Top XILS Lab VST Plugins
Top XILS Lab VST Plugins

Top 9+ XILS Lab VST Plugins 2021

We have created for you a rating of the Best 9 XILS Lab VST Plugins as the most downloaded and according to the excellent reviews of musicians

VST list navigation:

  1. Le Masque: Delay
  2. R.A.M.S.E.S.
  3. Chor’X
  4. Syn’X 2
  5. XILS DeeS
  6. XILS PolyM
  7. StiX
  8. XILS 201 Vocoder
  9. LX122 Pro

1. Le Masque: Delay

Le Masque: Delay

Le Masque: Delay is a revolutionary Time Line driven Delay Effect which can be used to perform unique and totally new Delay based effects in a fast and intuitive way.

To accomplish this task, Le Masque: Delay inherits the renowned XILS-lab filters and all the experience accumulated from the making of Virtual Analog synthesizers and audio effects.

But Le Masque: Delay can also perform like a regular Delay.

What is Le Masque: Delay?

Le Masque: Delay lets you specify in a very accurate way which part or parts of the dry signal will be processed by the Delay unit and its components and modulators.

The Masked zones of the grid are processed by the Delay Unit, while all the audio data outside of the Masks remain unchanged.

The Grid is synced to your Daw, or to its internal clock.

Here are a few examples of how UNIQUE and MUSICAL Le Masque: Delay is

Working on loops or recorded material and tracks

  • Extracting and modifying specific part of a Drum loop ( or any other loop )
  • You can apply delay on the snares only, or to one particular snare hit in the groove, then modulate it in real time via the mod wheel and/or any other other auto-modifiers like loopable envelope or LFO.
  • You can extract the HH and modify their groove, change the bass drum only groove, turn delayed bass drums into Simmons Toms while totally preserving the quality of the original audio, add delay to specific parts of the groove, and even build on the fly impressive breaks, rolls or fills. All this in real time. In a fast, intuitive, creative way.
  • Le Masque :Delay is the perfect tool to revive and add creative control over all your existing loop arsenal, or live recordings.

Composing directly with Le Masque:Delay:

  • Le Masque: Delay can change the way you will play live a funky guitar riff, an ambient keyboard, or a pulsating electro bass or lead line.
  • You can begin by choosing some presets which look at first sight adapted to your material, or choose random ones, and start paying with them along your track, or improvise to create the basis of a new track. Soon you’ll discover that you don’t play your part in the same way anymore, as Le Masque :Delay becomes gradually a part of the composition process

After you have gained some experience with Le Masque: Delay, you’ll soon make it your own and develop your own way to use it as a creative and inspirational tool.

Le Masque: Delay is polymorphic unit, it has a very experimental side.

Le Masque: Delay offers:

  • True stereo path with independent Right and Left Delays
  • Midi Sync and Stereo Link Delay Modes
  • Sync grid zone with up to 8 custom Masks
  • All Masks have independent length and level
  • One Multimode Filter (With Drive, Self Oscillating, 0-delay Feedback Design)
  • Two independent envelopes (Loopable ADSR and AR) with 3 trigger modes
  • One Syncable Multiwaveform LFO with 3 reset optionsSnap to Grid function to quantize Mask Locators on musical values
  • Swap Masked/Unmasked function (Real Time)
  • 4 Clock Modes (DAW, In, Tap Tempo, Fixed)
  • Modulation Matrix for real time control of parameters
  • Real time tempo analysis function for Live playing
  • All parameters are MIDI controllable

The Grid
When the current transport locator enters a mask, the audio is sent, throught a full modulated filter, into a precise and fat delay.

The Delay
In the delay section there are 5 Dual Concentric Knobs and the Modulation Wheel

4 of these knobs control the Delay Settings, and one Dual Concentric Knob to adjust the Dry/Wet volume and Global Output Gain. .

The Filter
Unlike on some other Delay Units, the Filter section is a crucial part of the Mask. Not only does Le Masque: Delay makes use of the renowned XILS smooth and warm analog filters, but it use also their surgical precision to perform such delicate tasks as extracting the HH from a complete Drum loop, and the low mids of a guitar.

The LFO and Envelope
The Envelope and LFO modulate the filter frequency and the volume applied to the signal entering the delay.

