The overall design is pretty straightforward. Despite their power, they’re very intuitive, and if you’re concerned about overlooking some of their possibilities, the carefully grouped presets are on hand to show you how it’s done. Whether used for obvious sweeps, synth patches, sound design or simple mix-sculpting, they are near ubiquitous in the studio. To this end, the LFO offers a range of shapes and speeds, can be sync’d to the host BPM and can be used to modulate a variety of parameters. Again, this is best heard in action, but one of our favourite features here is the Mix control. Dance-tastic LFOs and envelopes. Each can be set to a classic analogue 12dB per octave slope, a powerful 24, a fairly surgical 48 or even an insanely precise 96, as with the recently reviewed Vengeance-Sound Multiband Compressor.
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The envelope section too offers some amazing possibilities, and perhaps even more of an innovative design.
By default, Philta works in a band-pass arrangement, passing frequencies that fall between the high-pass and low-pass filters. Next up comes the ring modulator section. It allows some exciting sweeps, and like all of Philta’s major parameters, it can be automated.
It’s not an essential plug-in, but for most kinds of dance music and creative electronica, you won’t regret the modest outlay. It’s a certified banger! pgilta
To sum up, Philta XL is a fantastic plug-in that totally lives up to its heavyweight name. Overall, though, Philta’s modulation system is terrific. Again, this is best heard in action, but one of our favourite features here is the Mix control. First vengeance sound philta xl the envelope and LFO controls, which offer far too much power to cover fully in one review.
Even the amount of modulation and the starting position of the LFO can be adjusted. It can take straight-up filtering and turn it into a sound-mangler’s dream, or simply add a little bite and character to help sculpt a mix.
Philta XL lends further credibility to Vengeance-Sound’s status as lord of the dance scene. Each can be set to a classic analogue 12dB per octave slope, a powerful 24, a fairly surgical 48 or even an insanely precise 96, as with the recently vengeance sound philta xl Vengeance-Sound Multiband Compressor. Each filter band offers a cutoff frequency control and another dual-purpose control with Width on the outer ring and Resonance on the inner.
Topping off the obvious front panel features are main input and output controls and some far-too-oft-overlooked input and output meters. The distortion effect comes next, and this is fit for anything from all-out sonic decimation to helping sounds cut through a mix.
On both plug-ins, it works best with the auto-release disabled.
Vengeance-Sound Philta XL review | MusicRadar
Filters are one of the most fundamental studio effects. It offers a fengeance level of crunch and bite, and though it’s not particularly warm in a ‘vintage’ way, it has bags of character and is dound for modern productions. To this end, the LFO offers a range of shapes and speeds, can be sync’d to the host BPM and can be used to modulate a variety of vengeance sound philta xl. Whether used for obvious sweeps, synth patches, sound design or simple mix-sculpting, they are near ubiquitous in the studio.
Vengeance Producer Suite – Philta XL
The overall design is pretty straightforward. In terms of sound, Philta is excellent. While we’re at it, we reckon an offset delay on the envelope vengeance sound philta xl LFO would be very philya too. Beyond that, you’re going to have to check out the pop-up sub-menus. Envelope and LFO could use time-delay. A further Area control defines which part of the frequency spectrum is monitored, and that can be used to tailor the effect to react a specific range, or use one part of the spectrum to trigger control of another.
Despite their power, they’re very intuitive, and if you’re concerned about overlooking some of their possibilities, the carefully grouped vengeance sound philta xl are on hand to show you how it’s done. The Attack and Release controls offer control over the speed of the action, while Strength and Boost determine the intensity of the effect. Naturally, it offers much more customisation than regular DJ effects, but this is probably the best way to describe Philta to deck-spinners.
On a more creative tip, there’s a sample rate reducer that can be linked to the low-pass cutoff, which, as we have already established, can be modulated with an LFO. The modulation parameters are exciting and effective: Finally comes the cl limiter. It sounds so good and has such cool features that you find yourself hankering to use it on anything that might require a filter, such as when removing hi-hat tails from a kick drum sample.