XILS-Lab debutes new FM and VA synth plug in


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 KaoXXILS-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 KaoXXILS-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 TUNEDRIFTGLIDEVIBRATOFREQ (vibrato frequency), DEPTH (vibrato), (wheel), TREMOLOFREQ (tremolo frequency), and DEPTH (tremolo), plus CHORUSDELAYPHASER, 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 KaoXXILS- 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 

New Dual stage saturation plugin Neold Big Al announced

Plugin Alliance announces availability of one-off dual-stage tube saturator plugin as BIG AL arrives from NEOLD

“This is such a great tool to add glorious harmonic saturation, extra flavor, and vibe!”

– JUNO Award-winning mixer/recording engineer George Seara (James Bay, Drake, Shawn Mendes, Sting), 2021

SANTA CRUZ, CA, USA: Plugin Alliance, supporting all major plugin formats and uniting some of the best- known international audio companies under one virtual roof, is proud to announce availability of BIG AL — an emulation based on one-off analog hardware harvesting novel circuitry and authentic NOS (New Old Stock) components from the 1930s, exclusively designed for this dual-stage tube saturator from new pro audio plugin partner NEOLD offering a broad palette of stunning sound flavors flowing from the interactive network within its preamp and transformer-coupled power amp, where it generates gorgeous harmonics — as of February 2…
BIG AL’s frequency conditioning begins right in the EF9 preamp stage. Indeed, it is a filter freak at heart — hence the Low control being implemented as a Baxandall filter that allows for adjusting saturation intensity by around 100Hz in (optional) combination with boosting or cutting the bass at the same time. The High control is an additional EQ band placed in front of the preamp tube; its peaking filter boosts or cuts high-frequency content around 10kHz — essential for provoking or taming BIG AL’s potentially aggressive treble!
The straightforward user interface is spiced up with a jumper matrix, allowing access to BIG AL’s core circuitry: (Emphasis Shift), (Bass Compensator), and (Voltage Sag) provide powerful options with which to make complex changes to the distortion profile on the fly by simply inserting or pulling out a few (virtual) plugs. An AL4 power pentode and its output transformer act as the finishing spice, driven hot by the preamp stage.
And anyone wondering what this all adds up to need not trouble themselves any longer because BIG AL is a truly gorgeous kind of harmonic saturation that will always sound organic, musical, and bold! 

NEOLD BIG AL is available for purchase (as an AAX AudioSuite-, AAX Native-, AU-, VST2-, and VST3-supporting effect plugin for macOS 10.9 through 10.15 and Windows 7 through 10) at an attractive introductory price of $149.99 USD until March 4, 2021 — rising thereafter to an MSRP (Manufacturer’s Suggested Retail Price) of $199.00 USD — from here: https://www.plugin-alliance.com/en/products/neold_big_al.html

A fully-functional, 14-day trial of NEOLD BIG AL is available to anyone registering for a free Plugin Alliance account here: http://www.plugin-alliance.com/en/registration.html
NEOLD BIG AL is included in Plugin Alliance’s monthly MIX & MASTER Bundle (https://www.plugin-alliance.com/en/products/pa-mix-master-bundle-monthly.html) and annual MIX & MASTER Bundle (https://www.plugin-alliance.com/en/products/pa-mix-master-bundle-yearly.html) subscription services, and also its monthly MEGA Bundle (https://www.plugin-alliance.com/en/products/pa-mega-bundle-monthly.html) and annual MEGA Bundle (https://www.plugin-alliance.com/en/products/pa-mega-bundle.html) subscription services at no extra cost!
Note that the proprietary Plugin Alliance Installation Manager means users can select, download, and install only the products and formats needed for their system.
For more in-depth information, including several superb-sounding audio demos, please visit Plugin Alliance’s dedicated NEOLD BIG AL webpage here:https://www.plugin-alliance.com/en/products/neold_big_al.html
Watch Tom Van Den Heuvel formally introduce BIG AL in Plugin Alliance’s awesome-sounding trailer video here: https://youtu.be/e3sWXKHliSY
Take a NEOLD BIG AL walkthrough with Plugin Alliance’s additionally informative video here: https://youtu.be/sFCVunozUxE 

New virtual console plug in Brainworx bx_console G released

Press release:

Brainworx hits home run replicating renowned British console sound with bx_console G plugin

 

“Growing up in the industry on both E and G Series consoles, I was eager to take the new Brainworx bx_console G for a spin. Having used other companies’ emulations of the same console, I am incredibly happy and impressed with Brainworx’s attention to detail — the channel strip compressor finally has the proper ‘snap’ I’ve been missing from the real console, and all the added features are fantastic… another home run!”

