MATRIXSYNTH: XILS-lab


Showing posts with label XILS-lab. Show all posts
Showing posts with label XILS-lab. Show all posts

Thursday, September 28, 2023

XILS-lab Releases Ring’X Virtual Effects



Press release follows.

XILS-lab releases Ring’X representing latest addition to lengthening line of virtual effects as inspiring and musical multi-effect plug-in par excellence


GRENOBLE, FRANCE: audio software company XILS-lab is proud to release Ring’X — readily representing the latest addition to its lengthening line of virtual effects as an inspiring and musical multi-effect plug-in par excellence — as of September 28…

Duly developed as an inspiring and musical multi-effect plug-in for seriously satisfying anyone’s needs, Ring’X is certainly worthy of the oft- overused French phrase par excellence — literally translated into English as ‘by excellence’ — as evidenced by its feature-packed GUI (Graphical User Interface) that is as easy on the eye as it is easy to use.

Ultimately, it is anchored around a six-slot so-called ‘Effect Ring’ that allows anyone to insert the effects they need in the order they want, choosing from a selection of deeply-modifiable classic analogue effect emulations: ANALOG FILTER — modelled from the CMS 3320 chip, used in the exciting-sounding (early-Eighties-era) Elka Synthex subtractive synthesis-based polytimbral powerhouse (much loved by the likes of famous French electronic music pioneer Jean-Michel Jarre, who still uses it to this day to create the distinctive sound of his onstage laser harp), providing five (LP24 — 24db Low-Pass, LP12 — 12db Low-Pass, HP12 —12db High-Pass, BP12 — 12db Band-Pass, or BP6 — 6db Band-Pass) self- oscillating filter types; ANALOG 18db FILTER — modelling the specific sound and behaviour of an 18db self-oscillating filter from the breakthrough British EMS VCS3, which made musical history upon its introduction in 1969 by being the first commercially portable synthesiser available anywhere in the world, thanks to its innovative modular matrix-based patchboard dispensing with the telephone exchange-like cabling of other (much larger) modular systems in favour of making space-saving connections with (removable) coloured pegs; CHORUS (BUCKET BRIGADE DELAY); DELAY — stereo delay that copies the input signal to the left and right channel; DISTORTION; PARAMETRIC EQ — a three-band affair with each band type selectable from six standard filter types; PHASER; and REVERB — with three (L — Large, M — Medium, and S — Small) algorithms. Each effect provides four MODULATION points with a SOURCE and DESTINATION menu associated with an AMOUNT knob.

Standard STEP and specific LOC locator sequencers for modulating effects are also available — the loop goes through a defined number of steps and each time the internal clock is fired the next step is triggered, in the case of the former, while the latter is designed to be synchronised to the DAW (Digital Audio Workstation) with the loop being synchronised to the DAW bar (or a multiple of the bar).

But that’s not all. Another area well worth highlighting here features four input followers; a TRANSIENT tracker ‘module’ — detects the transients present in the input sound, each transient triggering a simple envelope without attack and release controlled by the RELEASE knob; S- DETECTION ‘module’ — detects sibilance present in the input sound, and also useful for separating high-frequency parts from those with more middle and bass frequencies; GATE ‘module’ — removes all the parts from the input sound that are below a specified threshold; and a STEREO SPACE ‘module’ — powerful stereo processing that allows users to dynamically position their audio signal into a true stereo space.

By being so flexible in both operation and resulting effects, it stands to reason, therefore, that Ring’X should come complete with a raft of presets. All are accessible via an integrated (single-window) Preset Manager, making it easy to find the right patch in seconds, manage presets, sound banks, and create custom tags. That being said, then, inspiring and musical multi-effects are only a click away, but those wishing to dig deeper to seriously satisfy their needs are always free to do just that! After all, as the latest addition to XILS-lab’s lengthening line of virtual effects, Ring’X is, indeed, an inspiring and musical multi-effect plug-in par excellence — in the literal sense of those (French- originating) words.

Who better, then, to put Ring’X in its rightful place than the Frenchman primarily responsible for bringing it into existence — namely, XILS-lab CEO Xavier Oudin (credited in the multi-effect plug-in in question’s user manual with: Concept of Ring’X and original UI design; Digital Signal Processing and plug-in coding; [and] the graphical user interface). “For a number of years, customers have been regularly asking me to create an effect featuring filters extracted from our synthesizers,” he begins, before adding: “This idea grew into providing a sort of Swiss army knife-style tool capable of sculpting audio with modulation fully independent of its content, and also able to create any kind of de-esser and transient shaper with far more possibilities than standard such effects. Eventually, Ring’X was born.”


