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Tag: XILS-Lab

XILS-lab Hearkens to The Roaring Twenties with Les Diffuseurs

We love XILS-lab and their inspired collection of synth plugins, like XILS 4, KaoX, and PolyM. They inspire chaos with their detailed emulations of those classic synthesizers of yore. This time out, Les Diffuseurs sees Xavier and his team train their eyes on the legendary Ondes Martenot with this unique effect plugin. Check out their press release below.

XILS-lab’s Les Diffuseurs and its La Palme effect plugin. Image courtesy XILS-lab.

XILS-lab looks to the past to produce present-day Les Diffuseurs bundle of outlandish effect plug-ins inspired by ondes Martenot speakers

GRENOBLE, FRANCE: audio software company XILS-lab is proud to announce availability of its Les Diffuseurs effect plug-in bundle — turning to the Twenties (read: early 20th Century), and an early electronic musical instrument called the ondes Martenot, more specifically French inventor Maurice Martenot’s Métallique and Palme so-called diffuseurs speakers, as inspiration for its La Palme and Le Metallique effect plug-ins to effectively enable anyone to experience the outlandish sounds of those ‘unobtainium’ originals from the comfort of their present-day DAW (Digital Audio Workstation) — as of April 9…

As an early electronic musical instrument inspired by the accidental overlaps of tones between military radio oscillators, the ondes Martenot — literally translating from French as Martenot waves — dates all the way back to 1928 when it first appeared as the result of its French inventor namesake Maurice Martenot’s intention of creating a new instrument with the expressiveness of a cello. Clearly there was some correlation there between Martenot himself being a cellist and also working as a radio operator during the First World War. While there were several ondes Martenot versions available during an admittedly impressive 60-year-manufactured-to-order run — it can, for example, be played with a metal ring worn on the right index finger, sliding the ring along a wire to produce Theremin-like tones generated by oscillator circuits using vacuum tubes, or, in the case of the seventh model, transistors — that all the same saw Martenot remain resolutely uninterested in mass-producing his namesake instrument, it was the challenge of effectively reproducing the outlandish sounds of two of four speakers known as diffuseurs that Martenot specifically created for the instrument in question that truly excited the ears of fellow Frenchman Xavier Oudin, obviously prompting his audio software company XILS-lab to turn its attention to collectively set about duly developing and now launching Les Diffuseurs.

As an effect plug-in bundle par excellence, Les Diffuseurs comprises La Palme — inspired by Maurice Martenot’s Palme speaker first presented alongside the sixth version of the ondes Martenot in 1950, itself anchored around a resonance chamber laced with strings tuned to all 12 semitones of an octave so that when a note is played in tune it resonates a particular string, producing chiming tones — and Le Metallique — inspired by Maurice Martenot’s 1932-vintage Métallique that features a gong instead of a speaker cone, thereby adding a specific metallic character to the overall ondes Martenot sound. Saying that, though, present-day digital technology-based breakthroughs have not only allowed Xavier Oudin — ably assisted by Nori Ubukata, a renowned sound designer (think Japanese giant Yamaha’s GS-1, DX7, SY99, and other notable FM synths), synthesist, and Thereminist, together with synth designer Yves Usson (primarily known for his work on French music hardware and software specialist Arturia’s MiniBrute and MicroBrute monosynths) — to effectively reproduce the outlandish sounds of those ‘unobtainium’ originals from the comfort of present-day DAWs but also add more possibilities to the plug-ins themselves, such as muting any STRING (La Palme) or changing the GONG size in real-time (Le Metallique).

Moreover, in addition to those individually tuneable and mutable strings, La Palme also features global INPUT, DAMP — more string oscillations equal less higher frequencies, DECAY, TRANSPOSE, and TUNE controls; Le Metallique‘s dual-sized GONG can be modulated by an LFO (Low Frequency Oscillator) or MIDI WHEEL and also features INPUT level and frequency DAMP — more gong oscillations equal less high frequencies — controls, together with DECAY and LOW END level controls, plus an LFO that can be synced to the project tempo. The ‘wooden’ BOX central to each plug-in’s operation features further DECAY and DAMP controls.