2. R.A.M.S.E.S.


R.A.M.S.E.S. will bring any signal to life with rhythm and motion:

  • Add true stereo depth and space, or take it all away.
  • Re-shape, re- filter, re-envelope and sculpt every source.
  • Create hypnotic or robotic sequences or subtle complex human rhythms.
  • Make digital signals sound analog or add velocity to your vintage true analog synth

Core Engine:

  • Pristine Analog Multimode Filter with exclusive Xils-lab 0-Delay-Feedback and Advanced Modelling Technologies
  • Full True Stereo Engine with Dynamic Balance ( Pan) and Stereo Width Dynamic Control
  • Dynamic control of all volumes and gains ( Vca ) in Stereo Path
  • Exclusive Spray Delay Effect : Easy, fast and intuitive to set, Impressive to listen to
  • Crusher Effect with Dynamic control Combines 5 essential effects with zero compromise audio quality for the price of one
  • Performance, Modulations, and Dynamic Control Engines

Performance, Modulations and Dynamic Control Engines:

  • RITA Performance Module (Realtime Interactive Transformation Area) : Control R.A.M.S.E.S.  by playing live on a MIDI keyboard only using Note On, Note pitch, Velocity, Mod Wheel, Aftertouch, Control Pedal, Keyboard tracking etc.
  • Filter Control : Get total control of the multimode Analog filter with dedicated hardwired Enveloppe, LFOs, and the incredibly powerfull exclusive Xils-Lab-Le Lotus Bleu *Masks Technology.
  • Pan-Level Control : Control Pan and Volume with dedicated Envelope, Multiwave LFO, and another complete *Grid-Masks combo
  • Advanced Area : Modulate any of  91 R.A.M.S.E.S. parameters using a third *Grid-Mask area.
  • Direct Midi Assignation : Automate via MIDI CC up to 91 R.A.M.S.E.S. parameters

What are the Masks?

Mask can be seen as advanced StepSequencers, with the main difference that the length and time position of each step/Mask is completely FREE.

Simplicity and Depth

Easy and intuitive

Want to keep it simple?  Ramses includes tons of presets to get you started. Grid-Masks Combos and RITA Live module also have their own dedicated templates, and you can save your own. Need instant inspiration? Use the Random button, and generate myriads of rythmic patterns in a flash.

Intermodulations and depth in programming

A simple example: In R.A.M.S.E.S., each Mask-Step can re-trigger one LFO, while this LFO can control the Decay of the filter envelope, and the filter CutOff as well. You could still control the output level of this LFO with the Mod Wheel, while controlling it’s rate with the Pitch Bend. Etc. You can go that deep!


The very short list of what R.A.M.S.E.S. can do:

Autopan, Auto-wah, Tremoloes, TranceGates, FilterGates, Turn Pad to rythms, all with dynamic control. Mix sophisticated automodulations patterns ( Up to 3 synced Masks Sequencers controlling any RAMSES parameters ) with real time playing control. On the fly Re-Creation of drumloops, or loops of any instrument.

Total Space control : Stereo Width, Balance, Gain. Transform a simple oscillator into an analog synthesizer. Complex Grooves and Shuffles bypassing the rigid character of Step Sequencers ( Mask Technology ). Up to 4 bars long polyrythmic patterns. Dubbyfy any incoming audio material ( Spray Delay. Add bright and pure overtone to incoming signal in a dynamic way ( Filters autoOscillating in all modes ). Build incredible sequences with the highest level of control.

And so much more: Ramses is only limited by your imagination!

R.A.M.S.E.S. provides three independent LeMasque based grids for incredible rhythm creation:

  • Filter panel: a LeMasque grid dedicated to the filter cutoff frequency and resonance
  • Panoramic/Level Panel: a grid dedicated to the panoramic (Balance) and  Level
  • Advanced Panel: a grid which can modulate almost all R.A.M.S.E.S. parameters (Filter, Spray, Delay, Balance, Stereo, Crush effect, Envelopes, LFOs, …)

R.A.M.S.E.S. core engine is a full analog like multi mode self-oscillating filter, with Low-pas12db, Low-pass 24db, Band-Pass 6db, Band-pass 12db and High-pass 12 dB and drive knob setting.

R.A.M.S.E.S. Filter is following by a True Stereo engine with a Stereo width setting, level and crush effect.

3. Chor’X


Chor’X combines four types of Vintage Chorus effects, based on Bucket-Brigade Delay (BBD) emulation with a sophisticated True Stereo Dynamic Spatializer.

With this duo, it becomes very easy to add space , depth, and other dimensions to your instruments, and achieve complex and intriguing mixes.

The new Legacy/Advanced feature allows a fast workflow to choose and tweak your prefered chorus model.

You want only a standard famous chorus algorithm ? Keep the Legacy view, select your specific mode, that’s all ! Just add a bit of space by moving the outputs in the Stereo field.

You want more, would like to change a bit the LFO rate or Amount of your chorus model ? Click on the Advanced button and change the Chorus parameter as you did with the previous Chor’X version.

The Four Bucket Brigade Delay Types (BBD): The Four Chor’X modes ( Synthex, CS-80 Dim-D and V+ 330 ) have been patiently modelled after closely studying many vintage chorus units and deciphering what made them unique.

They aim to present some of the most famous archetypal structures found in those famous vintage units : 4 BB Delays, 2 BB Delays and 2 BB delays with phase tweaks, with or without internal compander. By combing these distinct chorus types, you can create chorusing effects from the most graceful and smooth to completely wild.