Ring’X is available to purchase as an iLok-protected virtual effect plug-in (installable in up to two independent locations) at an introductory promo price of only €69.00 EUR until October 31, 2023 — rising thereafter to an MSRP (Manufacturer’s Suggested Retail Price) of €179.00 EUR — directly from XILS-lab via its dedicated webpage, which also includes more in-depth information and several must-see video demonstrations, here: https://www.xils-lab.com/products/ringx-p-172.html#

A time-limited full version of Ring’X can be requested for pre-purchase evaluation purposes here: https://www.xils-lab.com/products/ringx-p-172/download.html#AskDemo

Ring’X is 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) directly from XILS-lab.

Tuesday, May 23, 2023

XILS-lab Synth: The Sound & New High Res UI


video upload by xilslab

"XILS-lab sound quality explained by examples and comparisons between real hardware, other software synthesizers and XILS-lab algorithms."

XILS V+ and XILS 505 new High Res UI

"XILS V+ new version 1.6 and XILS 505 new version 1.1 with OSX apple Silicone compatibility and High Res resizable UI."

Tuesday, March 14, 2023

XILS-lab PolyKB III Gets a New Hi-Res UI & More in Version 3.6.3 Update


video upload by matrixsynth



The press release follows.

XILS-lab lovingly lavishes virtual makeover on acclaimed PolyKB III virtual instrument plug-in, providing new hi-res UI and more with Version 3.6.3

“Since starting XILS-lab, the rarified and revered RSF PolyKobol II analogue polysynth from France has always held a special musical place in our hearts — the true destination of our ongoing journey to create one of the best-sounding virtual analogue synthesizers available today. Tweaking our algorithms for a better sound with less CPU load, we’ve never stopped working on PolyKB III, always adding new features.”

- XILS-lab CEO Xavier Oudin, 2023

GRENOBLE, FRANCE: XILS-lab is proud to take PolyKB III to Version 3.6.3 status — lovingly lavishing the virtual instrument plug-in par excellence with a new hi-res UI (User Interface) and associated faster UI engine alongside full Apple Silicon compatibility and VST3 support, while ensuring that it remains one of the best-sounding virtual analogue synthesizers available, thousands of development man-hours after first being launched in its original PolyKB incarnation as the then-fledgling virtual instrument and effect plug-in-specialising software company’s second product release way back in May 2010 — as of March 14…

Like its predecessors, dating all the way back to a May 2010 release in its original (PolyKB) incarnation, the latest Version 3.6.3 of PolyKB III truly captures the sound and spirit of the rarified and revered RSF PolyKobol II analogue polysynth from France — one that surely should have made more of a musical mark in its own right with advanced analogue waveform-morphing oscillators well ahead of their time, yet sadly saw the demise of its innovative creators, completely out of touch with 1983’s untimely arrival of Yamaha’s digital dominance-triggering DX7 super- seller (shifting upwards of 200,000 units, compared to the miserly 40 units, each costing several times that of a DX7, managed by RSF before it ran into financial difficulties) — to include its most revolutionary feature: analogue waveform-morphing oscillators.

On the face of it, then, those analogue waveform-morphing oscillators — providing instant access to hundreds of different analogue- modelled free-running oscillator waveforms, which is far more than those provided by other virtual instrument plug-ins, including those that switch between oscillator sets — are available for all to see clearly now in Version 3.6.3 of PolyKB III, thanks to its new hi-res UI. Ultimately, they can be dynamically modulated by a number of sources.

When working with the latest Version 3.6.3 of PolyKB III, there are also two gorgeous, creamy-sounding multi-mode filters — VCF 1 and VCF 2 — to play with, each of which is self-resonating in all modes while also making use of XILS-lab’s proprietary 0df (Zero Delay Feedback) technology. There are also three analogue-modelled envelopes — ADSR1, ADSR2, and ADSR3 — with time multiplication and looping facilities, all working together with two LFOs (Low Frequency Oscillators) — LFO1 and LFO2 — to deliver a fat, warm, and instantly inspiring ‘analogue’ sound like no other.

