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thetapelessworld · 6 years ago

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

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… Historically, XILS-lab’s self-styled ultimate matrix modular soft synth creatively combines two XILS 3 soft synths; indeed, its earlier, critically-acclaimed release represents an authentic-sounding software recreation of the groundbreaking late-Sixties-vintage EMS VCS3 analogue matrix modular synthesizer, scaled up to also emulate EMS’ early-Seventies-vintage Synthi Sequencer 256, but boasting even more matrix connections than the original hardware that inspired it! In order to gain an appreciation of the sheer scope of XILS 4, understanding the origins of its smaller software sibling is in order; so let us journey, briefly, back in time, then... to 1969.

The British-built EMS VCS3 — or Electronic Music Studios Voltage Controlled Studio #3 to give it its full appellation (also affectionately known as ‘The Putney�� — after company founder Peter Zinovieff’s original pioneering electronic music studio location in the leafy London suburb — and, somewhat confusingly, ‘The Synthi’ — after its later SYNTHI VCS3 II incarnation) — made musical history upon its 1969 introduction as the first commercially portable synthesizer available anywhere in the world. Its innovative modular matrix-based patchboard dispensed with the telephone exchange-like cabling of other (much larger) modular systems in favour of making connections with (removable) coloured pins, so it could be comfortably housed in a small wooden (solid afrormosia) cabinet. Clearly distinctive in both its physics laboratory test equipment-lookalike looks and strange-sounding sound effects, the VCS3 quickly found favour with the more experimental leading lights of the day, including the BBC Radiophonic Workshop (think Dr Who), Brian Eno (with Roxy Music), Jean-Michel Jarre, and Pink Floyd, to name but a few first-generation famous users. Ultimately, thanks to Peter Zinovieff’s visionary synth wizardry, patch-building became a whole lot easier with more inputs and outputs to boot, and no more roadies (necessarily) needed! Needless to say, time and tide waits for no man (and no synth), so technology’s inexorable march onwards inevitably saw the venerable VCS3 washed away as a wave of powerful programmable American analogue polysynths took hold, opening the technological floodgates to the tsunami of more mainstream (and affordable) digital developments that ultimately changed the course of music making forever.

Fortunately for some, what goes around often comes around; today those strange sounds are sought after again and new VCS3s are available to custom order from a former EMS employee — albeit at a premium price tag with a predictably distant delivery date; mere musical mortals, meanwhile, have XILS-lab to thank for its cost-conscious and award-winning XILS 3 soft synth successfully taking the emulated essence of the late-Sixties-vintage VCS3 and associated early-Seventies-vintage Synthi Sequencer 256, transporting them to modern-day DAW-driven workflow with all the recallable benefits that brings with it. It is little wonder that XILS 3 proved popular with both first-time buyers beginning an intriguingly in-depth journey into the wonderful world of modular synthesis and also seasoned synthesists, such as renowned sound designer Richard Devine and original VCS3 aficionado Tim Blake (Hawkwind), as well as Peter Zinovieff himself, who kindly commented, “A great step forward!” Fast-forwarding to today, thanks to constructive conversations with both Peter Zinovieff about EMS’ fabled fusion of two VCS3s to produce the prototyped VCS4 and pioneering British synthesist Tim Blake about his 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), which resulted in XILS-lab’s self-styled XILS 4 ultimate matrix modular soft synth — subsequently reaping the benefits of a high-profile namecheck by French electronic music pioneer par excellence Jean-Michel Jarre as one of his favourite plug-ins, XILS 4 v1.5 takes that conceptual ‘blend’ to its current contemporary conclusion, courtesy of the New Preset Manager (NPM) being implemented alongside an additional natural-sounding reverb, new effects with semi-modular routing, second independent keyboard, and self-explanatory BAL L-R (balance between left and right synthesizer module) knob.