And as if that was not enough to be getting on with, XILS-lab has pushed the concept further still by powering its Les Diffuseurs effect plug-in bundle with its True Stereo Dynamic Engine (TSDE), so users can not only position those La Palme and Le Metallique speakers left and right in a true stereo image but also in front to the stereo field or, indeed, farther back — all of which was surely unimaginable way back in 1928!

Thanks, then, to XILS-lab‘s Les Diffuseurs effect plug-in bundle, anyone can now experience the outlandish sounds of Maurice Martenot’s Métallique and Palme so-called diffuseurs speakers like never before — made match fit for truly 21st Century usage in modern-day music production by being effectively enhanced, in other words.

The Les Diffuseurs effect plug-in bundle is available to purchase at a time-limited introductory promo price of only €45.00 EUR until May 15, 2024 — rising thereafter to its regular price of €89.00 EUR, downloadable in 64-bit AAX (native)-, AU-, VST2.4-, and VST3-compatible formats for macOS (10.9+) and 64-bit AAX (native)-, VST2.4-, and VST3-compatible formats for Windows (7/8/10/11) directly from XILS-lab here: https://www.xils-lab.com/products/les-diffuseurs-p-173.html# (Les Diffuseurs is copy-protected by a license serial number, requested when first launched.)

A time-limited full version of Les Diffuseurs can be requested for pre-purchase evaluation purposes here: https://www.xils-lab.com/products/les-diffuseurs-p-173.html#AskDemo

Watch two videos demonstrating differing aspects of La Palme — one of two effect plug-ins included in XILS-labs’ Les Diffuseurs bundle — here:

May 15, 2024
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: XILS-Lab KaoX Merges FM and Analog Synthesis With Chaos
The sonic masters at XILS-Lab recently crafted another unique software synth, this time combining FM and analog synthesis. Somewhat modeled after the Yamaha GS-1, the predecessor to the DX7, KaoX also leverages virtual analog and chaotic oscillators to greatly expand its sonic depth. Its range of sounds is stunning, taking FM synthesis to an entirely new level.

XILS-Lab KaoX Features
- One FM Oscillator With Eight Operators
- Two Virtual Analog Oscillators With Variable Waveforms
- Two Chaotic Oscillators With a Variety of Algorithms
- Two Virtual Analog Filters
- Two LFOs
- Two ChaoX Modulators
- Four DADRS Envelopes
- Two Separate Configurable Synthesizer Engine Layers
- Modulation Matrix
- Dual Arpeggiators
- Four Track Sequencer
- Four Effects With Independent Routings
- Supports VST, AU, and AAX Plugin Formats for Windows and MacOS
- Available for $159 from XILS-Lab
If you read our reviews of other XILS-Lab synths, like PolyM and XILS 505, you know they remain one of our favorite synth plugin makers. If anything, KaoX increases their reputation in our mind. It’s a stunning piece of work, capable of sounds far beyond either FM or virtual analog synthesis. Let’s dive into this sonic maelstrom!

A Massive Sounding Synth Deserves a Massive User Interface

With its large sound and detailed functionality, it’s not surprising that KaoX sports a rather huge user interface. However, the plugin shares common interface elements with other XILS-Lab synths. For example, the toolbar residing at the top provides access to patch library functionality as well as settings.

XILS-Lab KaoX in Action. Screenshot by author.

However, the meat of the KaoX interface lies beneath the toolbar. It’s a massively wide window unable to completely fit within my 15-inch laptop screen, so scrolling is necessary. Thankfully, KaoX features different collapsible windows to streamline things, but expect to scroll at times. Still, the interface remains highly accessible and easy to navigate. XILS-Lab also included a simple mode which hides most of the interface. This skeuomorphic wood-paneled view lets you stack or split layers (more on that below), turn effects on/off, add tremolo or vibrato, and more.

