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Tag: synth plugins

Review: PolyKB III Offers Synthheads a Top-Shelf Analog Synth Plugin
XILS-Lab deserves its reputation as one of the best software synth makers in the industry. They remain a favorite of TabMuse, as evidenced by our previous reviews of XILS 4, PolyM, KaoX, and XILS 505. The XILS team’s analog synth plugin, PolyKB III, provides another winner, with a top-shelf emulation of the legendary RSF PolyKobol 2 analog polysynth.

PolyKB III offers users a straightforward architecture, especially for those boasting a strong comfort level with subtractive synthesis. Still, that same concise design also makes it easy for new synthheads to grasp. Of course, the plugin’s sonics are killer, featuring the analog character and sense of chaos typical of other XILS plugins.

PolyKB III Features
- Three Morphing Oscillators
- Two Multimode Filters
- Three ADSR Envelopes
- Two LFOs
- Polyphonic Step Sequencer
- Flexible Arpeggiator
- Four Robust Modulation Matrixes
- Including Unique X-Y Voice and Space Matrixes
- That Bespoke XILS-Lab Analog Character
- Available for 199 Euros
Let’s dive into the details of the PolyKB III, its architecture, UI, and sonics. We enjoyed exploring its simple, yet powerful, synth design. The robust modulation possibilities, including the cool X-Y Voice and Space modules, provide many intriguing options for creative sound designers.

Here’s a quick piece by Church of Hed, exploring four different PolyKB III patches in an electronic ditty with a pretentious title, PolyKB III Synth Quartet No.1. The four parts serve as a bass line, a pad, a lead, and synth effects.

PolyKB III Features an Intuitive User Interface

Like other XILS-Lab synth plugins, PolyKB III sports a skeuomorphic user interface design based on the original hardware synth. Of course, other UI features also match other XILS-Lab designs, including the main toolbar primarily used for preset management. Expect easy access to the plugin’s settings and help documentation also on this toolbar.

PolyKB III features an intuitive user interface. Image by XILS-Lab

This review focuses on the meat of the PolyKB III UI and its emulation of the original PolyKobol 2. The straightforward design of the synth architecture results in a plugin easily accessible to anyone familiar with subtractive synthesis. The main interface window provides access to all the modules of the synth, including oscillators, LFOs, filters, and envelopes.

A section to the left of these synth modules offers playback support for the arpeggiator, sequencer, and volume control. Above this functionality lies a tabbed area with access to more detailed functionality. This includes sections for editing sequences and arpeggiations, the modulation matrixes, effects, and the unique Voice XY and Space XY mod matrixes. We cover those later in this review.

A virtual keyboard with pitch and modulation wheels along with tuning, hold, and glide support round out this synth plugin’s UI. All told, PolyKB III’s user interface makes it easy to dive right into designing bespoke patches or tweaking the robust collection of factory presets.

Exploring the PolyKB III Synth Modules

The original PolyKobol 2’s variable waveform oscillators served as a calling card to synth freaks in the 80s. Of course, this feature remains commonplace in modern hardware synth design, like in our beloved Moog Sub 37. The PolyKB III’s oscillator modules emulate these real-time variable waveforms, making them attractive destinations in the plugin’s robust modulation functionality.

The PolyKB III oscillator module features three oscillators, each with a waveform varying from a triangle to a narrow pulse wave. It provides the ability to hard sync oscillator 1 to oscillators 2 and 3. The second oscillator also functions as an LFO by clicking the LOW switch. Access the white noise source from within this module to add a measure of grunge or grit to your patches. Note that each oscillator includes either a volume knob or switches in lieu of a separate mixer module.

The two 4-pole filter modules operate in high-pass, low-pass, or bandpass mode, each with its own ADSR envelope. A mixer knob at the bottom of the volume envelope controls the relative level of the two filters. Each filter includes an array of source switches with inputs from the three oscillators and the white noise. The second filter also takes the output of the first as an input.

Not surprisingly, cranking the resonance sends either filter into self-oscillating mode. It sounds great, adding bite to any classic synth sound. Note that both filters still self-oscillate without any input signal from the oscillators. Each filter module has other knobs controlling how much the keyboard follow and envelope settings modulate the filter’s cutoff frequency.

Three ADSR envelope modules all sport the typical knobs for controlling, attack, decay, sustain, and release. The two filter envelopes also include a LO switch for looping. The KB switch turns the keyboard follow functionality on or off. The dual MUL switch increases the length of the four envelope parameters by a factor of 2 to 4, suitable for creating pads or drones.

The PolyKB III synth architecture also boasts two dedicated LFOs. Of course, these serve as great modulation sources. A collection of switches controls the shape of each LFO’s waveform. One cool feature provided by PolyKB III involves selecting multiple waveforms simultaneously to create complex shapes to be used for modulation. This feature warrants a deeper dive for sound designers.

Each LFO has a Rate knob including a switch for syncing to the clock of your DAW application. They also include Delay and Fade knobs providing a contour for the impact of each LFO’s modulation. When combined with the ability to combine waveforms, the LFOs offer a unique capability to create synth patches with a strange and evolving sense of motion.