Needless to say, that NPM implementation is a major step forward in the evolution of XILS 4, allowing users to easily and speedily perform different tasks with welcomed visual feedback — for example, locate and load the most suitable preset in seconds via 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 or hiding unwanted presets). In adding a natural-sounding reverb to XILS 4 v1.5, XILS-lab also took the opportunity to totally revamp its Effects Block, so users can now route any effect in any order, and also choose to process only the left or right synthesizer module with any available effect; in short, while previous versions offered only one instance of fixed effect routing, now dozens of possibilities are available — adding reverb on the chorus (or vice versa) or processing the left synthesizer module with reverb and the right synthesizer module with delay and phaser, for example. Elsewhere, the second keyboard opens up XILS 4 to the possibilities of split patches or layering the two synth engines to only one part of the keyboard.

Accomplished additions apart, XILS 4’s (online-viewable) full feature list is impressive as it comes — cue 12 aliasing-free oscillators, grouped in six pairs across two synthesizer modules, with wave shaping and hard sync, plus two additional noise generators, and two (virtual) analogue multimode filters, each with non-linear and zero-delay behaviour and three different (12/18/24 dB) modes... just for starters. Simply said, those already fanciful features really represent only the tip of the inspirational iceberg, so-to-speak... just ask Jean-Michel Jarre about its pin matrix magic, for what it’s worth! With up to 1,140 simultaneous connections per patch, perhaps it is all the more understandable that he said, “... it is one of the best soft synths on the market for experimenting with new ways of creating sounds!” XILS 4 v1.5 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 €99.00 EUR until December 10, 2018 — rising thereafter to an MSRP of €179.00 EUR — from XILS-lab here: https://www.xils-lab.com/products/xils-4-p-148.html (Note that XILS 4 v1.5 is free for owners of all earlier versions of XILS 4.) XILS 4 v1.5 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: https://www.xils-lab.com/products/xils-4-p-148/download.html

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#news #synths #xils #xils-lab #ems #synthesizer #plugin #musicproduction #musicproducer

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frankplads · 2 years ago

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Do you make music? Below is a list of recommended music tools that I've gotten since late 2020.

All these purchases are lifetime investments in my digital studio, since I plan to make music until the day I die – just like Oskar Sala! And generally I only buy things that are on sale.

INSTRUMENTS, EFFECTS AND SAMPLES:

Moog Music Moogerfooger virtual effect pedals: $149 (intro offer)

GForce Software Oddity3 synthesizer (ARP Odyssey emulation): £25 (upgrade)

Softube Model 84 synthesizer (Roland Juno 106 emulation): €39

XILS Labs XILS 3+4 synthesizers (EMS VCS 3+4 emulations) and XILS 201 + XILS 5000 vocoders (Sennheiser VSM-201 and EMS 5000 emulations): $108

UnitedPlugins effects (Cryostasis + Autoformer + Bassment + Urban Puncher): $40

Ergo Kukke Trails Kontakt sample library: $26

ujam SILK Virtual Guitarist: $29

ujam Groovemate ONE + PHAT 2 instruments: FREE

Cherry Audio synthesizers (Elka-X + Voltage Modular 2 Core/Electro Drums + Synth Stack 2 upgrade): $200

Cherry Audio Galactic Reverb effect: $9

Eventide Audio Anthology XII effects: $240 (upgrade)

Unfiltered Audio effects (SILO + TAILS + TRIAD + LO-FI-AF + SpecOps): $85

NomadFactory effects (Magnetic II + Garbage LSD): €16

Knif Audio Knifonium synthesizer: $30

Puremagnetik Spectral Suite effects: $20

Strix Kontakt sample libraries (Emisynth + Pripyat Pianos): £22

PSPaudioware effects (HertzRider2 + PSP 2445 EMT): $32

Brainworx effects (bx_delay 2500 + bx_console Focusrite SC + bx_console SSL 4000 G + bx_console SSL 9000 J): $110

Brainworx bx_oberhausen synthesizer (Oberheim SEM emulation): $10

ADPTR Audio effects (Streamliner + Metric AB): $50

Free To Use Sounds All In One sample library lifetime license: $25

NATIVE INSTRUMENTS FREAK Modulator effect: FREE

Steinberg Padshop 2 instrument: $30

Steinberg SpectraLayers Pro 7 effect: $40

Arturia instruments (Augmented STRINGS + V Collection 8 upgrade + Pigments): $220