Beyond that, covering the rest of the KaoX interface makes more sense as part of exploring its robust synthesizer architecture. As noted earlier, it’s a mashup of FM and virtual analog synths, creating a sonic behemoth capable of significant mayhem and chaos. Here’s a closer look.

The Yamaha GS-1 and Sequential Prophet 5 Give Birth to a Mutant Synth

The KaoX synth architecture provides sound designers with multiple oscillators, as well as a standard array of filters, VCAs, and more. Three types of oscillators exist: virtual analog, chaotic, and FM. Routing options abound, with all oscillators able to be routed to the filters and the VCAs separately.

Importantly, KaoX features two independent synthesizer layers, so the entire synth architecture essentially repeats itself. The synth’s effects engine (phaser, chorus, reverb, and delay) allows each effect to be routed to either or both of the synth layers. Needless to say, the sonic possibilities are immense! Explore the robust library of presets in simple mode to hear for yourself.

Within various Advanced Settings Panels reside most of the KaoX’s interface, as described earlier. You use them for access to each synth module’s full collection of parameters, spanning an array of oscillators, filters, and more. Remember to turn off any unused modules to save CPU power.

KaoX Isn’t Your Grandmother’s DX7

The FM Algorithm matrix and FM operator module both contain various controls to manage the synth’s single FM oscillator. Note that KaoX provides little introduction to the concepts of FM synthesis. Use another source to learn more about this rather esoteric synthesis type. However, the accessible KaoX interface rewards exploration and empirical analysis, making it easier to craft your own FM or hybrid patches.

Ultimately, KaoX offers possibilities that greatly exceed those overused 80s DX7 sounds. Being able to modulate any FM operator with the virtual analog and chaotic oscillators provides an unlimited realm of sonic mayhem. You also have control over a variety of settings for each FM operator, including its ratio, offset, and detuning. There’s also a separate filter and envelope for each, providing controls for cutoff frequency, and ADSR.

You are also able to modulate operators using velocity, the modulation wheel, and the internal modulation matrix. The FM oscillator also provides two separate outputs, with either routable to either filter or VCA. Needless to say, this robust architecture combined with the other oscillator options sets KaoX apart from similar DX7 clones in the soft synth realm.

Chaotic and Analog Oscillators Add to The Mayhem

As noted earlier, KaoX features two pairs of virtual analog and chaotic oscillators that add to the synth’s sonic maelstrom. The analog oscillators feature a continually variable waveform that changes between triangle, saw, square, and pulse. Modulate an oscillator’s Wave knob to vary its waveform. The Synchro switch hard syncs oscillator 2 to 1. Each oscillator also provides either white or pink noise for additional grunge.

KaoX’s two chaotic oscillators are “based on algorithms which mimic the chaotic behavior of the real world.” The musical purposes for this approach seem valid, especially when used to modulate the operators of the FM oscillators. Three chaos algorithms currently exist, with more to be added in the future. As with the virtual analog oscillators, the chaos oscillators are routed to either filter or directly to the VCAs.

Exploring The Rest of KaoX

KaoX features two independent filters (each with its own envelope) with five different modes, including high-pass, low-pass, and band-pass options. Basic control over the resonance and cutoff frequency exists on the filter module; clicking on it displays its Advanced Settings Panel with additional parameters for filter mode, drive, envelope modulation, and more. The drive adds a measure of saturation. You also control how much signal gets routed to VCA1, VCA2, or both.

The synth boasts four independent envelopes; two modulate the filters, and two modulate the VCAs. Again, the module has basic DADSR functionality, and clicking on it displays the Advanced Setting Panel which provides control over all four envelopes at once, including a tempo sync switch for each. Of course, all four envelopes serve as sources in KaoX’s modulation matrix.

Two LFOs also add to the modulation fun. The basic module features a frequency knob, while the Advanced Settings Panel provides a host of other controls, including tempo sync, waveform, width (for pulse and triangle waveforms), and destination for convenience compared to using the modulation matrix.

