However, without MIDI envelope triggering and additional envelope controls, it isn’t the ideal tool for this task. The distortion effect comes next, and this is fit for anything from all-out sonic decimation to helping sounds cut through a mix. Even the amount of modulation and the starting position of the LFO can be adjusted. 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. On both plug-ins, it works best with the auto-release disabled.

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Vengeance Producer Suite – Philta XL news – Audiofanzine

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. Even the amount of modulation and the starting position of the LFO can be adjusted.

Though clearly interconnected, we still find having both of these controls on one dial a vengeance producer suite philta xl cumbersome from time to time, and would have preferred a different system. Beyond that, you’re going to have producfr check out the pop-up sub-menus.

It gengeance some exciting sweeps, and like all of Philta’s major parameters, it can be automated.

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.

Philta XL lends further credibility to Vengeance-Sound’s status as lord of the dance scene. Finally comes the output limiter.

Vengeance-Sound Philta XL review | MusicRadar

Filters are one of the most fundamental studio effects. By default, Philta works in a band-pass arrangement, passing frequencies that fall between the high-pass and low-pass filters.


The distortion effect comes next, and philtz is fit for anything from all-out sonic decimation to helping sounds cut through a mix. However, without MIDI envelope triggering and additional vengeance producer suite philta xl controls, it isn’t the ideal tool for this task. Overall, though, Philta’s modulation system is terrific.

It offers a great level of crunch and bite, and though it’s not particularly warm in a ‘vintage’ way, it has bags of character and is perfect for modern productions. Ring modulators seem to have cropped up more and more on plug-ins in recent years, but after trying it out on a variety of sources, we can vouch that this one is no mere nod to fashion.

In the end, it’s hard to criticise Philta without sounding rather greedy. The overall design is pretty straightforward.


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.

It’s a simple affair, and we encountered the same feature on Multiband Compressor. It’s not an essential plug-in, but for most kinds of dance music and creative electronica, you won’t regret the modest outlay. To sum up, Philta XL is a fantastic plug-in that totally lives up to its heavyweight name.

But it’s here now and produucer a name Philta XL, it’d better be pretty damned phat. When we heard that Vengeance-Sound – vengeance producer suite philta xl purveyors of innovative and powerful dance-centric effects – had released a filter plug-in as part of their Vengeance Producer Suite, we had no idea what to expect.


Dance-tastic LFOs produder envelopes. The basic premise is an amplitude-sensitive input venfeance monitors the incoming level and uses this pholta modulate the cutoff frequencies. In terms of sound, Philta is excellent. Each filter band offers a cutoff frequency control and another dual-purpose control with Width on the outer ring and Resonance on the inner.

It’s a certified banger! But we aren’t going to mark it down particularly on this basis – these aren’t complaints as such but rather our wish list for a future version.

While we’re at it, we reckon an offset delay on the envelope and LFO would be very beneficial too. Whether used for obvious sweeps, synth patches, sound design or simple mix-sculpting, they are near ubiquitous in the studio. First are the envelope and LFO controls, which offer far too much power to cover fully in one review.

Anybody who’s used an LFO-driven filter will know the kind of whoomping, pumping sounds this can achieve, but the LFO on Philta has clearly been carefully designed to have maximum impact in electronic music. Next up comes the ring modulator section. Each can venteance 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 vemgeance Vengeance producer suite philta xl Multiband Compressor.

Topping off the obvious front panel features are main input and output controls and some far-too-oft-overlooked input and output meters.