Arturia FX Collection 2 effects: $99

Arturia Tape MELLO-FI effect: FREE

Algonaut Atlas instrument: $70

Zero-G Cinematic Toolbox MAX Edition samples: £27

iZotope Everything Bundle all instruments and effects: $199 (upgrade)

Relab Development LX480 Essentials reverb effect: £23

Softube effects (Tube Delay + Fix Flanger + Doubler + Tape Echoes + Transient Shaper): $67

Thenatan effects and instruments (Brain + Hatz + Tape Piano v2 + Vinylizer + X-Eight): $20

IK Multimedia iRig Pro Duo I/O soundcard + almost all effects and instruments: $370

Celemony Melodyne 5 Editor: $167

Acon Digital Restoration Suite 2 effects: $20

Aberrant DSP effects (Digitalis + SketchCassette II): $40

Martinic AX73 synthesizer (Akai AX73 emulation) with preset banks: €19

Martinic Lem Echo Music delay effect: €5

Waves Audio CLA Nx + Clarity VX + Retro Fi effects: $68

Waves Audio update plan 2021 (to use my Waves plugins on Apple silicon): $160

KORG Collection 3 synthesizers and effect: $149 (upgrade)

Solid State Logic Native Essentials effects: $42

Antares Duo voice effect: FREE

Plugin Boutique Scaler 2 MIDI effect: £14 (upgrade)

Applied Acoustics Systems Objeq Delay effect: £6

Rob Papen Rhythm Guitar RG instrument: £28

Minimal Audio Rift Filter Lite effect: FREE

BABY Audio I Heart NY compressor: FREE

sonible entropy:EQ+ effect: FREE

AudioThing effects and instruments (Things Motor + Speakers + Wave Box + Vinyl Strip + Wires + Noises + Valves): $110

Kuassa Efektor FL3606 flanger effect: $15

DS Audio Tantra 2 multieffect + Thorn synthesizer: $35

Audio Damage Dubstation 2 delay: FREE

Cableguys DriveShaper 2 distortion effect: FREE

Waldorf Music PPG Wave 3.V synthesizer: $30

Waldorf Music LECTOR vocoder effect: $35

Pulsar Audio Echorec delay effect: $24

Surreal Machines Modnetic effect: €15

-*-*-*-*-*-

And below I've linked to a complete list of all my instruments, effects and sample libraries.

It's obviously too much to keep, so when I actually start making music again next year, I will uninstall and sell or give away everything I'm not going to use:

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bushdog · 4 years ago

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(via XILS-Lab KaoX: Takes on the GS1 and evolves it in chaotic hybrid directions - gearnews.com)

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sonicboombap · 4 years ago

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Xils Lab KaoX VST and fx plug-in-developer XILS-la... https://sonicboombap.com/xils-lab-kaox/?feed_id=601&_unique_id=6077239762c59 #koax #modular #synth #vst #xilslabs

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djlitlife · 4 years ago

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XILS-Lab KaoX: Takes on the GS1 and evolves it in chaotic hybrid directions - gearnews.com

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isearchgoood · 4 years ago

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July 16, 2020 at 10:04PM - 127 GB of of synths, plug-ins, and sounds (47% discount) Ashraf

127 GB of of synths, plug-ins, and sounds (47% discount) Hurry Offer Only Last For HoursSometime. Don't ever forget to share this post on Your Social media to be the first to tell your firends. This is not a fake stuff its real.

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Added on top you find a digital copy of the BEAT music magazine included, offering workshops, reviews, interviews with renowned artists and so much more.

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Your 12-month subscription will give you access to all the software we upload in the upcoming year, plus access to three back issues in our archive. Effectively 127 Gigabyte of software, sounds and samples.