Perusing the Rest of the PolyKB III Interface and Architecture

Let’s explore the rest of the PolyKB III UI and synth architecture. As noted earlier, the plugin features four separate mod matrixes, accessible within the tabbed section on the left side of the interface. In the Wired Mod tab, one matrix features hardwired sources and destinations, emulating the original PolyKobol modulation support.

The sources for this first matrix include LFO 1, LFO 2/Noise, ADSR 2, VCO 2, and pressure/velocity. Expect a standard array of destinations: the pitch and waveform of the three VCOs and the cutoff frequency for the two filters. Remember, those continuously variable waveforms were the “feature of note” for the original PolyKobol.

Note each source’s knob for controlling the modulation level, while the Wheel switch also lets a mod wheel join in on the fun. Additionally, each destination allows switching between positive and negative modulation. The pressure and velocity mod source provides the ability to control Envelope 1’s attack and decay, the VCA, and the VCF cutoff frequency.

A double-barreled 2X4 modulation matrix inside the User Mod tab allows synth heads a choice of both sources and destinations. The two sources each include their own Amount knob controlling the level of modulation. The four destinations all allow both positive and negative modulation. These user assignable matrixes let sound designers fill in any gaps not provided by the hard-wired matrix.

The Voice XY matrix supports a graphical X-Y display approach to modulation. The sources are hardwired, with the number of modulation points based on whether a synth path is in Unison or Polyphonic mode. Obviously, the latter creates more points. The synth programmer draws paths from the existing points in the display to modulate the chosen destination: the same options as the User Mod matrix.

Note the Space XY tab includes the fourth mod matrix, with a similar X-Y approach to the stereo panning of voices within a synth patch. These last two mod matrixes combine to provide sound designers with the means to create classic subtractive synth patches with a modern sheen. Both are powerful tools to add a measure of movement to any PolyKB III sound, especially those using multiple voices.

PolyKB III also features a powerful sequencer and arpeggiator, accessible in separate tabs, with their live performance controls lurking underneath the tab panel. The arpeggiator’s simplicity belies its power, considering the ability to build chord progressions into any arpeggiation. The polyphonic sequencer provides the ability to generate complex sequences – one for each voice – as well as serving as a useful modulation source.

Finally, PolyKB III includes an effects engine with a typical array of effectery: delay, phaser, chorus, reverb, and EQ. Expect to be familiar with the controls for each; many of which are also modulation destinations. All told, they provide a great way to finalize a synth patch design.

A Synth Plugin with a True Sense of Character

Typical of the other XILS-Lab synths reviewed at TabMuse, PolyKB III provides a real sense of character. Within a mix, it fits nicely side by side with my hardware synths – both analog and digital. The Drift knob provides an example of this XILS approach. It emulates variations between individual synth voices based on the subtle differences in the hardware components.

This synth plugin supports the wide array of sonic possibilities typical of subtractive synthesis, but takes things further with its robust modulation architecture, especially the Voice XY and Space XY matrixes. Check out the PolyKB III Synth Quartet No. 1 (a sufficiently pretentious title!) video posted earlier for an example of this sonic range.

Like the other XILS-Lab synths we reviewed, we give PolyKB III our highest recommendation. Considering the stunted historical legacy of the original PolyKobol, it heartens one to see a plugin inspired by it to make a real impact in the modern world of synth design. Check it out today!
September 17, 2023
Review: AAS has a Modular Synth Winner With Multiphonics CV-1
The software realm boasts multiple modular synth apps and plugins for both the iOS and desktop platforms. We previously covered miRack and Audulus on iOS; I experimented with other plugins for the desktop as well. The Moog Modular (Arturia version) and Model 15 definitely stand out on PC and mobile respectively.

When I heard Applied Acoustic Systems crafted their own modular synth environment, Multiphonics CV-1, I immediately needed to check it out. After all, Objeq Delay remains one of my favorite effects plugins; leveraging physical modeling to sufficiently mangle any sonic source in highly musical ways. CV-1 also includes a filter variant of Objeq as a module. I’m sold!

Multiphonics CV-1 Features
- Modular Synth Environment With Great Sonics and a Clean Interface
- A Host of Modules: Oscillators, Filters, Envelopes, Mixers, Sequencers, Etc.
- The AAS Objeq Filter Module Opens New Worlds of Sound Design
- Creating Your Own Patches is Easy and Fun
- A Copious Number of Patches Spanning a Wide Array of Sonic Categories
- Tutorial Patches Help You Learn Patch Architecture
- Each Patch Has Built-In Delay and Reverb
- Plugin Compatible With All Major DAWs, Plus a Standalone Version
- Available For Mac OS X (10.11 and Later) and Windows 10 PCs
- Only $99 From AAS!
If you remain curious about modular synthesis, but don’t want to spend thousands of dollars on a hardware system, check out CV-1. It offers a great pathway for learning the possibilities of this limitless synthesizer frontier. Once again, the inclusion of the Objeq Filter module also provides a host of unique sonic possibilities, especially in the percussion realm.