Of course, even when first released to the musical masses in December 2016, PolyKB III would not be worthy of joining XILS-lab’s ever- expanding virtual instrument lineup if it did not include innovative and exclusive features — features like each voice having its own modulation engine or, indeed, using the polyphonic SEQUENCER as a giant 128-step, four-line/16-destination so-called ‘Step Sequencer Modulator’ making it fit for being propelled well and truly into the 21st Century! Creatively, this allows users to sculpt not only the most detailed trance- gate patterns, but also slides and incredible rhythmic patterns. Put it this way: with PolyKB III it is possible to modulate anything with anything!

And it is also possible to make each note sound different: the Voice XY module acts as a single-note quad XY modifier — with total control over the creation of subtle or wild variations for each note in a 2D window with four different parameters, while the Space XY module makes creating a 3D space a breeze — users can freely place each note in a three-dimensional space to build otherwise unachievable ‘stereoscapes’ with movement induced by inbuilt chaotic functions. It is fair to say that users have never had so much creative control over the stereo field! Furthermore, both modes can be combined with the True Unison engine, producing dazzlingly deep sounds that will musically take anyone’s breath away and immediately take pride of place in any mix.

Meanwhile, with its new hi-res UI and associated faster UI engine alongside full Apple Silicon compatibility and VST3 support vying for attention and distinguishing the latest Version 3.6.3 of PolyKB III from its acclaimed predecessors while it readily remains one of the best-sounding virtual analogue synthesizers available, XILS-lab CEO Xavier Oudin is justifiably proud of how far it has come and where it is going: “Since starting XILS-lab, the rarified and revered RSF PolyKobol II analogue polysynth from France has always held a special musical place in our hearts — the true destination of our ongoing journey to create one of the best-sounding virtual analogue synthesizers available today. Tweaking our algorithms for a better sound with less CPU load, we’ve never stopped working on PolyKB III, always adding new features.”

The latest Version 3.6.3 of PolyKB III is available to purchase as an iLok-protected virtual instrument plug-in (including computer-based authorisation), priced at an introductory promo price of €59.00 EUR until April 16, 2023 — rising thereafter to its regular price of €199.00 EUR — directly from XILS-lab via its dedicated webpage, which also includes more in-depth information, here: https://www.xils-lab.com/products/polykb-iii-&-ii-p-159.html

The latest Version 3.6.3 of PolyKB III can be directly downloaded in 64-bit AAX-, AU-, VST- and VST3-compatible formats for macOS (10.9+) and 64-bit AAX-, VST-, and VST3-compatible formats for Windows (7/8/10) from here: https://www.xils-lab.com/products/polykb-iii-&-ii-p-159/download.html#FullInstallerPK3"

Saturday, October 22, 2022

Syn'X vs Synthex Comparison


video upload by xilslab

"This video explains why the Syn'X sounds good and add some comparison with the Elka Synthex hardware."

Tuesday, June 21, 2022

XILS 4 version 1.6


video upload by xilslab

XILS 4 version 1.6, New High Resolution Fast Graphic Interface with improved workflow more information on https://www.xils-lab.com/products/xil..."

Monday, April 12, 2021

XILS-lab Introduces KaoX Virtual FM Instrument


video by xilslab



"XILS-lab creates KaoX as virtual instrument inspired by legendary FM synthesizer bolstered by virtual analogue and chaotic algorithms


GRENOBLE, FRANCE: virtual instrument- and effect plug-in-specialising software company XILS-lab is proud to announce availability of KaoX — a virtual instrument inspired by a legendary FM (Frequency Modulation) synthesizer, albeit bolstered by virtual analogue sound synthesis and additional chaotic algorithms in an advanced two-layer architecture allowing for a powerful sound creation tool to fuel DAW-driven synthesizer dreams with a much more easily understood signal path than its iconic FM forefather — as of April 12…