But this was not enough!

The True Stereo Dynamic Engine (TSDE): Some Choruses were famous for the stereo width they could add to instruments.

We pushed the concept a bit further by offering a True Stereo engine, so that you can position all the signals in a stereo image. True Stereo doesn’t mean a simple panoramic tool, with our TSDE you can place an instrument in front of the stereo field or farther back : You master the Space !

To go a bit further: We added a few unique features, that you’re used to finding in all Xils-lab instruments, features with musical meaning and sense !

Impulse Threshold: The Chor’X will not destroy the low end of your instruments, like some standard Chorus, but we also added a special Dry tool, which will let you treat percussive material while leaving the transients dry, only adding chorus to the tail of the instruments.

Dynamic Modulations: You can add automatic dynamic changes to the rate and the amount of all the BB Delay lines. This unique feature is the key to everchanging very subtle or more devastating Chorus, and combined True Stereo effects.

And finally we packed all this in an intuitive and fast UI, with 2D pads wich allow a very precise tuning of parameters like the Chorus rates, amounts etc, instant visual feedback, and the true joy of seeing your stereo image moving while the balls are dancing to the sound of your music.

You can see complete details of the Chor’X features, hear some sound examples, and watch some videos in the following pages.


Chor’X 1.5 offers

  • Easy and Fast workflow with the Legacy/Advanced mode  
  • Four Bucket-Brigade Delay emulations
  • Four standard chorus structures (with special filtering and compander emulations)
  • Two 2-D pads for easy parameters tweaking
  • True Stereo Dynamic Engine
  • Advanced Dry/Wet modulation with an impulse follower
  • Advance Amount modulation with an envelope follower
  • True stereo path with independent Right and Left Chorus structures
  • Advanced preset management
  • All parameters are MIDI controllable

4. Syn’X 2

Syn'X 2

Syn’x 2 is a Polytimbral Synthesiser inspired for the synthesis part by a legendary Italian Synthesizer from the 80’s.

Its multilayer card based architecture is inspired by sophisticated hardware analog monsters like the Oberheim Matrix 12.

The sound it offers the striking combination of clear and punchy DCOs with cutting multimode modelled analog filters like it’s ancestor, one of the last Vintage Polyphonic Analog Synthesizers, and a piece of Synthesis history, including the famous BBD Chorus!

And because it’s multitimbral, you can use up to 16 oscillators, 8 0df Analog Filters, 32 DADSR envelopes and Modulation Matrixes addressing any of the 132 possible destinations to build your own patches, when the 300 Factory Library Presets will be not enough.

It’s a Xils-Lab synthesizer, so we added MORE. To name a few: 

  • Oscillators with cumulative waveforms (Up to 40 per patch)
  • New 0DF PWM/Hard Sync Algorithm
  • Unique LFO’s with cumulative waveforms (Up to 50 per patch)
  • Additional D-ADSR envelopes and Modulation Matrixes  (Per Layer)
  • Unison, 2 arpeggiators, 2 Keyboards zones, Guitar Multitimbral mode
  • A Plethora of monophonic and polyphonic Play Modes
  • PolySequencer (Also acting as a modulation source) 
  • Easy Sound Creation with our unique Smart Load Technology
  • Vintage sounding effects: Chorus, Phaser, Delay, Analog EQ. True Stereo Technology.
  • And a dual programming environment which offers you two different edit mode ( Easy and Advanced)

The Easy Mode enables you to benefit from a powerful, yet intuitive and streamlined programming environment similar to the  miniSyn’X duo-timbral synthesizer, but with the additional power of additional envelopes, LFOs, etc

The Advanced mode unleashed the total power of the Syn’X 2 to build thick, complex, and never heard patches, still with a totally revamped and fast workflow.

All this Making Syn’X 2 one of the most powerful and complex Virtual Analog Synthesizer of the modern era and offering you the best of both worlds: Vintage Sound in a modern frame, and never seen possibilities


Syn’X 2 is a multitimbral synthesizer and offers 8 Layers (full independent synthesizers) which share a global polyphony of 16 Voices, and can be freely assigned to any of the two Keyboards. It comes loaded with 300 presets designed by professional Sound Designers.

