The Meat - Firechild

video upload by MrFirechild

"The Meat (March 2025) by Mr Firechild.
The following synthesizers were used:
¤ Minimoog
¤ Moog Model-15 (Reissue)
¤ ARP Solina
¤ Behringer System 55
¤ TTSH
¤ Various Euro rack modules, Oakley 5U
¤ xils lab THE EIGHTY software synth
¤ Behringer VC340

Composed and produced by www.firechild.se"

Reborn Part II - Firechild

video upload by MrFirechild

"Reborn Part II (February 2025) by Mr Firechild.
The following synthesizers were used:
¤ Moog One
¤ Moog Model 15 (reissue)
¤ Behringer VC340
¤ xils lab THE EIGHTY software synth"

Spaghetti - Firechild

video upload by MrFirechild

"Spaghetti (February 2025) by Mr Firechild.
The following synthesizers were used:
¤ Minimoog
¤ Black Corporation Xerxes
¤ ARP Solina with Sovtek Small Stone Phaser
¤ Moog One
¤ Behringer System 55
¤ TTSH
¤ Various Euro rack modules
¤ xils lab THE EIGHTY software synth
¤ Behringer VC340

Composed and produced by www.firechild.se"

YAMAHA CS80 vs XILS-LAB THE EIGHTY | Showdown Revisited, Now Perfected

video upload by Andy Whitmore

Follow-up to this post.

"In this video, I revisit the legendary Yamaha CS80 hardware synth versus the Xils-Lab The Eighty VST emulation for the ultimate sound comparison. After correcting a critical setting on the CS80 (thanks to your feedback!), this revamped video delivers an accurate showdown, highlighting resonance, filter settings, and aftertouch quirks.

🔥 What’s New in This Showdown?
✔️ Corrected settings for the most precise comparison.
✔️ Dry sound demos followed by FX processing.
✔️ Key insights: reversed bank selection, confusing filter controls, and aftertouch behavior.

🎧 Perfect for synth enthusiasts, sound designers, and fans of hardware vs. VST comparisons."

First review of the Xils-lab The Eigthty versus real Yamaha CS80

video upload by Jose's Vintage Keys

"This is a first comparison of some of the presets of the new ‪@xilslab‬ 'The Eighty' versus my orginal Hardware CS80 #cs80 #Xils-lab"

Yamaha CS80 vs Xils-Lab The Eighty: Ultimate Sound Showdown!

video upload by Andy Whitmore

See the follow-up video here.

"In this video, we dive into the ultimate comparison between the legendary Yamaha CS80, the iconic synth behind Blade Runner and countless classics, and the brand-new Xils-Lab The Eighty VST – a cutting-edge emulation of the original. I put these two head-to-head, exploring:

• Raw waveforms and the sound engine
• Ring modulation and pitch bend capabilities
• Dry sounds and FX comparisons
• Iconic licks from Vangelis and Michael Jackson

Whether you're a synth enthusiast or looking for your next VST, this video has you covered. Let’s see if the future of VSTs can truly match the past of analog synths!"

CLICK FOR MORE »

Details on XILS-lab's The Eighty

You might remember the teaser video and announcement video.

The press release with additional details follows:

XILS-lab launches The Eighty as virtual Vangelis soundalike homage to iconic Seventies synth classic, faithful to the original and enhanced for the future

GRENOBLE, FRANCE: XILS-lab is proud to launch The Eighty — effectively acting as a virtual Vangelis soundalike homage to an iconic Seventies-vintage synth classic that the Academy Award-winning Greek musician, composer, and producer of electronic, progressive, ambient, and classical orchestral music made into his signature sound, thanks to its exceptionally complete performer expression features (such as a layered keyboard that was both velocity- and pressure-sensitive in action, albeit, unlike most keyboards of the time, that aftertouch could be applied to individual voices, and a ribbon controller allowing for polyphonic pitch- bends and glissandos), faithful to the original and enhanced for the future as the latest entry into the audio software company’s lengthening lineup of virtual instruments par excellence — as of January 14…

It is fair to say that Bladerunner — the now-classic Ridley Scott-directed sci-fi film from 1982 set in a dystopian future Los Angeles of 2019 — is, for many, inextricably linked with Vangelis’ BAFTA- and Golden Globe-nominated score, showcasing his superlative skills with that iconic Seventies-vintage synth classic that was arguably as ahead of its time as that trailblazing score to which its sound subsequently became inextricably linked in itself. Much missed, Vangelis left this mortal coil in 2022, sadly, while the relatively few remaining fully operational examples of Yamaha’s CS-80 synth — supporting true eight-voice polyphony, with two independent synthesizer layers per voice each with its own set of front panel controls, in addition to a number of hardwired preset voice settings and four parameter settings stores based on banks of subminiature potentiometers — that musically meant so much to him are highly coveted by high-flying collectors, commanding eye-watering prices extending into high five-figure territory, putting them well beyond the reach of mere musical mortals... not that many could comfortably carry one anyway as they weigh in at a back-breaking 100kg/220lbs (including built-in hard case), regardless of how deep their pockets may well be!

CLICK FOR MORE »

XILS-lab presents The Eighty

video upload by xilslab

"The Eighty, our meticulously crafted reproduction of this iconic landmark in synthesizer history!

Faithful to the original, enhanced for the future"

XILS-lab Teases New Yamaha CS80 Based Soft Synth

video upload by xilslab

"THE EIGHTY"

La Palme New demo

video upload by xilslab

"Les Diffuseurs: La Palme, New demo from Nori Ubukata"

Le Metalique, tutorial

video upload by xilslab

Follow-up to LaPalme Reverie Ubukata

"Le Metallique is part of les Diffuseurs bundle, a set of two effects inspired by Martenot's speakers."

via xils lab

Les Diffuseurs

Ondes Martenot diffuseurs inspired reverb units.

2 Legendary speakers, La palme and Le Metallique

Les Diffuseurs (La Palme and Le Metallique bundle) are inspired by famous and highly unique speakers (called “diffuseurs”) that came with the Ondes Martenot, featuring a palm-shaped resonance chamber laced with 12 strings or a gong cabinet, which adds a specific metallic character to the Ondes Martenot sound.

With the help of Nori Ubukata and Yves Usson we reproduced these classic speakers, La Palme and Le Metallique. In addition, more possibilities have been added, such as the ability to mute any string, global transposition and real-time change of the gong's size.

But this was not enough!

The True Stereo Dynamic Engine ( TSDE ):

We pushed the concept even further by offering a True Stereo engine, so that you could position the two units, left and right, in a stereo image. True Stereo doesn’t mean a simple panoramic tool, with our TSDE you can place a speaker in front of the stereo field or farther back: You master the Space!

LaPalme Reverie Ubukata

video upload by xilslab

"Presentation of La palme, one of the two effects included in Les Diffuseurs Bundle. These effects are inspired by Martenot's speakers."

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.

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."

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"

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."

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..."

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!"

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"

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"