To appreciate its iconic inspiration is to truly appreciate the power of KaoX, XILS-lab’s latest virtual instrument. Indeed, the early-Eighties synthesizer market was dominated by analogue synthesizers using analogue circuits and analogue signals to generate sounds electronically, which, when made available as programmable polysynths with patch storage, were costly with limited polyphony. Putting paid to that dominance, an Eighties-dominating 16-voice FM synthesizer changed course — changing the course of musical history in the process — by generating sounds via frequency modulation, a form of sound synthesis whereby the frequency of a waveform is changed by modulating its frequency with a modulator. Mass manufactured using very-large- scale integration chips by a Japanese giant of a company who had licensed the technology from Stanford University, California — composer, musician, and professor John Chowning developed the digital implementation of FM synthesis while there, the world’s first commercially-successful digital synthesizer subsequently sold over 200,000 units within three years — around 20 times more than the most iconic analogue synthesizer of all time sold in its impressive decade-long lifespan — and its preset sounds soon became staples of the Eighties pop pantheon with E PIANO 1 purportedly ending up on 40% of the US Billboard Hot 100 chart toppers throughout 1986. Therein lay the rub. Really complex menus and a lack of conventional controls meant that few learned to program the comparatively keenly-priced instrument in depth — despite FM synthesis lending itself to creating brighter, glassier sounds, as well as imitative acoustic sounds so much better than its instantly unfashionable analogue adversaries, programmable polyphonic or otherwise. Of course, fashions change with time and technology; the instrument in question has long since fallen out of favour. Although analogue synthesizers — somewhat ironically — are now more commonplace than they ever were with a perceived warmth of sound and appealing hands-on control working in their favour, the convenience of an ITB (in the box) workflow with DAW-driven virtual instruments and effect plug-ins has far from lost its appeal for today’s music-making masses. Time to revisit the wonderful world of FM synthesis with a modern-day twist? Knowingly, KaoX does just that. After all, as a virtual instrument- and effect plug-in-specialising software company, XILS-lab loves to create tools that inspire its users to create more imaginative music than they ever dreamed possible!

Put it this way: with KaoX, XILS-lab has created a virtual instrument inspired by that legendary FM synthesizer, albeit bolstered by virtual analogue sound synthesis and additional chaotic algorithms in an advanced two-layer architecture allowing for a powerful sound creation tool to fuel DAW-driven synthesizer dreams with a much more easily understood signal path than its iconic FM forefather since said signal path is easily understood through the use of illuminated modules in a GUI (Graphical User Interface) that is equally easy on the eye. KaoX’s knowing nod towards the preset-powered popularity of its iconic FM forefather is immediately obvious for all to see and hear in an easy-to-tweak simplified view allowing its UP (upper) and LO (lower) synthesizer layers — each with independent synthesis modules — to be combined in three different ways. Working in single mode, only the selected layer is active and heard, while both layers are active and heard in SPLIT and DOUBLE modes — the lower part of the keyboard playing the LO layer and the upper part of the keyboard playing the UP layer in the case of the former, while both the UP and LO layers are simultaneously played across the keyboard in the case of the latter. Limited controls are available in this simplified view, including TUNE, DRIFT, GLIDE, VIBRATO, FREQ (vibrato frequency), DEPTH (vibrato), W (wheel), TREMOLO, FREQ (tremolo frequency), and DEPTH (tremolo), plus CHORUS, DELAY, PHASER, and REVERB effects, enabling users to easily play presets and to tweak them accordingly — adding vibrato and tremolo or switching effects on and off, for instance.

Alternatively, activating an advanced settings view brings the wonderful world of KaoX into full view, allowing more adventurous users access to the virtual instrument’s internal modules to tweak or change any parameter therein, aided by contextual help windows, while active modules are helpfully illuminated. FM synthesis options are available on each of the two available layers with eight operators grouped in two banks with independent pitch — perfect for creating chorus-like FM sounds or punchy stereo patches — and two outputs (O1 and O2). Each FM OPERATOR features one LFO (Low Frequency Oscillator), one envelope, WHEEL and VEL (velocity aftertouch) access, two user-definable external modulators (assignable to any KaoX modulation source), KEYB (keyboard follower) 2D pad, RATIO or FIXED frequency selection, and a lowpass filter. Furthermore, virtual analogue synthesis options are also available on each of the two available layers with two continuous waveform analogue oscillators (ANALOG OSCILLATOR 1 and ANALOG OSCILLATOR 2), two zero-delay-like analogue filters (FILTER 1 and FILTER 2), four D-ADSR envelopes, and four VCA outputs for bringing a depth and warmth to the sound creation table. That said, KaoX also allows its users to create sounds that they had never thought possible, thanks to two chaotic oscillators (CHAOS OSCILLATOR 1 and CHAOS OSCILLATOR 2) and two chaotic ring modulators (CHAOX 1 and CHAOX 2). And as if that was not enough to keep committed sound creators seriously satisfied, KaoX comes complete with a flexible four-track step SEQUENCER, where each track can be assigned to the UP or LO layer with independent sustain and gating or used as a modulation source.