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Aalto 3 BE by Madrona Labs

Acon Dynamics BE by Acon Digital

Action Phaser by W.A. Production

Areena Reverb by IgniteVST

Attack by Waldorf Music

Beat Showcase by Eplex7 DSP

Beatzille by u-he

Bitwig Studio 8-Track

D-Pole by Waldorf Music

Degrader by Klevgrand

Elastik Player by ueberschall

Element 2 by Waves

Fast FET Compressor by CDS

Geist Lite Beat by Fxpansion

Modelonia LE by Nusoftig

Noise Retro by Denise Audio

Philta BE by Vengeance

PPG Wave by Waldorf Music

ADM606 by Audio Realism

Roehrich by Beat Magazine

SphereDelay by W.A. Production

StiX LE by Xils-lab

Dune BE by Synapse Audio

Thorn BE by DS Audio

T-RackS ONE by IK Multimedia

Vice one by IgniteVST

Xils 3 BE by Xils-lab

Zampler//RX by Synapse Audio & Beat

Plus 12 issues of the Beat Magazine, loads of samples, a fresh sound bank for our Zampler workstation every month and much much more.

Listen to the audio demos of our exclusive sound banks for Zampler

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ETERNAL DRONES – 74 patches for Ambient & Soundtracks

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dpgold · 5 years ago

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My journey continues….

(Page 2014)

This blog is a continuation of a series. See here (Page 2016a) for the previous blog.

Year 2016: 5th Observation Part c

Whilst I was making headway with the development of my music praxis – significant headway in my opinion – , my actual production plan still did not have the degree of clarity I had hoped for after four (4) weeks. I therefore decided to go through each step of my Praxis v5a in terms of my production process, deliberately and systematically.

Figure I – Praxis v5a (Page 2016b)

In following this process I made my 5th Observation.

Figure II – 5th Observation (Page 2017)

Practice

Of the five (5) stages of practice, I was in the first stage of creative practice: the creative stage.

Creative Stage

Pre-production Stage

Production Stage

Post-Production Stage

Distribution Stage

In the creative stage, I brainstormed a number of Project 1 creative ideas based on my project brief. The five (5) track EP was to be representative of some aspect of my life: past, present or future envisioning.

Site

The next element listed in my Praxis 5a was site.

“Listening to the making of ‘Dark Side of the Moon’ (with Alan Parsons as engineer), I ponder…. Unlike so many US bands of the time whose core attraction was the live performance, Pink Floyd and other British bands I was predominantly listening to and influenced by, effectively used the studio as their stage” (Page 2016c; Gallagher 2012; Price 2015; Ryan & Kehew 2006)

For me, I had always been a performer. In the tradition of US bands, my core expression was on stage in a live performance. I had recorded specific music styles that I knew could translate easily to the live sound context – the stage in a venue. However, the musical style I was focussing on here – psychedelic rock – clearly had demands for different types of technology required.

The music style I was pursuing was inspired by British-based psychedelic rock artists of the late 1960’s and early 1970’s. The site of these performances were in the studio, and therefore each of these creations were done with the aid of studio-based technologies.

Technologies

In order for me as an artist/performer to be able replicate and reproduce the range of studio-created music and sonic tones, I was going to need access to these devices. I pondered: how was this to be done in the production process effectively and efficiently?

I had at this time access to an elaborate range of virtual technologies third (3rd) party plug-in instruments and processors. These included replications of many analogue devices of the particular production era I was focussed on – late 1960’s and early 1970’s – , including instruments such as synthesisers; and audio processors in the three categories of spectral, dynamic and time-domain.

Figure III – 3rd Party Plug-Ins by Manufacturer (Page 2016d)

Whilst I had access to some of the more notable manufacturers such as Eventide, Lexicon and SSL; along with access to a broad range of more recent notable manufacturers such as AIR Music Technology, Antares Audio Technologies, Avid, East West, IK Multimedia, Massey Plugins Inc, Native Instruments, PSP Audioware, Sonixvox, Sonnox, SoundToys, XILS-Labs and iZotope; I wondered whether the virtual technology replications were going to allow me the dense layering of the textures required for the psychedelic music style. Analogue processing devices were well regarded for their warmth of tone and range of sonics, with music recorded with such equipment often characterised with aesthetically pleasing device-induced distortion, hum and other noise associated with imperfect analogue devices [1].