Per Layer/Synthesizer Parameters (Up to 8 Layers per Patch)


  • 2 aliasing-free oscillators with cumulative Waveforms (Saw/DoubleSaw/Triangle/Sine/Pulse/Square)
  • Ring-Modulation, Pulse-Width Cross Modulation between oscillators
  • Hard synchronization between oscillators.  New 0df Cm/HardSync Algorithm
  • Advanced Glide/Portamento module


  • One multi-mode analog modelled 0df filter (12/24 low pass, 6/12 bandpass, 12 high pass filter) based on the CEM 3320 chip emulation
  • Self Oscillating Filter in all modes
  • Pre/Post Drive Module


  • 4 freely assignable envelope generators (DADSR) with a sychronisable Lag.
  • 2 Multi Waveform synchronisable polyphonic LFO (with their own Mod Matrix)
  • 1 exclusive Chaotic LFO (with its own Mod Matrix)
  • 1 exclusive Rhythm LFO (with its own Mod Matrix)
  • 6 Slots Modulation Matrix with more than 15 sources and 130 destinations

Per Keyboard Parameters (Up to 2 Keyboards Per Patch)

  • 1 Monophonic/Polyphonic Arpeggiator
  • 8 mono/polyphonic Play Modes + Guitar Mode (1 Midi Channel per Layer)
  • Up to 8 Layers and 16 Voices Polyphony per Keyboard
  • Mono/Unison/Poly playing mode with up to 16 voices of polyphony
  • Keyboard Range (Low and Hi Note)

Per Patch Global Parameters and Effects

  • Dual Programming environment (Eazy And Advanced Modes)
  • 128 steps poly sequencer ( 4 Lines )
  • 1 Global Sine monophonic LFO (Joystick)
  • Analog Chorus, Phaser, Delay and EQ.
  • Analog Spray Knob
  • All parameters are MIDI controllable via embedded Midi Map


  • 7 waveforms. (Triangle, PWM Triangle, Saw, PWM Saw, Square, PWM Pulse).
  • Triangle and Sawtooth waveforms can also receive PWM New 0delay feedback PWM cross-modulation mode. Ring modulator and Hard Sync between oscillators.
  • Several waveforms can be selected simultaneously for each of the oscillators (Up to 40 per patch).

Multimode Filter:

Based on an emulation of the CEM 3320 chip, the Syn’X multimode filter provides 6 filter types: 12 & 24 dB Low Pass, 6 &12 dB Band Pass, and 12 dB High Pass. Self-oscillation for all types. A special overdrive circuit can be used before or after the filter. This filter uses our proprietary “zero-delay feedback algorithm” providing a stunning analog character.


  • 4 special envelopes are available
  • Added to the standard Attack-Decay-Sustain-Release, the Syn’X offers a MIDI synced Delay segment, useful for example, to trig tempo-synced modulations, or to open the filter a few milliseconds after the amplifier, giving some plosive effects.
  • A wide range of new sounds can be done with this feature.

Polyphonic LFO:

  • 2 heavily featured LFO’s that can modulate the oscillator pitch and width, the filter frequency and the amplifier level and can also be used as sources in the modulation matrixes.
  • The frequency can be synced to the Host application tempo. The modulation can also be reset by the keyboard or free-running and a fade-in function is available.


  • This additional unique LFO will breathe Real-life into the synthesis engine(s).
  • This module calculates in 2-D space the movement of a point. Each of the two-axis can modulate any of the numerous available destinations.
  • Modulation’s rate and the delay before the modulation is applied can be set.
  • A smoothing parameter allows you to reduce the modulation variations and a chaotic level parameter allow to increase or reduce the chaotic aspect of the movement.
  • 4 Chaotic functions can be chosen: Flying Fly, Bow Tie, Rainbow and Butterfly.

Rhythm LFO:

  • 5 unique LFOs built for rhythmic effects.
  • The 5 modulations can run simultaneously, and each one can be assigned to any of the 132 possible destinations.
  • The modulation can be delayed and a phase parameter can adjust the start of the cycle.
  • Octo: a pulse at the 8th part of the cycle.
  • Hexa: a pulse at the 16th part of the cycle.
  • Terna: a pulse at the 6th part of the cycle.
  • Hoover: a ramp at the 16th part of the cycle.
  • Stutter: 5 little saws at the 16th part of the cycle.

Multi-layer Two keyboards and Guitar mode:

  • Syn’X offers two MIDI keyboards (Upper and Lower) suitable for split and layered instruments, and a special Guitar mode, where all layers can be assigned to independent Midi channels.  
  • Each Keyboard has its own independent split point parameters, Unison and Play Mode, as well as a simple but powerful polyphonic arpeggiator.  
  • Each keyboard can use up to 8 layers/16 voices, freely chosen, to get the most benefit of the Syn’X multi-layer features.  
  • Syn’X offers up to 16 voices of polyphony, by group of two voices (1-9, 2-10, 3-11, …), for a full independent 8 layers management.

Guitar Mode:

  • Syn’X provides specific voices/layers Mode initially invented for Midi guitar players.
  • Two voices can be assigned to each Midi Channel (ie one per guitar string). Playing different sounds with each Guitar string has never been easier.
  • This feature can also be used by drum players, by connecting MIDI pads to these entries.     

5. XILS DeeS


Your voice, his voice, her voice. Every voice is a treasure.