– Marc Nelson, GRAMMY®-nominated music producer/mix engineer (Fleetwood Mac, Jason Mraz, Colbie Caillat), 2017

 

LEVERKUSEN, GERMANY: industry-leading pro audio plugins developer Brainworx is proud to announce availability of bx_console G — an accurate channel strip model of the renowned British G Series large-format mixing console, including both ‘Pink’ and ‘Orange’ EQ revisions, and featuring 72 distinct channels that use Brainworx’s TMT (Tolerance Modelling Technology) for the most realistic analog experience in the box — as of September 6…

Hot on the heels of Brainworx’s acclaimed bx_console E — their trailblazing flagship plugin that pairs a 72-channel emulation of the high-end, hit-making British E Series console complete with comprehensive COMPRESS (compressor/limiter), full-featured EXPAND (expander/gate), powerful four-band parametric EQ, and wide-ranging (high pass and low pass) FILTERS, together with incredibly flexible signal routing (just like the original console), and much more besides — comes bx_console G, growing the company’s collection of TMT channel strip plugins.

Powerful yet different, those true-to-life E Series- and G Series-modeling plugins are distinguished by their respective filter sections — both ‘Pink’ and ‘Orange’ revisions — that deliver a totally contrasting character when treating frequencies. The G is largely known for its more mellow character while the E is more aggressive, but both G Series filters feature proportional-Q behaviour, allowing for more precise gain adjustments while leaving the surrounding frequencies intact. The ‘Pink’ revision also allows the HMF and LMF (midrange) bands to be multiplied (x3) and divided (/3) by a factor of three to allow for an extra-wide range of tone-shaping capabilities. The G Series VCA (Voltage-Controlled Amplifier) also has a lower THD (Total Harmonic Distortion), making it a cleaner compressor option as well.

When designing bx_console G, Brainworx Owner Dirk Ulrich — an acclaimed producer/engineer in his own right — and his award-winning development team tossed tons of useful extras not found on the original hardware into an already exciting-sounding mix. Mods include: continuously-variable THD control (adds saturation); secondary release time (REL2) compressor control (prevents pumping); dry/wet (MIX) compressor control; mid (Solo M) and side (Solo S) channel monitoring; and virtual noise floor (V GAIN) control.

Channel strip plugins typically only model one channel of a mixer. Applying that same cloned channel across all tracks in a mix — even using different control settings — makes for a flat, narrow, two-dimensional digital sound. But bx_console G avoids this, thanks to TMT taking into account the real-world variation between channels of a hardware console, which lends itself to the complexity and nuance that analog hardware imparts on mixes. Meanwhile, bx_console G’s gorgeous GUI (Graphical User Interface) and acutely low CPU (Central Processing Unit) load lets users instantly recall up to 72 slightly different-sounding channels across all plugin instances on their tracks to create that mixed-on-a-large-format-analog-console sound so sorely missed when working on a DAW (Digital Audio Workstation). When working with bx_console G, however, DAW users can use its RANDOM CHANNEL buttons to easily invoke the random nature of this variation on a single instance of bx_console G, and also randomize the channels across every instance in a mix in one simple click.

Could it be that Brainworx has hereby answered the prayers of anyone yearning to mix their projects on a large-format analog console yet does not necessarily possess the necessary means — monetary and/or room — to do so? So much more than just a channel strip model, bx_console G’s potent modern features clearly create a G Series console on steroids! Indeed, it is hyper-realistic analog large-format console sound for your DAW… just ask Marc Nelson!

 

bx_console G is available for purchase — as an AAX Native & DSP-, AU-, VST2-, and VST3-supporting plugin for Mac OS X (10.8 through 10.12), Windows (7 through 10), and Pro Tools 10.3.10 (or higher) — exclusively from Plugin Alliance for an introductory promo price of $179.00 USD until September 30, 2017, rising to $299.00 USD thereafter. (A permanent crossgrade to/from bx_console E for $99.00 USD is also available.)

A fully-functional, 14-day trial is available to anyone registering for a free Plugin Alliance account here: http://www.plugin-alliance.com/en/registration.html

Note that the proprietary Plugin Alliance Installation Manager means users can select, download, and install only the products and formats needed for their system.

For more in-depth information, including several superb-sounding audio demos, please visit the dedicated bx_console G webpage here: https://www.plugin-alliance.com/en/products/bx_console_g.html

Watch Plugin Alliance’s tantalizing trailer for bx_console G here:  https://youtu.be/te705_OeFqI

Watch Plugin Alliance’s teaser trailer for bx_console G here:  https://youtu.be/wN-Osk_LSrw

Audio Damage freshens its line up with new plugins!

Audio Damage is Has released 3 new plug in VSTs available directly from their site. New versions of the Delay Plug in “Dubstation 2″, Reverb Plug in ” EOS 2 ” and the all new waveshaping distortion “Grind” are now available. 

