result is truly delicious!
Now armed with this monstrous analog effects processor I got curious and fed a number of other sources through it including one instrument that is known to be a little weedy in isolation namely the little CS-01 monosynth. As well as the Novachord I sampled offerings from new patches I dialled up via the 310U Orbitone stages from the Juno-106, CS-01, Crumar Bit One and Omega 8. In addition to this some new sampled material was taken from the instruments via an analog chorus unit including a series of brass and guitar timbres. Some of the guitar sounds were also created by passing Minimoog 7751 and the Bit One through a 1960’s Echo-Reverb featuring a tube buffered electrostatic Tel-ray “Oil Can” delay unit. A further resonator choir was made by feeding the Juno-106 through the rehoused Polymoog Formant Resonator. In addition, a combination of organ stops were sampled directly from the Eminent and a further harpsichord patch was dialled into Polymoog 203A 3211 courtesy of Will Gregory of the electronic music duo Goldfrapp.
Orbitone Collection II utilises the same proven 4-voice layering engine as the original release but operating on a brand new sample set constructed using a different combination of source instruments and techniques.
As well as the new library featuring 40 example patches and 40 layered multis, a further 40 combined layers have been created that combine patches from both libraries together to form new layered instruments and textures. The new sounds have been presented as a merged installation thus permitting the user to access and walk through patches from both libraries as one.
*Equipment Used: 1972 Eminent 310U, 1976 Minimoog, 1938 Novachord, rehoused 1978 Polymoog Formant Resonator Section, 1960’s Echo-Reverb tube “Oil Can” Delay, Polymoog 3211, Juno-106, Crumar Bit One, Studio Electronics Omega 8, CE-300 chorus, CS-01.
The Orbitone Collection requires Kontakt version 4.2.2 or higher.
•The Orbitone Collection I & II consisting of 607 generously long 24-bit samples
•4-Voice Layering Engine with ability to save user patches
•48 multi-sampled instruments acting as voices/partials in the layering engine
•80 editable example instrument patches (in .nki format)
•40 editable example layered multis (20 combining Orbitone II and 20 combining both libraries)