With the help of the XILS DeeS you can get rid of all the Voice recordings faults and problems in a flash, while preserving their unique, precious character.

Getting clean, professional vocals, dubbing recordings, restoring voices in all their beauty has never been so easy.

XILS DeeS in short:

  • Easy to use : Find the sweet spot in a flash and remove all unwanted signals. Just move the Frequency Knob and apply Reduction. No more sibilance.
  • Easy to understand : Clear Dual Signal path. Solo buttons for each channel ( Voice, Sibilants )
  • Visualise what you do : Instant Correlation between ears, eye and brain in a glance with the fast, precise 4 signals real time Frequency Graph ( Bottom of unit )
  • Easy to tweak : Go further and adapt the character of a voice to your project. Or make special effects and creative use of the DeeS

Only with the XILS DeeS:

  • Entirely Transparent: No filter sweep effect like with traditional similar tools.
  • Fast:  The detection can be applied as fast as it should be, resulting in lively, natural voices (No more lifeless voices).
  • Input independent detection: Retains the whole dynamic range of the incoming audio.
  • Simple: Sibilant and Voice Channels are clearly identified on each UI part: Knobs, Graphs share common color code.
  • Exclusive: Plosive detection for better recognition
  • Then go even further: Endless possibilities to change, adapt, or polish the character of voices with two independent EQing audio paths (Analog like 0-delay-feedback filters).

Whether you want to restore the quality of these emotional vocals that  you’ll never be able to record again, clean your own voice recordings for a blog, an institutional movie, or Video material, ensure your customers that your dubbing material will be totally flawless, turn an amateur announcer into a Veteran Speaker, adapt a voice to a project sonic or musical context, XILS DeeS will provide you the most professional results.


Once it enters into the DeeS, a signal is split into two independent channels (Detection Step): The Voice (Minus Sibilants) and the Sibilants Only.

Each channel has its own EQ.

The Detection module helps you to find the right Voice frequency range to process to remove the sibilants, and specify the quality (fastness) of the processing.

De-essing: The detection Module

Select the cutoff frequency between Voices and Sibilants, select the amount of reduction you want to apply, select the quality of the de=essing (how the result will be smoothed and slow or rough and fast), find the right spot for the plosives, allowing a better sibilant recognition et voilà!

Analog EQs to the rescue

The internal XILS DeeS algorithm allows to equalise with different settings the two split signals ( The voice, and the Sibilant ) : Each « Channel » has its own EQ.

This results in a transparent and versatile audio process!

Even better : The involved EQs, Low Pass 6 and 12db, Bell and High Shelf, has been developed to mimic analog behaviour in the hight frequency range (zero-delay filters) : The standard digital artefacts and latency  brought by the internal delay has been totally removed.

Furthermore, this simple organization is obvious to understand and to work with.

Simple structure, but not simple internal algorithm
A lot of attention has been put in the side-chain treatment (with or without latency), including a Plosive detection for a better sibilant recognition.

Fast and robust Sibilant detection, accurate level modulation, total independence from input level, were required in order to make this tool as transparent as possible.

You’ll notice that being independent from the input level is a big advantage, because the DeeS won’t work in a different way ( Over-compression, under-compression ) if the entering signal gain varies, which is the behaviour of most similar units, and will therefore retain all the dynamics and lively character of the original.

Sibilant Path
Easy and obvious, you can select your filter type (Low Pass 6dB, Low Pass 12 dB, Bell, High-Shelf) and tweak the cutoff frequency, resonance (or emphasis) and Gain when applied. The Level knob allows you to reduce or increase the Sibilant audio path.

Voice Path
Almost the same than the Sibilant path, excepted that it has no specific level.

The display allows you to “see” what happens in your audio track and simultaneously visualize the Voice and the Sibilant spectrum, as well as the curve and spectrum of the applied EQs.

6. XILS PolyM


PolyM – The T.O.D Oscillators ‘Pleasure Principle’

Unique features, unique sound : A few factors determined the iconic sound of the PolyM glorious ancestor : Two T.O.D Oscillators (Top Octave dividers), with PER NOTE Pulse Width Modulation, initially used to get a big polyphony (at this time). A gritty Moog designed 24db Ladder Filter. An acoustic Filter Bank. And, finally, a character full Resonator Bank.

71 chips … : To take up the emulation gauntlet, more than two years were necessary to closely, patiently model these 71 components to finally come up with the best and most versatile Divided-down synthesiser ever done

And beyond : Because we not only exposed some parameters that were not accessible on the original machine, allowing you to dive into the machinery and mod it without a screwdriver, a soldering iron and electronic components. We also added a more traditional analog VCA ADSR, plethora of LFO to modulate almost everything, and a trio of vintage sounding effects among others things.

Using divide-down technology offers a particular sound for Chords, Strings and Pads you won’t find in any other synthesiser.