The Clean CV-1 Interface Makes It Easy to Use

Unlike many other modular synth software applications, Multiphonics foregoes a skeuomorphic interface. Instead, it features a clean design, similar to the rest of the AAS arsenal. This graphical approach makes sense, as CV-1 doesn’t feature software versions of real-world hardware modular synth modules. It also plays a key role in the ease of use of the app.

Multiphonics CV-1 provides an easy to use interface. Screenshot by author.

Surrounding CV-1’s virtual synth rack are four panels. The left panel lets you navigate the patch or module browsers. The right panel provides access to the app’s settings or the built-in delay and reverb effects. The bottom panel includes a virtual keyboard. Finally, the toolbar resides in the top panel, which lets you hide the other three panels. This extra screen real estate helps when navigating a large patch.

The toolbar also lets you switch between patches, access the excellent CV-1 help system, and includes a level meter. Undo/Redo switches and the ability to control the opacity of patch cables also exist. Again, this clean interface makes playing existing patches and creating new ones an easy process.

I Dream of Virtual Wires

Multiphonics CV-1’s patch creation process offers an easy way to create a vast array of sounds from scratch, as well as modify existing patches. The application includes a host of patches created by some of the top sound designers in the industry. There are also tutorial patches to help you learn the basics. Additionally, nearly all of the sound designer patches include the Patch Info module describing their work – also great for learning.

CV-1 boasts a copious amount of sonic possibilities. The Classic VCO module includes an FM Input which makes creating patches using that synthesis type a simple process. Check out the robust supply of example patches to get a few insights on FM synthesis for your own work.

There are a host of modules covering the full range of modular synthesis. These include oscillators, filters, mixers, envelopes, and more. Each patch includes a few standard modules, like Keyboard, which provides note, gate, and modulation signals. The Output module sets overall levels with sends to the embedded reverb and delay.

The Macro module provides controllable modulation throughout the patch. At a minimum, map the knobs on your MIDI controller to the four macro controls. Finally, a Clock module is used for sequencing and other time-based fun. Of course, CV-1 supports both internal and external clocks with swing.

The Objeq Filter Module Won My Heart

As mentioned earlier, CV-1 also includes the filter from Objeq Delay as a module. Check out the beat from the Church of Hed track, Sandstoned No. 2 to get a feel for the sonic mangling capabilities of Objeq Delay.
<a href="https://quarkspace.bandcamp.com/album/sandstoned">Sandstoned by Church of Hed</a>
Once again, the inclusion of Objeq Filter is a gamechanger for building your own sound mangling patches, especially those with a world music or percussion focus. Of course, the “world” in question needn’t be in our own solar system. As a modular system without versions of real-world Eurorack modules, Objeq Filter gives CV-1 its own unique sonic depth that likely enhances your interest in the synth.

Of course, building a full range of classic analog patches lies squarely within CV-1’s wheelhouse. Cool examples abound within the presets, with explanations provided by most of the patch creators.

Once again, if you are interested in modular synthesis but want to explore the software realm before spending on hardware, Multiphonics CV-1 belongs on your shortlist. It serves as a perfect introduction to the techniques and sound domain of the Eurorack world. Notably, the standard layouts provided by the included modules make patch design easier. Even Eurorack grognards need to check out the unique sound possibilities of the Objeq Filter module. Once again, it’s a sonic gamechanger. We wholeheartedly recommend Multiphonics CV-1 for anyone looking for a software-based modular synthesis platform. It’s that good!
August 20, 2021
Review: Summon That Vintage Synth Sound With Rob Papen BIT
Rob Papen boasts one of the top lines of synth plugins in the music production world. We regularly use Predator 2 on our own projects. It provides an excellent, state of the art sound while also being easy to use.

Recently, Rob’s team released BIT, a soft synth focused on those classic vintage sounds of yore. Again, ease of use and a clear interface are also hallmarks of his latest product. His team managed to fit the entire synth architecture on essentially a single screen.

Rob Papen BIT Features
- 16-Voice Synth Architecture Focusing on Analog Modeled Synthesis
- Two Oscillators With Classic Waveforms and Dedicated LFO and Envelope
- Oscillator Modulation Supports FM, Ring Modulation, Phase Modulation
- Sub-Oscillator Attached to Oscillator 2
- Noise Oscillator With White and Pink
- Two Filters With 11 Different Filter Types
- Dedicated Filter Envelopes With Routing Options
- LFO With Three Waveforms
- AMP with Velocity and Dedicated Envelope
- 16-Step Arpeggiator Supports Weirdo Time Signatures
- Modulation Matrix
- Effects Include Chorus, Flanger, Phaser, Delay, and Reverb
- Single Screen Interface
- Nearly 1,000 Presets
- Available for $99 or as Part of the Explorer 5 Bundle
In short, Rob Papen BIT is a no-brainer for musicians looking for a vintage virtual analog sound. It’s a joy to use and sounds great. Let’s dive into the details to see if BIT makes sense as part of your plugin arsenal.

BIT Provides a Clean Synthesizer Interface

Other than the patch library, BIT fits perfectly on a single screen. The two oscillators reside at the top left, with knobs and switches clearly laid out. Virtual oscilloscopes offer a real-time view of each oscillator waveform and the effects of modulation, providing useful insights for someone new to synthesis.