Don’t forget the two ChaoX modulators which behave like an LFO from a modulation standpoint, but in a chaotic fashion as opposed to a repetitive oscillation. Like the LFOs, there is a basic module with frequency and an Advanced Settings Panel. Various algorithms provide different forms of chaos, with varying levels of randomization.

Put these modulators to use in the 8×8 modulation matrix, allowing you to connect sources and destinations to add depth and motion to your patches. A separate panel is used for setting the destinations for the velocity and aftertouch sources. Other sources include a standard array of envelopes, modulators, oscillators, and even KaoX’s 4-step sequencer. Cool options abound!

Don’t forget about the dual arpeggiators! KaoX provides one for each synth layer. Expect typical arpeggiator parameters, along with swing and a cool chord feature. The previously mentioned basic 4-track sequencer also adds to the fun. Of course, it supports odd time signatures!

Finally, KaoX provides four separate effects: delay, chorus, reverb, and a phaser. All features a basic set of parameters, and greatly add to the sonic mayhem of the synth.

Add This Mutant Synth to Your Collection

Exploring KaoX’s massive number of presets as well as tweaking my own patches reveals a synth of great sonic depth. Those boring 80s sounds typical of FM synthesizers need not pollute your own works. Simply add some chaos with an oscillator or modulator, giving a measure of experimentation to your sound designs.

XILS-Lab built another essential synthesizer app that stands right next to PolyM and XILS-4 in our hearts. Sound designers and musicians taking an experimental approach to their work need to consider adding it to their plugin collection. It’s a behemoth, but its rich feature set rewards deep exploration of its underlying sonic possibilities. We give KaoX our highest recommendation!
December 2, 2021
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
The TabMuse Top Audio Plugins of 2017
After covering the best iOS synth apps of the year, our eyes now turn towards the top audio plugins we encountered in 2017. Expect a mix between effects plugins and their synth or sample-based counterparts. Feel free to check out our Top iOS Synth Apps article if so interested. Thanks!

Hans Zimmer Percussion conquers all

No sample library ever kicked my ass as much as Hans Zimmer Percussion. Straight out of the superlative technical forge of Spitfire Audio and the engineering acumen of Mr. Zimmer himself, HZP belongs in the collection of every serious electronic drummer. Expect a stunning collection of cinematic and world music percussion, sampled with a wide array of playing techniques and mic placements.

Hans Zimmer Percussion in action. Screenshot by author.

In short, it may revolutionize how you approach electronic drumming. I’m working in a few uses of HZP on the upcoming Church of Hed album. The tympani samples especially inspire. Check out our full review of Hans Zimmer Percussion right here.

PolyM brings a Top Notch Polymoog Simulation to your Desktop

The Polymoog remains one of the classic synths in the Moog Music collection – arguably their most underrated product. It essentially operates like a mid-70s string synth as opposed to a polyphonic analog. PolyM provides all the wonderful uniqueness of the original in a low overhead plugin available in most popular formats.

The PolyM in virtual action. Screenshot by Author.

XILS-Lab did a great job of programming the PolyM. Its quirky analog synth architecture works beautifully with a user interface essentially the same as the original. I spent a whole afternoon conjuring up psychedelic synth overdubs working on my new album.

You know you want to read our full PolyM review. Get to it!

Objeq Delay adds Otherworldly Effects to your DAW

Cool effects plugins abound throughout the world of desktop audio production. As computers become more powerful so do these plugins that rely on a healthy amount of RAM and robust microprocessor horsepower. Objeq Delay won our hearts with its intriguing mix of a quality delay with physical modeling, offering some mind-blowing sonic manipulation.

Objeq Delay in action. Photo by author.

It completely transformed a basic drumbeat into something out of a seedy bar on a remote outpost three galaxies over. Like the best effects, Objeq Delay warrants a copious amount of experimentation. As such, read our full review and then head over to your favorite online music retailer to pick up your own copy. You don’t even need to thank us!

Well, that’s it for our soon-to-be annual look back at some of the best music technology products that inspired us in the previous year. As always, thanks for reading!

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November 28, 2017
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