More : With this unit, feeding a monophonic zero-delay 24db self-oscillating filter, retriggered by keyboard strokes, gives you the possibility to play huge sounds in a way no other synthesiser can (PolyPedal behaviour emulated). Original presets, like ‘Vox Humana’, are also on board. Beyond the Pleasure Principal

Version 1.1, October 2018 : And now, in version 1.1, all these signature effects are available to process any instruments and sounds of your collection as a VST effect. The PolyM is also NKS compatible. And with the New Preset Manager, you’ll be able to find the right sound in seconds, thanks to it’s multicriteria search engine, as well as to manage easily all your sound collections.

Top Octave Divider Oscillators: A technology first invented for organ synthesisers then adapted in more versatile synthesisers back in the 70’s. In this technology, a high frequency oscillator is divided in 12 temperated scale interval for producing a full octave, which is then divided by multiple of 2 for creating several octaves. This means that all the notes are locked to a single oscillator and then always played with the same relative phase. This produces a particular sound aside from giving a wide polyphony.

The PolyM reproduces finely this divide-down technology which has been pushed far by adding a polyphonic Pulse Width Modulation.

The two top octave dividers oscillators can run independently in the FREE mode, for small or huge phasing effects. On the other hand, in the LOCK mode, the two oscillators are almost locked in phase, producing a phase modulation, instead of a frequency modulation when the square wave form is modulated in pitch.

The two T.O.D oscillators can be modulated in pitch by an LFO (tempo sync-able) and the Square oscillator has its pulse width modulated by an LFO (tempo sync-able too).

The Keyboard is divided in two parts, Lower and Upper, and for each part, the PWM, waveform mix and envelope decay can be tweaked independently.

The Master Gain control allows you to easily listen to various part of the sound, DIRECT oscillator mixers output, through the MODE acoustic filters, through the RESonator filter bank or through the 24db VCF filter.

The envelope has two modes, LEGacy or ADSR. In the first case, the envelope has been designed to match as close as possible its model and in the other case, it’s a standard ADSR (Attack, Decay, Sustain, Release) envelope generator.

Each note has its own 12db filter, modulated by its own ADSR envelope giving the PolyM much more possibility than a simple Organ like synthesiser, much more than  its model which modulated its filter only with the VCA envelope.

Moreover, The PolyM can change the filter type from Low Pass to High Pass and Band Pass.

MODE Acoustic Filters and Presets: The blue buttons are selecting the Acoustic filter ran in the MODE filter bank section. They can also load the PolyM with the original settings for producing specific sounds (Strings, Piano, Organ, Harps, Funk, Clav, Vibes, Brass, Vox). When the DOT button is engaged, only the MODE filter is changed.

The Resonators filter bank features three parametric filters for which Frequency, Level or Resonance can be adjusted. These filters can be Low Pass, Band Pass or High Pass, 6db or 12db.

The VCF Section (Voltage Controlled Filter) is a 24db self-oscillating ladder filter, created from the XILS-Lab Zero-Delay Algorithm. It can be modulated by an LFO (sine, sample and hold) as well as an independent envelope, controlled by the keyboard in a monophonic way.

And finally, In the Advance Settings Panel, you will find 9 Modulation slots, Delay, Phaser and Reverb settings.

Everything to push the PolyM sound possibilities far away from its model, but keeping the pleasure characteristic.


  • Two aliasing-free Top Octave Divider oscillators: One for the Sawtooth, the other for the Square.
  • 71 emulated chips offering Mixer, VCA, envelope, 12db filter and Pulse Width Modulation for each of the available notes.
  • Gorgeous 24db ladder filter, using the acclaimed XILS-lab zero-delay algorithm.
  • 9 dedicated acoustic filters (Strings, Piano, Organ, Harps,..) carefully reproduced from the original model.
  • 1 resonator filter bank using 3 parametric filters (6 and 12db) matching the original model.
  • Three Vintage effects (delay, Phaser, Reverb)
  • 9 modulation slots for endless sound possibilities.
  • 1 monophonic envelope
  • 3 monophonic, tempo sync-able, LFO
  • All parameters are MIDI controllable
  • More than 200 presets

7. StiX


Virtual Analog & MultiSynthesis Drum Machine with next level XoX Sequencer

StiX offers an incredible variety of drums sounds of different eras : Vintage analog drum machines, or early digital ones. And many sound of the next eras.

Combined with the most powerful and expressive XoX Sequencer.



  • Virtual Analog morphing oscillators, FM @ audio rate, Sine + Waveshaping, Samples, CroSS Synthesis. 4th Gen 0DF Filters, Macros Knobs, Step Modulators, LFOs, Unique R-Clap Evs and ADSR, exclusive PolyStep auto-modulator : A whole synthesizer to taylor each of the 10 drum sounds. 


  • Variable number of steps per Beat. Per Step Divisi, Gate Time, Micro Position, Macro Modulators, Velocity. Song Mode to organize patterns.