Rob Papen’s BIT is a top notch virtual analog synth plugin. Image copyright Rob Papen.

The two filters, AMP, envelopes, and LFO all sit beneath the oscillators. Once again, the clear layout of all knobs, switches, and drop-downs makes parameter tweaking a breeze. It’s also possible to sync the envelopes to the tempo of your DAW.

A full-fledged 16-step arpeggiator resides at the bottom of the screen. Thankfully, the number of steps is variable, putting the wonder of those weirdo time signatures at your fingertips. Expect a full array of arpeggiator functionality, including swing, slide, a variety of different directional modes, and access to a convenient key entry feature.

The right side of the interface includes the Play Mode, a pitch LFO, as well as a switchable output waveform oscilloscope and simple modulation matrix. Below that is an effects section, including a flanger, phaser, delay, reverb, and chorus. Once again, BIT’s user interface makes it easy to create your own patches and tweak the copious number of presets.

Rob Papen BIT Features a Powerful Virtual Analog Sound

Since BIT features those nearly 1000 presets, with many of them designed by Rob Papen himself, some patch surfing provides insight into the synth’s sonic depth. As noted above, the well-designed interface facilitates the tweaking of presets, ultimately making something usable for your own projects. Even writing a few cool arpeggios – preferably in an odd time signature – helps to put the patches through their paces.

Sonically, BIT ranks with other excellent virtual analog soft synths. Not surprisingly, it reminds me of Rob Papen Predator 2. The simpler interface compared to that Papen beast makes it easier to conjure up a suitable synth patch for nearly all electronic music, spacerock, and cool prog rock needs.

Both oscillators sound realistic, and you are also able to simulate actual synth hardware by modulating the two, using FM, phase modulation, or the bite of the ring modulation. The simple modulation matrix lets you easily add a sense of motion to your own patches. BIT uses 16-voices, so the classic polysynth tones of the late 70s and early 80s are well within reach.

In the end, if you want a virtual analog synth plugin that sounds great and features an easy to tweak interface, BIT belongs on your shortlist. Rob Papen continues to be one of the most trusted names in the software synthesizer world, and this release carries on that tradition. Get it as part of his Explorer 5 bundle to add some breadth to your plugin collection.
October 21, 2019
Review: String Studio VS-3 is a Powerful Physical Modeling Synth
Applied Acoustics Systems continues to be one of the leading lights when it comes to physical modeled synthesizer and effects plugins. We previously covered their Objeq Delay and Objeq effects: the former for the desktop and the latter on the iOS platform. They are both able to transform basic sounds into something otherworldly, as evidenced by Object Delay’s funky beat-mangling on Church of Hed’s Sandstoned No. 2.

AAS recently released String Studio VS-3, a flexible synth plugin based on the company’s state of the art string oscillator design. It’s a fresh version, superseding VS-2, with new multi-timbral support and two modulators that add a sense of motion to a patch. Thankfully, VS-3 is fully compatible with patches created in VS-2

String Studio VS-3 Features
- Unique String-Based Physical Modeled Synthesis
- Two-Voice Multi-Timbral Architecture
- Two Modulators Support MIDI Controllers
- Filters, LFOs, Envelopes, and more
- Enhanced Library with Patches from Richard Devine, Thiago Pinheiro, and more
- Multi-Effects Include Reverb, EQ, Compressor, Delay and more
- Import Microtonal Tunings using Scala File Format
- Supports Most Popular Plugin Formats
- Available from AAS for $199
Sound designers or electronic musicians looking for new sonic inspirations need to check out String Studio VS-3. A unique and flexible architecture makes it easy to conjure fresh new ideas for your next project. It belongs in the arsenal of those forward-looking sonic artists among you.

The Intuitive String Studio Interface

If you are familiar with AAS’s other plugins, diving right into String Studio VS-3 is a breeze. A Utility section at the top provides access to VS-3 patch library (AAS calls patches “sounds”) and other functionality, including the Layer mixer. You are able to layer or split the two voices as needed. The interface makes it easy.

String Studio’s Play screen works well for live performance. Screenshot by author.

Below the Utility section lies the meat of String Studio’s interface. This includes two identical tab menus for each synth voice, plus a separate Master effects section. The tab menus include separate sections titled Play, Synth, Effects, and Browse.

The Play section provides access to most commonly used parameters for live or real-time studio performance; this includes the arpeggiator control and basic effects functionality. The Synth section is where the fun lies, as you are able to tweak parameters related to the physical model in your patch. The Browse tab accesses the patch library, letting you peruse different patches and layers.

A Robust Collection of String Oscillators

The synth architecture of the VS-3 closely mimics that of a stringed instrument, as evidenced by the Synth section of the plugin. Simply tweaking the wide range of the parameters is one of the most fun aspects of String Studio. I am still a proud owner of the Korg Prophecy and Z1 after two-decades, so physical modeling synth architecture ranks among my favorites. AAS makes programming this synth architecture fun, easy, and rewarding.

String Studio makes physical modeling fun! Screenshot by author.