EOS 2 consists of four high-quality custom-designed reverb algorithms, made with the modern production environment in mind. Three different plate simulators and Audio Damage’s own Superhall algorithm give you a broad palette of reverb, and the easy-to-understand interface makes adjusting the algorithms to suit your track incredibly simple.

Dubstation 2

From the Audio damage site:

The original dub delay plugin and still the best! Dubstation 2 takes our most popular product and adds a whole raft of new features, including a dual mode for separate control over the left and right delay times, ping-pong, a new feedback saturation algorithm, and an LFO. Along with an all-new procedural and Retina-friendly user interface and (FINALLY!) ProTools compatibility, this represents a major leap forward for one of our signature products.

All those bells and whistles aside, the heart of Dubstation is our painstaking bucket-brigade delay model. Often imitated, but never duplicated, Dubstation has been the go-to plugin for that sound for over a decade, used in thousands of commercial productions, and with good reason. With the addition of the LFO and saturation controls, Dubstation has moved in to the realm of tape delay emulation as well, and is a sonic Swiss Army knife for delay. 

Grind waveshape distortion

from the AD site:

A true powerhouse of audio warfare, Grind puts the “damage” in Audio Damage. From subtle tube-style saturation to full-on mangled wavetable distortion, Grind is a Swiss Army Knife of sound design.

Grind consists of three main blocks: wavetable lookup, in to algorithmic saturation/distortion/, and finally to a multi-mode filter. The wavetable module uses the amplitude of the incoming signal to replace the sample with one from 15 different linearly-interpolated wavetables, chosen for their mangling potential. Window size and phase controls provide further tone-shaping possibilities.

The next stop is the algorithm module, with eleven different distortion and saturation algorithms, from simple soft-knee saturation on up to full on sine warping.

After this, the signal passes through a multi-mode filter stage, with eleven different filter models to choose from, including “vintage digital” versions from the early days of plugin development, on up to our modern analog-modeled MS20-style lowpass and highpass synth filters. A tempo-synced LFO provides motion for the filter frequency, and a final stage of soft clipping and DC filtering tames the output.

Make no mistake: this is not a subtle, polite tool. With careful tuning of the provided presets, it can be tamed to normal filtering and saturation duties, but on the whole, it is a noisy, snorting beast of a plug-in, and is happiest with Full Metal audio destruction. 

OK enough with the AD copy. I have had some time with all three of these (I even created a group of presets for Dubstation 2). I can say these are a really nice step forward in the Audio Damage line up. The UI is really impoved on these (Grind and EOS2 have some killer front end graphics to help understand whats going on).

Grind really impressed me in its filter types as well as how the distortions can take a plain sound and add a ton of movement and character.  Similar to the Eurorack module Shapes also from Audio Damage, Grind lets you sequence lookup tables and waveshaping wavetables… very freaking cool.

tempo syncing the waveshaping and filter frequency changes is a joy.

Dubstation 2 is a very straight foward BBD sounding delay that will let you just easily get that dub delay you are after without a cluttered interface.

EOS 2 is just a joy to look at and hear. I’ve been using this to create gorgeous synth pads and basically create environments for my instruments to breathe in.

Eiosis AirEQ Premium EQ VST Review

AirEQ, Beyond Analog

AirEQ was designed with a vision of achieving musical, technical and sonic excellence.

Simple, intuitive and quick to use, AirEQ is a musical equalizer plugin at its best.

The Water and Fire curves, as the Character and Strength parameters were adjusted by ear, so mixing engineers can focus on one thing – making music sound great.

AIREQ is a premium eq that allows you extensive control over your mix. Utilizing it’s unique character attribute you can custom taylor your sound to be biting or smooth and transparent.

Laid out in a very easy to use and read design AirEQ allows for hands on luscious sound sculpting.

Demo download is available on Eiosis website 

AirEQ has been designed to fasten the workflow of mixing engineers, so they can reach quickly, and intuitively, the sound they have in their mind. The musical Q/Gain adjustement, along the Strength behavior, used with the ultra-musical analyzer, is the perfect combination of listenting, intuition and analysis within the same plugin interface.

Hide the analyzer for an “ears-only mode”, right-click on band switches for advanced options, shift-click on the Q for per-band Character, rename bands to make your own presets, assign each band to Left or Right, Mid or Side, class bands by frequency order..

 

Timeless 2 from FabFilter is an amazing delay plug in you just have to try


 

FabFilter’s Website

 

I have to say after using this plug in for a bit, it has really become my go to plug in. With it’s modular modulation set up and the ability to easily create interesting FX and saturation… it is really hard to beat.

Add it to your collection now for $144.00 usd