  • FAST, intuitive. XoX Sequencer Multiline and SingleLine views, Synthesis Eazy And Advanced pages. Never more than a click away from your task. Exclusive Stretch and Modal Pitch Macro Controls, Global user defined Macros controls.


  • 2000 presets : 120+ Global Presets, 720+ Patterns, 700 Drumpads, 60 Drumkits, 390 exclusive samples. And still growing. 

More Features – From Unique to Exceptional

  • Midi OutputControl your virtual instruments, or record the midi data in your Daw 
  • Midi Learn: Full automation of all synthesis parameters of all drumpads, mixer etc 
  • Drums of the Past: 15 Wave Alchemy Drumkits ( Roland TR-xox, EMU SP12, Drumtracks, Linndrum etc ) 
  • Multi criteria Database engine : Find the right preset in minute,  create custom tags 
  • Randomize: Drumkits, sequences, full patterns 
  • Live Control: Chain patterns, mute/unmute tracks on the fly
  • Swing: Sophisticated swing engine
  • Multi Output version: With volume, groups and pan preservation
  • Natural Reverb, Analog Delay & Phaser, Per drum crusher and distorsion
  • Sample Accurate synchro and audio engine: The tightest beats for your tracks
  • Envelope segments modulations, hundreds of modulation targets. Simultaneously
  • Gang Mode to edit Sequencer Lanes, mixer, effects sends

10 Full Featured Synthesizers 

Analog Engines
Morphing Oscillators, 4th Generation Zero-DelayFeedback-Filters, Fast and snappy Envelopes with time multipliers, LFO operating @ audio rate. All these components have been closely modeled after some prestigious and rare analog synthesizers for an unmatched authenticity of analog percussion and drum sounds. Sample accurate audio engine.

Beyond Analog & Multi-Synthesis
FM Sine Oscillators (With Wave Shaping), 3rd Oscillator can load Sample. Cross Synthesis Modulations between all components. User defined Macro Controls. Sequencer driven Modulations

Easy Synthesis Page
Populated with several Macro controls especially developed for Drum Synthesis control: Stretch, Global Pitch (Divergent, Convergent, Linear mode) Macro 1 and 2. Cut Off and resonance. Exclusive PolyStep Modulator (Steps Sequencer driven Macro Modulations, the place where magic will always happen).

Advanced Synthesis Page
Everything you could dream of on a Virtual Analog synthesizer. 3 multi Synthesis Oscillators with phase retrig. 3 envelopes. 2 LFO with cumulative waveforms, Midi Sync and Retrig. User defined Macros with plethora of sources and destinations. Vintage prewired Modulation Matrix with positive and negative intensity.

The MultiLine Editor
Custom number of steps per beat. Per Step Division Trigger (Stutter, Rolls). Custom number of beats per bar (Global). Global Swing. The multiline editor is as easy to use as any traditional XOX sequencer, its just much more powerful and fun to use.

The Single Line Editor
To edit in depth a sequencer line. Per Step: Micro Position (Flams, per line Swing, Reverse, Humanize) Gate Time, Velocity and Macro Control of Synthesis parameters. Gang Mode Control.

Pattern and Song Modes
12 patterns & BlockPatterns (Chains. Available in v1.0 ),and one Song, with their own preset system. Fast Song building. Lock Pattern display function.

Drumkits, Drumpads and Global Presets

More than 400 Drumpad presets, 22 Drumkits (v1.0 50 drumkits), and 70 Global presets with hundreds of patterns (v1.0 : 100). 400 exclusive drum samples, courtesy of Le Lotus Bleu. 15 Demo drumkits with 1rst class analog samples, courtesy of our partner Wave Alchemy (will be available in v1.0).

Random and Intelligent Random Kit functions, to create new drumkits efforless.

The Mix Desk

  • The Mixer – Always Visible. So that you never loose the focus on the balance of your rythm. Solo/Mute. Gang Mode.  Stereo or separate outputs versions.
  • The Effects – Analog Delay and Phaser emulation. Natural Reverb, and a per drum Crusher/Distorsion unit.

Live Control
You can control StiX Live, or record these events in your Daw – the drums (C1 octave), pattern Changes (C2 Octave) and mute/unmute drumpads (to build intro/outro with a single pattern).

8. XILS 201 Vocoder

XILS 201 Vocoder

XILS-lab X-201, Vocoder… and vintage MultiEffect

An exceptional clarity: The X201 Vocoder was modelled after an ultra-rare, ultra-pricey (even at the time of its release), Vocoder unit, whose intelligibility has never been surpassed.