Sound-wise, KaoX comes packed with 500-plus presets programmed by world-class sound designers Mikael Adle, Soundsdivine, Status, Nori Ubukata, Tom Wolfe, Xenos, Yuli-Yolo, Zensound, and many more — more than enough to point anyone of any ability in the general direction of where they might musically want to go. Getting there is made much easier with its integrated single-window preset manager making finding the right patch for the task, managing presets and sound banks, as well as creating custom tags, an efficient easy-going experience that could barely be dreamt of back in the early Eighties. Today the time has clearly come to revisit the wonderful world of FM synthesis with a modern-day twist and appreciate the power of KaoX, XILS- lab’s latest virtual instrument par excellence — from France with love... and all without the need for very-large-scale integration chip mass manufacture!"

Thursday, December 03, 2020

XILS-lab PolyKB III Version 3.6 Preset Demos

Aether by Adrian Jimenz (ZenSound) with PolyKB III version 3 6
xilslab

"Aether by Adrian Jimenz (ZenSound):

A demo track made with Adrian's presets created for the new 3.6 version of the PolyKB III"

Helgaland by Mikael Adle: new factory presets for the PolyKB III version 3 6
xilslab

"Helgaland by Mikael Adle: A demo track using Mikael's presets he created for this new 3.6 version of the PolyKB III"

Thursday, August 13, 2020

SoundsDivine 'Retro Wave' - Xils-Lab PolyKB Soundset


SoundsDivine111

"This is a demo of the presets from the 'Retro Wave' soundset for Xils-Lab's PolyKB.
For more information, please follow the link below:
https://soundsdivine.com/product/poly...

00:00 Intro

00:10 Soft Brass
00:27 Arctic Techno
01:01 Elastic Response
01:16 Octave Giants
01:43 Retro Wave
02:09 Racing Trains
02:47 Vintage Chorus
03:04 Deep Delays
03:30 Rising Sun
03:51 Tape Delays
04:19 Rising Resonance
04:44 Telemark
05:08 Twin Triangles
05:26 Famous Replica
05:52 Analog Noise
06:11 Jet Flanger

#xilslab #polykb #presets"



"This soundset emulates some of the most recognisable sounds from the 70s & 80s , made famous by artists such as Jean-Michel Jarre , Tangerine Dream , Vangelis , The Pet Shop Boys , Human League and Pink Floyd.

These sounds capture the character and vibe of the early days of synthesizer music , and feature liquid funky basses , swirling pads , berlin analogue style sequences , screaming sync leads , tape delay synth sounds , classic arpeggios and many more.

Discount available to anyone who has purchased the 'Horizon' soundset .

*Price excludes VAT"

Wednesday, March 18, 2020

Xils-lab synthesizers demo


Published on Mar 18, 2020 xilslab

"'Xils-lab Theme' a track created by Xoundcozm, using PolyKB III, XILS 4, Syn'X 2, XILS 505, XILS V+, StiX and PolyM"

Monday, January 20, 2020

XILS-lab Syn’X 2 Update


Check out the demo by SoundsDivine here.

"XILS-lab elevates exciting Syn’X 2 subtractive synthesis polytimbral powerhouse to higher heights with v2.5 upgrade


GRENOBLE, FRANCE: first available as Synthix back in 2011 before being relaunched to widespread critical acclaim in 2015 as Syn’X 2, audio software company XILS-lab is proud to announce availability of Syn’X 2 v2.5 — elevating its exciting- sounding subtractive synthesis polytimbral powerhouse to higher heights with a welcomed upgrade duly delivering several serious additions — as of January 6…

With origins dating back to its original release as XILS-lab’s third soft synth, Syn’X 2 is a polytimbral subtractive synthesis powerhouse, paying homage to the legendary (early-Eighties-era) Elka Synthex — much loved by the likes of famous French electronic music pioneer Jean-Michel Jarre, who still uses it to this day to create the distinctive sound of his onstage laser harp — from an original-sounding sonic standpoint with the striking sound of clear and punchy DCOs (Digitally-Controlled Oscillators), but brilliantly balanced against a multilayer card-based architecture that is inspired by similarly sophisticated hardware analogue synthesizers — such as Oberheim’s mighty (mid-Eighties-era) Matrix 12 — to create a powerful and complex virtual analogue instrument fit for 21st Century discerning DAW (Digital Audio Workstation) users. Ultimately, by drawing its inspiration from two distinctive design classics, it combines eight fully-independent layers with multitimbral flexibility; up to 72 oscillators; eight exciting-sounding ZDF (Zero Delay Feedback) filters; 32 envelopes; 32 LFOs (Low Frequency Oscillators); eight glides; and more than 500 possible modulation combinations — ‘hardwired’ or user-customisable — per patch!