Technology – Stage versus Studio

Of the technology I could readily access – contemporary equipment of analogue, digital or digital virtual devices – either within my studio, at either the SAE Institute studios (as a full-time Senior Lecturer), or at the QUT studios (as a post-graduate research student) what was going to assist me in this process? My mind wandered considering many options.

My performance live rig was quite elaborate for its function to reproduce typical guitar-based rock music. With other floor-based – analogue and digital – devices, and a broad range of analogue guitar amplifiers, my live rig setup was flexible. With a range of – mostly digital – dynamic, spectral and time-based processors, I could reproduce and sculpt just about any music and sonic tone to reproduce just about any contemporary organic rock-type sound in a performance situation, on stage. In addition, I also have a range of guitar emulators – such as the Fractal Axe-FXII – that allowed me to bypass the use of any guitar amplifiers, and go directly into a venue’s PA system, exponentially expanding the music and sonic palette I could access.

Figure IV – Live rig (Page 2016e)

However, psychedelic rock music was more complex, with multiple textures and layers that occurred often simultaneously. Was my rig in its current form going to be sufficient? Whats more, if I did create psychedelic-based music in my studio – with multiple textures and layers – using my wide range of digital virtual devices complex, how could I effectively and efficiently reproduce these in a live performance context? Perhaps I needed to develop my current studio technology, expanding my current quite limited studio rig of outboard processors.

Figure V – Studio rig (Page 2016f)

I needed to research and consider pieces of equipment that will complement what I currently have, and what I need to fuse my performance and recording of my craft, avoiding a valley or void between the two very important aspects of my music-making practice….. two aspects that have not met before: stage and studio equipment. I decided that what I didn’t want to do was, was create a studio album that I could not then easily replicate in a live performance. I had always been a performer, and to be able to perform congruently to my recording was a major motivator for me as an artist.

I was clearly invested in this pre-production stage of the music-making process. I needed to consider how I was going to approach the production and what equipment I would use for best effect. It was obvious to me how necessary it was for me to continue to immerse my self in two ways: the sourcing of more textural artifacts discussing the recording techniques in that era (books – The Beatles, Pink Floyd, articles on Molly Meldrum, etc); and also researching a range of equipment that I acquire, that would supplement the equipment I already had, that could more effectively replicate the sounds of psychedelic rock, that I could add to my performance rig. Yes, I desired a rig that I could effectively roll from my studio, onto a stage; and once that performance was complete, to then roll the same rig from the stage, back into the studio. It was my goal to be able to replicate all aspects of my musical and sonic creations in any of my performance locations – on stage, or in a studio.

Footnotes

[1] There are countless testimonies heralding the desired qualities and characteristics of analogue devices across decades of music and sound equipment, and cultural production reviews. However, three more recent acclaimed cultural productions detailing the historical significance of such devices and production workflows are: Ryan & Kehew’s 2006 book “Recording the Beatles: the studio equipment and techniques used to create their classic albums”; Guggenheim’s 2009 “It Might Get Loud” starring Led Zeppelin’s Jimmy Page, U2’s The Edge and The White Stripes’ Jack White; and Grohl, Monroe and Young’s 2013 documentary “Sound City” about a Los Angeles studio during the 1970’s and 1980’s where a number of East Coast artists had hits with records recorded and produced at the facility. These artists included Buckingham and Nicks, Rick Springfield, Fleetwood Mac, and Tom Petty and the Heartbreakers.

This blog series is planned to continue next month with Doctoral Pilot Study Part 3a (Page 2016g). It is intended for this blog series to continue on a regular basis as I progress through my doctoral research project.

References

Gallagher, Mitch. 2012. “Studio legends: Alan Parsons on “Dark Side of the Moon”. Accessed 4th February, 2016. http://www.premierguitar.com/articles/Studio_Legends_Alan_Parsons_on_Dark_Side_of_the_Moon.