String Studio VS-3 provides three main oscillator types: bowed string, plucked string, and hammered string. Within those three categories, a variety of picks, bows, frets, dampers, and the string model itself offers additional options within the Exciter module. Perusing the copious patch library gives a good idea of the sound design possibilities with each, but just playing around with the various parameters also provides insights and inspiration.

Modifying the parameters in the Body module is also useful, especially with percussive patches. Being first a drummer, I tend to gravitate towards these kinds of sounds, especially when physically modeled. Once again, explore the patch library for sonic ideas and read the excellent AAS manual for String Studio VS-3 to garner additional insights on the physical models.

More Familiar Synth Features Abound

A versatile filter helps give patches a sound more akin to a traditional synth. Most of its standard parameters are self-explanatory. The fresh support for two modulators lets you target certain synth parameters with a MIDI controller. Once again, this approach adds a sense of motion and expressiveness to your sonic proceedings.

Other useful features include an arpeggiator with a cool rhythm pattern feature, a vibrato module, and the ability to load microtuning tables. The latter is especially helpful when designing an otherworldly stringed instrument, perhaps the bicycle wheel lookalike instrument played by Spock in the original Star Trek series?

As noted earlier, each voice gets its own multi-effects module, along with a master one for the entire patch. Delay, reverb, EQ, compressor, flanger, and more are all available to finish off your patch. There is also a Distortion module in the Synth section, paired with the Body module.

Ultimately, I think String Studio VS-3 works the best when focused on more creative types of sounds, as opposed to emulations of patches created by a traditional subtractive synth. The included Richard Devine Sound Pack provides copious examples of what’s possible when the shackles are removed. Thankfully, the intuitive user interface makes creating your own patches – or tweaking a preset – an easy process.

Applied Acoustics has another winner on their hands with String Studio VS-3. If physical modeled synth architecture seems daunting, AAS makes it easier than ever before. The plugin warrants and rewards experimentation. It’s now possible to create sounds that uniquely combine realism with the surreal. Recommended.
March 6, 2019
Review: XILS 4 Brings Tim Blake’s Crystal Machine Synth to Your Desktop
The folks at XILS-lab continue to amaze with realistic synth plugins emulating classics from those halcyon days of analog yore. We previously reviewed their PolyM, a great take on the Polymoog. This time out, our eyes and ears are trained on XILS-4, inspired by the setup of Tim Blake, legendary synth-master of those psychedelic spacerock Dadaists, Gong. Tim also played with Hawkwind, the other twin pillar of spacerock.

XILS 4 Features
- Two VCS3 Synths Working in Tandem
- 256 Step Virtual Analog Poly-Sequencer Also Modulates
- 12 Oscillators in Six Pairs, Two Noise Generators
- Two Filters and Four Envelopes and Two Virtual Joysticks
- Effects Include Chorus, Delay, Phaser, Spring Reverb
- Cascade Mode Lets Synth 1 Feed the Inputs of Synth 2
- Two Virtual Pin Matrixes Allow Over 1000 Connections
- Over 350 Presets Plus Support for XILS 3 Presets
- Stunning Sound Quality
- Supports Most Popular Plugin Formats for Windows and OS X
- Available for $179 from XILS-lab
XILS 4 has been kicking my ass for a few weeks, which likely delayed this review. It emulates a different type of synthesizer compared to PolyM, but all the same, the sound quality simply blows me away. XILS-lab knows what they are doing. Let’s dive in.

The Genesis of XILS 4

XILS-lab garnered massive praise for its XILS 3 plugin, which effectively emulates the legendary EMS VCS 3 synth of the late 60s, while adding a second modulation matrix. Soon, the intrepid developers looked to expand the plugin into something greater. The prototype of the VCS 4 – essentially two connected VCS 3s – seemed like the perfect model for their new project.

Tim Blake soon entered the fray. His Crystal Machine modular synth connected two EMS Synthi units, the successor of the VCS 3, following a similar model as the never-released VCS 4. I reached out to Tim for comments on his contribution to the XILS 4 project.

“Xavier (Oudin, XILS-lab’s chief) has been making great plugins! I really liked the first run of his XILS (3) and suggested to him about looking at the modified Crystal Machine one. Not all my mods were taken into account, but some were. I think the most important mods I brought, Oscillator Sync and PWM work well together” said Blake.

Tim Blake’s influence on the synthesizer world cannot be overstated. Check out his work with Gong (especially the Radio Gnome Invisible trilogy), and his solo albums, Crystal Machine and Blake’s New Jerusalem. He ranks with Edgar Froese and Klaus Schulze as three seminal electronic music pioneers. Obviously, he’s also a big influence on my own musical projects, Church of Hed and Quarkspace.

Visit the Tim Blake Facebook page or website for more information.

It’s Like Two VCS 3s All Rolled Into One!

The meat of the XILS 4 interface lurks within its two VCS 3 synths with the addition of a third panel for the poly-sequencer and other modules. A simple button click navigates between the three. Each synth panel matches the look of the original, with the unique EMS modulation matrix also included.

XILS 4’s robust user interface in action. Screenshot by author.