Put it this way: with those eight layers combined with true unison, users can creatively think about using a unison mode that allows them to sculpt not just the number of oscillators but also subtle modulation variations for each of the hundreds of available parameters, including filters, envelopes, LFOs, stereo position, sync, ring modulation, frequency modulation, and more besides. Above and beyond that, though, it is perfectly possible to apply the creative concept to different layers to create complex layered sounds, such as animated epic pads, keyboard performances (where every component reacts to velocity in a different way), as well as splits that creatively combine arpeggios and bass parts, to name but a few exciting-sounding examples.

Several serious additions to the Syn’X 2 v2.5 upgrade elevate this exciting-sounding subtractive synthesis polytimbral powerhouse to higher heights — namely, a new natural-sounding vintage reverb effect with high-pass filter; customisable signal path for all effects and keyboard performances, so the chorus could be positioned before the reverb or visa-versa, for example, or the chorus could be applied to a lower bass split while an upper pad feeds into the phaser and then the reverb; single- window integrated preset manager for finding patches in seconds, managing presets and sound banks, and creating customised tags; revamped 1,536-pixel-wide GUI (Graphical User Interface) with Easy and Complex modes; more factory presets with widened scope for covering more musical styles; powerful InterLayer Modulation, whereby layers can now source modulations from other layers; and integrated help engine. Meanwhile, MacOS 10.15 Catalina compatibility is a given from the outset.

On the face of it, Syn’X 2 v2.5 fancifully frames an amazing vintage sound in a modern setting with hitherto unavailable possibilities, but better than its predecessors’ already amazing features. Fire it up in a DAW host running on the latest MacOS or Windows (7, 8, 10) to add some seriously creative firepower to modern-day music creations!

Syn’X v2.5 is available to purchase as a USB eLicenser or iLok (1 and 2 dongle hardware or software) protected plug-in priced at €169.00 EUR from XILS-lab here: https://www.xils-lab.com/products/syn-x-p-134.html (Note that the Syn’X v2.5 upgrade is free for owners of Syn’X 2.)

Syn’X v2.5 can be directly downloaded as a multi-format (AAX, AU, VST) 64-bit virtual instrument plug-in for Mac (OS X 10.7 and later) and Windows (7, 8, 10) from here: https://www.xils-lab.com/products/syn-x-p-134/download.html"

Monday, October 28, 2019

Syn'X 2.5: Laser Harp like preset


Published on Oct 28, 2019 xilslab

"This Syn'X 2.5 tutorial explains how to reproduce the synthex laser harp preset, using the unique cross-oscillator PWM + hard synchronization features."

Syn'X 2.5: Using the Easy Mode

Published on Oct 28, 2019 xilslab

"In this tutorial, we will see how to use the Easy mode of the Syn'X 2.5, a powerful 8 layers synthesizer.
This mode, reproducing the old synthex feature, is a simple 2 layers synthesizer. Lower and Upper are named according to the part of the keyboard they are assigned when SPLIT is engaged. Among the 8 layer of the Syn'X, Lower is playing layer A and Upper Layer H
At the end of the tutorial we will see how this mode is linked to the Advanced LAYER mode of the Syn'X 2.5"

Thursday, October 24, 2019

SoundsDivine 'Analog Reissue' - Xils-Lab Syn'X


Published on Oct 24, 2019 SoundsDivine111

"Preview of the presets from the 'Analog Reissue' soundset for Xils-Lab Syn'X 2.5.

https://soundsdivine.com/product/synx..."


"‘Analog Reissue’ contains 100 presets for Xils-Lab Syn’X 2.5

This soundset recreates some of the classic sounds from the Elka Synthex and also brings some exciting new sounds that weren’t possible with the original hardware.

‘Analog Reissue’ features cascading arepeggios, analogue strings, dreamy synth sounds, punchy analog basses, Berlin style sequences, hard + soft sync sounds, vintage brass pads and much more."

Wednesday, July 17, 2019

MiniSynx v2.5 New presets


Published on Jul 16, 2019 xilslab

"Some of the new presets added in version 2.5 of our MiniSyn'X synthesizer.
These presets are also included in our MiniWorks add-on soundbank for the Syn'X 2 synthesizer.