It’s the missing link between artists like Kraftwerk, Herbie Hancock, Frank Farian (Boney M, Milli Vanilli etc.), Cylon Robots or Droids in Battlestar Galactica droids in Star Wars and… Daft Punk (RAM)

Two Filter Banks: Each of its two Filter Banks offer 20 frequency bands. Each Filter Bank can process the incoming signal (Usually voice, but any other signal, including drums, can be processed), or the CARRIER signal. As a comparison, the Roland VP-330 only had 10 frequency bands, with a very musical sound, at the price of much less clarity.

The Carrier: You can use the internal analogue Synthesizer as a carrier, which immediately gives the X201 its characteristic and recognisable sound. Any other incoming signal can also be used, like an external Synthesizer, another voice etc.

The Silence Bridging: This exotic title hosts a Multiband frequency-dependent Envelope Follower engine, which will shape the signal gain according to its harmonic content. It’s very useful for processing percussive or rhythmic sonic material or contour to the sound.

So how does it work?: You record your voice, even without actually singing, then choose the internal synth as the Carrier. Then you send Midi notes to the Carrier to make your voice sing those notes (or chords, because the engine is polyphonic). Et voilà.

More is more: On the X201, XILS Labs exposed internal circuitry parameters that were not available on the original unit, making it more versatile, and powerful.

Vintage analogue modelled effects: Chorus, Phaser, Delay and an early ‘digital’ reverb unit. You can also configure custom effect routing and order.

As a Multi-FX: You can also use the X201 as a simple Filter Bank/Chorus/Phaser/Delay/Reverb Multi-Effect. Try it on a Rhodes, Clavinet or String Machine patch, and rediscover these vintage organic sounds that required a long chain of vintage effects.


  • A finely tweaked and emulated 20-band filter vocoder.
  • Per band bypass, addition and bridging possibilities.
  • One internal sound carrier based on one oscillator and one noise generator.
  • Four effects: Reverb, Delay, Chorus, Phaser with their own input routing.
  • Automatic input Gain Control.
  • Analogue like pitch tracker.
  • External carrier input for feeding the vocoder with your own sounds or synthesizer.
  • Access to a lot of parameters, which were not accessible in the hardware version.
  • All parameters are MIDI controllable.

Two Filter Banks
Each of the 20 band levels can be tweaked for adapting the frequency response to your music.

XILS 201 Unique Feature
You can bypass each of the 20 bands, controlled by their own level. This can bring a specific MultiFilter effect by simply disabling the internal vocoder.

The Silence Bridging
Under this exotic name you’ll find a (MultiBand) frequency-dependent Envelope Follower engine, which will shape the signal gain according to its harmonic content, and is very useful to process percussive or rhythmic sonic material for example, or give contour to the sound.

Additional controls panel: 

  • Internal synthesizer
  • Input Gate
  • Vocoder
  • Effects
  • Modulation Matrix

9. LX122 Pro

LX122 Pro

Organ and Keyboard Companion

At the middle of the last Century, Mr. Leslie was disappointed by the sound of his just bought B3 Style organ, comparing to what he has heard in the large showroom of the store. He then tried to design a system, which gave the same feeling of a pipe organ by a moving speaker. Further experimentations resulted in the familiar combination of a rotating drum and horn for bass and treble frequencies respectively, creating special audio effects using the Doppler effect.

Although there is a lot a various models, the classic Leslie speaker consists of two driver units – a stationary treble unit with spinning horns (called Horn here), and a stationary woofer and spinning rotor (called Drum here), with two filters, which divide the frequency spectrum between the horn and the woofer.

Both the horns and a sound baffle for the bass are rotated to create Doppler effect based vibrato, tremolo and chorus effects. The rotating elements can be stopped, switched between slow (chorale) and fast (tremolo), or transitioned between the two settings. Not only the unit gives this particular effect, but also the ensemble it creates with the room where it is located.

The LX122 emulates the Horn and the Drum, as well as the room where various coherent reflections are occurring when they are rotating. It also emulates the tube base amplifier as well as the intrinsic characteristics of the Drum (woofer response and drum size) or the Horn (Tweeter response, horn size and diffusers).

The internal cabinet reflections, which give this known mellow specific sound, are also taken into account but with the never done possibility to increase or decrease their effects, going from a standard closed cabinet to a opened air rotating speakers.


Core Modules:

  • One finely emulated rotating speakers, treble output in a rotating Horn, bass output in a rotating drum.
  • True Stereo Dynamic Engine (TSDE) places the cabinet in a room, from which it is recorded by two microphones.
  • Three Reverb types, to give even more space to your recordings
  • Slow to Fast mode buttons, midi controlable to play with the inertia.
  • Tube amplifier emulation.

Particular settings for the LX122:

  • The speed of the Horn and the Drum can be tweaked at your convenience.
  • The reverb time and frequency response are easily adjusted.
  • A high pass filter before the reverb to avoid blurry sounds when organists are doing fool with their feet.
  • The angle of the recording microphone can be changed, adding more or less room effects.
  • A drive parameter help you to get more heavy rock sounds

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