XILS 4 is a fully modular synth, so no connections are hard-wired. You must embrace the matrix! Actually there are two matrixes for each synth: one 16×16 main matrix, and a 15×15 extended matrix. A tab interface lets you display either or both.

A similar tabbed interface exists on the sequencer panel. This lets you access effects, envelopes, LFOs, inputs, and the sequencer itself. Pretty much every parameter is available on either matrix. The extended version lets you add some of the more esoteric parameters using a drop down menu, for example, the those supporting the sample and hold module.

With such a complex interface, the learning curve for XILS 4 is greater than other synth plugins as are its rewards. Simply put, it’s worth your time.

A Copious Amount of Presets to Inspire Your Patch Design

Familiarity with the excellent iVCS3 iOS app made exploring XILS 4 an easier process. Simply peruse the patch library to get an idea for the massive range of sounds. XILS-lab also provides a collection of tutorial patches to help you design your own sounds.

The new (as of version 1.5) patch library also warrants mention. It uses a similar style as other synth plugins, like Massive, where you search for patches based on attributes, like Author, Style, Type, etc. It’s a useful design considering the large number of presets with XILS 4, as well as the ones you’ll soon create.

An Obviously Flexible Synth Architecture

Combining two classic matrix synthesizers with a sequencer and other modules makes XILS 4 a perfect introduction to the world of modular synthesis. Sure, it doesn’t provide the flexibility of a full hardware Eurorack system or a virtual equivalent, like VCV or Reaktor 6. Still, it’s a learning opportunity being able to combine and sync the two synths, not to mention the extra modules, most notably the Sample and Hold and Voltage Processor.

Each synth sports three oscillator pairs, with a host of waveshaping and sync options. You are even able to sync oscillators between the two virtual VCS 3 units. Noise generators, ring modulators, and flexible filters combine to generate a gritty and powerful sound.

The versatile envelopes support both ADSR and trapezoidal formats. One envelope per synth is hard-wired to its VCA. Two extra envelopes are also available. Use them as is your wont using the matrix connections.

XILS 4 can also be used as a plugin effect. Input signals, which are sent to the first synth, get their own collection of modules, including transient and envelope followers. A pitch tracker extracts a tonal signal from the input; letting you route it to the oscillators or anywhere else within the matrix.

I plan on exploring this functionality more in the future. Ideas are percolating.

The keyboard and sequencer each get their own modulation matrix. XILS 4’s sequencer is especially powerful, letting you construct six-track sequences able to modulate synth parameters in addition to the standard note and gate triggers.

You know the first thing I did with the sequencer was change it to 10-steps. It’s all about those odd time signatures, folks.

Sound Quality That Shakes the Rafters

Just like PolyM, XILS 4 offers stunning sound quality. It holds its own in my studio, easily sharing sonic space with the Moog Sub 37 and Make Noise 0-Coast. The realistic sound puts XILS-lab at the pinnacle of those synth plugin makers specializing in vintage instruments.

Once again, make it a point to spend significant time exploring the patch library. You get an idea of the possibilities for mayhem; while also learning a bit about EMS’s unique take on modular synthesis. With a bit of time and effort, creating your own patches becomes second nature.

XILS 4 ranks near the top of any synth plugin in our library. It provides a great emulation of the prototype VCS 4, while also being inspired by Tim Blake’s Crystal Machine. And if you don’t take my word on it, listen to the opinion of electronic music legend, Jean-Michel Jarre:

“My 2 favourite analog synths are probably the VCS 3 and the Synthex. So when I heard that a company was releasing a software version, I was quite cautious. Today the XILS 4 is one of my favourite plugin! I find the same excitement working with it, (as) with the original, plus lots of other features: 2 VCS 3, interconnected sequencer, etc. The sound is great and it is one of the best in the market for experimenting (with) new ways of creating sounds!” Enough said!
January 24, 2019
Review: PolyM offers a Great Polymoog Emulation
The Polymoog remains one of the most underrated Moog synthesizers. Gary Numan used it to great effect in the late 70s, but its complex design led to a poor reliability factor, with Dave Smith’s Prophet 5 ultimately winning the polyphonic analog race. XILS-Labs’ recently released emulation – the PolyM – brings the olde beast back to life, and is of interest to anyone looking to add bit of vintage vibe to their modern virtual synth collection.

PolyM Features
- 71-voice “Unlimited” Polyphony
- Synth Architecture based on Two Top Octave Divider Oscillators
- Filters Galore: Monophonic 24db Ladder, Resonator Bank, Acoustic Filter Bank
- Those Old School Polymoog Preset Buttons
- Delay, Phaser, Reverb – not on the Original Polymoog
- Emulations of the Original’s LFOs and Envelopes
- Modulation Matrix
- Supports Most Popular Plugin Formats
- Available for 99 Euros (149 after August 31)
The PolyM features a great 70s sound, a bit grungy in the right spots, with a warm feel typical of that classic era of analog synths. Whether you are going old school, or if the “newer” exponents of this sound – Air, Boards of Canada, etc. – are more up your alley, PolyM belongs in your plugin library.