7mn of audio clips showing presets in isolation"

Saturday, May 18, 2019

PolyKB III : New Path Feature


Published on May 17, 2019 xilslab


Path Function :
-------------------------
Draw path for each voice : To each note it's own journey
Natural sounding Reverb added
New Preset Manager
New GUI/UI
New modulation targets for all Matrixes and Vectors

Sunday, February 24, 2019

Modor NF-1, MonoLogue, Nord Lead 2, Xils StiX Test with iPad


Published on Feb 24, 2019 BoBSwanS

"So I have had this iPad 2 days now and here is my 1st test of Midi Out and Ableton Link using Audiobus to route Fugue Machine and Xynthesizr to my synths.

3 playheads from Fugue Machine to my Modor NF1-M
and one to the Monologue.
Xynthesizr is playing some chords into my Nord Lead 2 and I have SpaceCraft Granular playing back some whistling I recorded in with the iPad Mic.
Each of the hardware synths has it's own audio track in Ableton with some delay and reverb and I have a compressor on the master.
I am also using a Lemur editor to control the Modor NF1-m
Drums are supplied by Xils StiX
and It's all synced with Ableton Link over Wifi."

Sunday, February 10, 2019

Two XILS 4 EMS Synth Emulation Tracks by fantomatica





All XILS 4, including the drums, in via fantomatica.


XILS 4 screenshot via XILS-Lab

"The XILS 4 emulates a prototype that was never released, the EMS VCS4, based on two intricate and interacting VCS 3 ( Synthi) cores. We also coupled them with the famous 256 analog polysequencer"

Friday, November 30, 2018

XILS-lab Updates XILS 4 Matrix Modular Soft Synth to v1.5


The press release:

XILS-lab updates ultimate matrix modular soft synth with welcomed fanciful features added to XILS 4 v1.5

“My favourite analogue synth is probably the VCS3, so when I heard that a company was releasing a software version I was quite cautious; today, XILS 4 is one of my favourite plug-ins! Working with it gives me the same excitement as the original hardware, plus there are lots of extra features, since it is basically two VCS3s with an interconnected sequencer. The sound is great, and it is one of the best soft synths on the market for experimenting with new ways of creating sounds!”

- Jean-Michel Jarre (award-winning composer, performer, and record producer), April 2015


GRENOBLE, FRANCE: audio software company XILS-lab is proud to announce availability of XILS 4 v1.5 — a major update to its self-styled ultimate matrix modular soft synth, effectively emulating a conceptual ‘blend’ of the legendary VCS4, a ‘dual VCS3’ analogue matrix modular synthesizer prototyped by British trailblazing entity EMS (Electronic Music Studios) back in 1969 but never commercially released, with pioneering British synthesist Tim Blake’s so-called ‘Crystal Machine’ (comprising two EMS Synthi AKS analogue matrix modular synthesizers with hard sync between their oscillators, one connected to the keyboard and the other connected to the sequencer) — with welcomed additional fanciful features including a powerful preset manager in a single window and new effects with semi-modular routing, as of November 30…

Thursday, October 18, 2018

PolyM Preset Manager Tutorials


Published on Oct 17, 2018 xilslab

Virtual Polymoog soft synth.

1. PolyM Preset Manager Tutorial : saving newly created preset, changing its tags, save and duplicate it. You will also see the Main GUI preset functions.

2. PolyM Preset Manager Tutorial 2 : Browsing, selecting, sorting, managing presets in the one window Preset manager.

Tuesday, October 02, 2018

XILS-lab PolyM 1.1.0 Update


via XILS-lab

"XILS-lab pushes polysynth hommage beyond the pleasure principal with welcomed PolyM 1.1.0 update additions

GRENOBLE, FRANCE: audio software company XILS-lab is proud to announce availability of PolyM 1.1.0 — updating its critically-acclaimed, authentic-sounding software recreation of a pioneering polyphonic analogue synthesizer manufactured between 1975 and 1980 (based on divide-down oscillator technology similar to electronic organs and string synthesizers of the time), and arguably made most famous by British ‘new waver’ Gary Numan, notably seen as well as heard when ‘driving’ over an endless ‘synthscape' in the trailblazing promo video for his 1979 chart-topping ‘Cars’ single; someone since observed that career-defining song’s parent album, The Pleasure Principal, “...is almost an album-length advert for the Polymoog...” — with welcomed additions including a new preset manager and an ability to run as an effects plug-in, plus compatibility with Native Instruments’ Native Kontrol Standard (NKS®), as of October 2…