Grohl, Dave, Mark Monroe and Neil Young. 2013. Sound city. Sony Music Entertainment. DVD.

Guggenheim, Davis. 2009. It might get loud. Sony Pictures Classics. DVD.

Onion image courtesy of: Onion Layers Accessed 15th December, 2014

Page, David L. 2017. Figure II – 5th Observation image courtesy of David L Page Created 10th June, 2017

Page, David L. 2016g. Doctoral Pilot Study – Part 3a Accessed 5th March, 2016

Page, David L. 2016e. Figure V – Studio rig image courtesy of David L Page. Accessed 29th February, 2016

Page, David L. 2016e. Figure IV – Live rig image courtesy of David L Page. Accessed 29th February, 2016

Page, David L. 2016d. Figure III – 3rd Party Plug-Ins by Manufacturer image courtesy of David L Page. Created 29th February, 2016

Page, David L. 2016c. Doctoral Pilot Study iNotes Accessed 29th February, 2016

Page, David L. 2016b. Figure I – Praxis v5a image courtesy of David L Page. Created 31st January, 2016

Page, David L. 2016a. Doctoral Pilot Study – Part 2b Accessed 17th February, 2016

Page, David L. 2014 image courtesy of David L Page Created 15th December, 2014

Practice image courtesy of David L Page Accessed 4th February, 2016

Price, Andy. 2015. “The Making of Pink Floyd’s Dark Side of the Moon.” Article. Accessed Feb 4 2016. http://www.musictech.net/2015/06/landmark-productions-pink-floyd-the-dark-side-of-the-moon.

Psychedelic Rock image courtesy of Ultimate Guitar.com Accessed 5th February 2016

Ryan, Kevin and Brian Kehew. 2006. Recording the Beatles: the studio equipment and techniques used to create their classic albums. London: Curvebender.

– @David L Page 29/02/2016

– updated @David L Page 05/03/2016

– updated @David L Page 10/06/2017

Copyright: No aspect of the content of this blog or blog site is to be reprinted or used within any practice without strict permission directly from David L Page.

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Doctoral Pilot Study – Part 2c My journey continues…. (Page 2014) This blog is a continuation of a series. See here (Page 2016a) for the previous blog.

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maxforlive · 6 years ago

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via MaxforLive.com New Devices

#IFTTT #MaxforLive.com New Devices

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thetapelessworld · 4 years ago

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XILS-lab creates KaoX a virtual instrument inspired by legendary FM synthesizer

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

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! KaoX is available to purchase as an iLok (2 and 3 dongle hardware or software) protected plug-in priced at an introductory promo price of €99.00 EUR until May 15, 2021 — rising thereafter to an MSRP (Manufacturer’s Suggested Retail Price) of €179.00 EUR — directly from XILS-lab via the dedicated KaoX webpage (https://www.xils-lab.com/products/kaox-p-168.html), which also includes more in-depth information. KaoX can be directly downloaded as a multi-format AAX, AU, and VST (Mac OS X 10.8 and later) and AAX and VST (Windows 7, 8, and 10) plug-in from here: https://www.xils-lab.com/products/kaox-p-168/download.html Listen to several KaoS-showcasing demo tracks providing the soundtrack to XILS-labs’ latest teaser video here: https://youtu.be/qeZJvGe6a4Y

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https://www.xils-lab.com/products/kaox-p-168.html

#news #xilslab #synth #plugin #musicproduction #musicproducer #composer #compostion #sounddesign #fmsynthesis

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pastipas-id · 7 years ago

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XILS Lab ChorX Full Version + Serial

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bushdog · 4 years ago

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kevinmoyer · 7 years ago

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XILS-lab Releases PolyM Soft Synth Polymoog Emulation For Mac & PC

XILS-lab has released PolyM, a recreation of the Polymoog polysynth, conceptualized by Dave Luce and produced by Moog Music between 1975-1980

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shykingdompost · 7 years ago

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natanatus5-blog · 7 years ago

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