The Divided Alien Octave

The original Polymoog 203a had more similarities with the classic string synths of the era compared to a true polyphonic synth. Its divide-down architecture is more akin to an organ or string synthesizer. This design principle is also at the core of the PolyM, including the original’s split keyboard fader and octave balance controls.

The PolyM in virtual action. Screenshot by Author.

The two Top Octave Divider oscillators can be tuned against each other, creating that classic beat phasing effect. Virtual buttons and sliders let you tweak the pitch for each oscillator as well as switch between free or locked mode. Each oscillator also sports an LFO controlling frequency modulation (or phase modulation when in locked mode.)

Being able to switch between oscillator waveforms based on the keyboard split (lower and upper) is a classic feature of the original Polymoog emulated nicely in the PolyM. Additional mixing and shaping controls add to the fun. The Loudness Contour section serves as the VCA envelope for the synth, with a toggle switch allowing you to change between a traditional ADSR envelope and the unique “Legacy” one from the Polymoog.

The PolyM mimics the Polymoog’s interface accurately. Everything is where one expects it to be, including the original blue preset buttons — another hint at the Polymoog’s similarity to the string synthesizers of its day. There are additional screens to manage the patch library as well as other features unique to the plugin, like the modulation matrix, reverb, phaser, and delay. As noted earlier, you are also able to control the synth’s mix in a variety of ways, including controlling the balance between the three sets of octave pairs, as well as the discrete outputs of the PolyM’s various filter sections… speaking of which.

Polymoog Filter Insanity

Like the original, the PolyM offers copious filter options, offering flexibility when creating your sonic mayhem. The polyphonic filter sports three different modes (high, low, and band pass) and comes with its own envelope. You are also able to disable the filter for either half of the keyboard.

Unlike its polyphonic brother, the 24db ladder filter is applied after all the notes are mixed together. However, it does offer the same disabling toggle switch for each half of the keyboard. Expect the standard array of filter controls, along with modulation – including an LFO with sine and sample and hold waves – to round out this filter.

There is also a resonators filter section, with 6db and 12db modes, for that extra sonic push over the mindfreak cliff. This filter includes cutoff and resonance controls for each octave pair separately. Switching between high, low, and band pass is also possible.

The MODE filter is a separate circuit based on the nine preset filters accessed from the classic blue buttons in the middle of the synth interface. These can be engaged whether or not the underlying preset sound is loaded. For instance, you can use a string MODE filter setting with your own patch creation.

A Must-have Synth Plugin for Moogheads

A fully-featured modulation matrix is one example on how the PolyM goes beyond the functionality of the original Polymoog. Its sound quality also comes pretty close as well; rivaling Arturia’s stable of emulations of classic 70s and 80s synthesizer models.

Personally, I expect to “reach” for the PolyM when I need its unique “string synth meets analog polyphonic” sound stylings. If you are interested in this era of Moog synthesizers, and can’t afford the several thousand dollars for a restored version, the PolyM belongs in your plugin collection, stat.

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August 24, 2017
Review: Predator 2 continues the Rob Papen Synth Tradition
Rob Papen Predator has been a leading software synthesizer for years, known for its excellent virtual analog sound and an intuitive user interface. Needless to say, the recent release of its successor was highly anticipated throughout the synth plugin world. Predator 2 does not disappoint, with a host of new features to go along with that timeless Rob Papen sound.

Rob Papen Predator 2 Features
- Three Dual Oscillators – in Stereo
- 128 Waveforms – Including Eight User-Defined
- Three Filters – also in Stereo (Two Multimode, One High-Pass)
- Four Envelopes and LFOs with Modulation Matrix
- X-Y Pad for Control Modulation
- Dual 16-step Arpeggiators
- Three-Band EQ
- Three Independent Virtual Effects Units
- Nearly 6000 Presets
- Supports Most Popular Plugin Formats
- Street Price of $149 — $49 Upgrade from Predator
A supercharged update of the original, Rob Papen Predator 2 offers enough to attract both new users and current Predator owners looking to upgrade. Let’s dive into the details.

An Intuitive Virtual Synth Interface

Predator 2 fits the entire interface on one screen, with a separate multi-page section in the middle to manage the arpeggiators, modulation matrix, LFOs/envelopes and more. In that regard, the UI design is similar to that of SynthMaster One. Predator 2 also offers an Easy Mode – a streamlined view displaying only the most important controls.

Predator 2 in action in the studio. Photo by author.

A separate browser and management page serves as a librarian for user and preset patches – there are nearly 6000 of the latter! This synth layout should feel comfortable to anyone familiar with subtractive synthesis. While some might complain about Predator 2’s dark color scheme, it works for me.

Powerful Oscillations Abound

Like many other virtual synths, Predator 2’s oscillator section is very powerful, featuring three dual oscillators in stereo. You are able to choose between 128 different waveforms for each oscillator, including eight user-defined waveforms. Of course, combining each oscillator’s two waveforms in a myriad of ways is possible; going beyond mere oscillator sync.

In short, when combined with the user waveform feature, the sonic possibilities of Predator 2 are essentially limitless. Expect to spend some time exploring the thousands of presets to get a feel for its depth.