PolyM first put in an appearance last year, when XILS-lab clearly considered those oft-overlooked Polymoog presets to be well worth revisiting, recreating an ‘unlimited’ polyphony polysynth that was recognisably revolutionary upon its initial release and making it fit for today’s creative computer-based music-makers with a state-of-the-art software makeover. Making that happen took two years — such was the complexity of its inspirational hardware predecessor. PolyM palpably didn’t disappoint, deftly reproducing yesteryear’s divide-down technology with two TOD (Top Octave Divider) oscillators — one for the sawtooth wave and another for the square, slightly detuned for a phenomenal phasing effect (when running independently in FREE mode), yet taking the concept further forward by adding polyphonic pulse width modulation. Meanwhile, in LOCK mode, those two TOD oscillators are almost locked in phase, producing PM (Phase Modulation) instead of FM (Frequency Modulation) when the square wave oscillator is modulated in pitch. The two TODs can also be modulated — tempo-sync-able — in pitch by an LFO (Low Frequency Oscillator), while the square wave oscillator has it own pulse width modulation by a tempo-sync-able LFO. Alongside a distinctive envelope generator, this represents the musical heart and soul of PolyM, pushing that revolutionary polysynth sound kicking and screaming into the future!

Further features of note include: 71 emulated chips, offering mixer, VCA (Voltage-Controlled Amplifier), envelope, 12dB filter, and pulse width modulation for each of the available notes; stunning-sounding 24dB ladder filter (using XILS-lab’s critically-acclaimed zero-delay algorithm); nine dedicated acoustic filters — STRING, PIANO, ORGAN, HARPS, FUNK, CLAV, VIBES, BRASS, and VOX — carefully recreated from the original (model 203a); RESONATORS filter bank with three parametric (6dB and 12dB) filters matching the original; three vintage — DEL. (delay), PHAS. (phaser), and REV. (reverb) — effects (with adjustable settings from within an Advanced Settings Panel alongside nine modulation slots for furthering sound design possibilities well beyond the scope of the original hardware); and more.

Today, thanks to the PolyM 1.1.0 update, there’s even more to (literally) make a song and dance about. As such, the NPM (New Preset Manager), a newly-integrated, single-window affair allowing users to easily and speedily perform different tasks with welcomed visual feedback — for example, locate and load the best fitting preset in seconds courtesy of a multi-criteria search engine, save/save as presets with (user-generated) tags, batch-tag multiple selections of presets, export/import multiple selections of presets, and select view (such as showing only favourite presets) — represents a major step in PolyM’s evolution; by that same token, those acoustic filters and RESONATORS, as well as the three vintage-sounding effects, are also available to work with other sound sources when running PolyM purely as an effects plug- in proffering plentiful possibilities for modulation; meanwhile, support for Native Instruments’ NKS® extended plug-in format for all virtual instrument developers delivers intuitive and seamless interaction with the German giant’s cutting-edge KOMPLETE KONTROL S-Series keyboards and MASCHINE hardware.

Helpfully, there are now over 300 professionally-programmed presets available as creative kickstarters in PolyM; parameters are all MIDI- controllable, combining to musically position this soft synth par excellence as an innovative instrument of its time while retaining a certain pioneering polyphonic analogue synthesizer’s coveted performance properties of the past. Put it this way: while what the deceased Austrian neurologist (and founder of psychoanalysis) Sigmund Freud would have made of this polysynth hommage is obviously open to speculation, surely the still active Gary Numan should approve... as will anyone’s bank balance by paying (comparatively) so little for so much playing pleasure. Thanks to its welcomed 1.1.0 additions, PolyM pushes beyond the pleasure principal in both senses, so anyone wishing to sonically travel back to the future should seriously consider adding it to their soft synth arsenal — all the more so at an attractive (albeit time-limited) introductory promo price representing a welcomed 40% saving. Best be quick, though — time waits for no man... or woman (or child)!


PolyM 1.1.0 is available to purchase as a USB eLicenser or iLok (1 and 2 dongle hardware or software) protected plug-in at an introductory promo price of €89.00 EUR until October 31, 2018 — rising thereafter to an MSRP of €149.00 EUR — from XILS-lab here.

PolyM 1.1.0 can be directly downloaded as a multi-format (AAX, AU, RTAS, VST), 32- and 64-bit soft synth and virtual effects plug-in for Mac (OS X 10.7 and later) and Windows (XP, 7, 8, 10) from here."

Monday, December 11, 2017

fourth world sessions - Roli Rise, Digitakt, Morphagene, XILS 3, Repro 1,Make Noise Modular


Published on Dec 10, 2017 junklight

"Fourth World electronics from Sunday's sessions

you can hear another part here :https://soundcloud.com/junklight/trai..."

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