Filter Flexibility

Predator 2 sports two multimode filters, with a third high-pass filter adding a measure of flexibility. For the multimode filters, expect the standard array of options: low-pass, high-pass, band-pass, notch, as well as more esoteric modes, like formant, comb, vox, and ring. You are able to run the two filters in series or in parallel.

A pre-filter distortion circuit adds a measure of grit or bite to the proceedings. The filter section also includes its own envelope and LFO.

Other Predator 2 Features

Predator 2’s amp section handles the synth’s volume and panning, with its own dedicated envelope as well. You are also able to control the volume based on the note velocity. A distortion circuit and an EQ preset setting round out the amp’s functionality.

Play Mode lets you switch between arpeggiator, polyphonic, monophonic or legato styles. This section also includes portamento settings in addition to a one-finger chord mode and a strum mode usable when playing chords – obviously useful for guitar patches.

The synth boasts two separate 16-step arpeggiators which can be joined together to create a 32-step option. Thankfully, odd time signatures are supported. This arpeggiator is flexible and easy to use.

As noted earlier, management of the arp is handled in the Multi-page section at the center of the interface; you can also access settings pages for the modulation matrix, X-Y pad, user-defined waveforms, the three different effects, and chord mode. It is a useful interface feature, allowing access to the Predator 2 architecture from one master page.

Speaking of the X-Y pad – it is one of Predator 2’s coolest features. You are able to record, play, and loop movements on the pad, allowing for robust real-time modulation of synth parameters. Even visually attractive and musically useful spiral patterns are possible.

A Must-Have Software Synthesizer

Given the legendary status the original Predator holds among software synthesizers, the anticipation for its sequel was naturally quite high. Rob Papen Predator 2 succeeds at upholding that legacy. It provides power, flexibility, an interesting feature set, and most importantly – great sound.

If you are looking to either upgrade a copy of the original or embark on your first exploration of the Rob Papen sonic universe, Predator 2 definitely belongs in your synth plugin library. I’ve already used its warm sound on an upcoming Church of Hed project.

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July 10, 2017
Review: BT Phobos weaves a Deep Tapestry of Sound
Spawned from the mind of the electronic musician, BT, and brought into reality by the folks at Spitfire Audio, BT Phobos is a software synth offering an innovative take on sound design. A “Polyconvolution” synthesizer, BT Phobos offers a sonic depth especially useful for cinematic applications. Its unique architecture rewards an empirical approach towards patch construction, and a ton of presets are included (some by BT himself) to help get you started.

BT Phobos Features
- 20 GB Audio Library with over 9,000 Sounds
- Over 700 Presets by BT, Richard Devine, and Others
- Innovative Polyconvolver Synth Engine
- Intuitive User Interface
- Rich Sound Quality suitable for Soundtrack and Esoteric Creations
- Supports Most Popular Plugin Formats
- Street Price of $299
If you are searching for a synth plugin suitable for both cinematic and experimental electronic explorations, BT Phobos is squarely in your wheelhouse. This is definitely one of the most impressive products in the software synthesizer market.

The Polyconvolution won’t be Televised

The heart of BT Phobos lies within its unique polyconvolver synth engine. Convolution is a mathematical concept used in digital image and audio processing; in the latter case, uses are found in creating virtual reverbs or combining a rhythmic impulse onto another sound. Phobos lets you perform these convolutions using a collection of BT’s own 9,000 sounds containing both tonal and loop-based samples. It’s pretty esoteric stuff.

BT Phobos in action in the studio. Photo by author.

As with its synth engine, BT Phobos sports an innovative interface with up to four “Source units” and three convolvers. You are able to load any of the included samples as either a Source unit or a convolver. An animated triangular section in the middle of the screen controls the impact of each convolver on an individual source unit.

Loop samples keep the same pitch no matter the MIDI note trigger. You can set a range of notes and the polyphony for the tonal samples at the bottom of the Phobos interface. The convolvers trigger a new impulse with each note, making them polyphonic. This functionality is why BT Phobos is considered to be a polyconvolution synthesizer. Additional tweaking of the sounds is possible using the envelopes and additional tonal controls for each Source unit and convolver.

If this all seems a bit confusing, simply explore the over 700 presets to get a feel for the extreme sonic possibilities. BT Phobos is a synth that rewards exploration combined with empirical analysis. The preset designers include BT himself, the ubiquitous Richard Devine, and other electronic music artists.

A Stunningly Rich Sound Quality

Needless to say, BT Phobos sounds incredible; able to conjure rich and detailed pads and rhythms suitable for a wide variety of electronic music applications. Expect your mix to be dominated, so consider any other synth overdubs wisely. This synth sounds HUGE!

All this sound quality requires some hefty computing horsepower – 8 GB of RAM is the minimum with16 GB recommended. You also need 40 GB of free hard drive space during installation and around 20 GB after the fact.

My only real complaint about the product is you can’t load your own samples. This feature added to the polyconvolution synth engine would be sweet.

If you are in the market for a state of the art synth plugin designed by one of the leading lights of electronic music, BT Phobos makes for a wise choice. It is especially useful for anyone into soundtrack work and sound design.

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June 8, 2017