XILS-Lab PolyKB II Review
If you’re after a virtual synth that’s a little different, XILS might just have the answer. Hollin Jones experiences the PolyKB II.
Price: £149.00
Manufacturer: XILS-Lab
Website: http://www.xils-lab.com
PolyKB II
Manufacturer XILS-Lab
Price €149
Contact Via website
Web www.xils-lab.com
Minimum system requirements
PC 2GHz processor, Windows XP
Mac G5 2GHz, Mac OSX 10.3.9
There was a time when software synths tended to emulate the obvious stuff – Moogs, ARPs and the like – and though there are many fine versions of these still around, some developers have moved on to re-creating far more unusual and esoteric instruments. The PolyKB II is inspired by the RSF PolyKobol, a rare analogue synth from the 1980s of which only a small number were ever manufactured. Apparently used by artists such as Depeche Mode, Jean-Michel Jarre and Vangelis, among others, XILS has seen fit to re-create its sound in software form for a new generation of players and producers.
The synth comes in VST, AU and RTAS format for the Mac and VST and RTAS for Windows, requiring 1GB of RAM and a minimum of a 2GHz processor. At the time of writing it was available only as a plug-in, but there is some suggestion that it will be released as a standalone product as well at some point in the future. Installation is simple, but you’ll need an iLok key for authorisation. The interface is quite businesslike and marks this out as a serious instrument, one which requires a little investment in terms of time to really figure out. Nonetheless, it is well laid-out, fitting a large number of controls into its window. The interface can be customised to display at different sizes to suit your screen, although at higher resolutions some of the text can be a little hard to read.
Keep it moving
A distinguishing feature are the two continuous morphing oscillators; free of aliasing and able to be morphed by all modulation sources found on the instrument. There’s a third noise oscillator and osc 2 can behave like an LFO. The voltage-controlled filter is capable of self-oscillation, has a pre/post drive module, direct keyboard tracking and sounds warm and smooth.
The onboard sequencer enables you to record up to eight parts either in real time or in step mode. It can be mono or polyphonic and allows up to 128 steps to be programmed. This is made a little easier by the fact that the sequencer section can be zoomed and the mouse used to enter notes. It’s still slightly tricky because of the small controls, but the other buttons in the Polysequencer section enable you to control recording and playback and with a little practice it becomes somewhat easier.
The sequencer window is actually contextual and can be made to display other parameters, one of which is the PolyMYX window. This is an X/Y pad that can be used to control a range of parameters that you assign using up to four menus. It works on monophonic or polyphonic input, meaning that each note or sequence can be made to sound different as it is played. Small dots can be dragged around to alter the character of each sound.
The DynaMYX window works in a similar way, only here you can cause each note to take a different stereo position. Again, this is controlled by polyphony and helps you to create unusual sounds and soundscapes that go beyond conventional stereo. It’s also possible to customise the number of unison voices and overall stereo spread of a sound. You also get a programmable arpeggiator with swing/gate controls as well as a selection of onboard effects, including delay, chorus, phasing and EQ. Delay time, chorus or phaser rate can also be used as a modulation destination in the modulation matrix to make Solina-style ensemble or other strange effects.
Analogue sound
The PolyKB II comes with a fair few presets divided into categories and you can configure the order in which they are displayed. The sound of the synth is gritty, authentic and fat; it definitely has a 70s/80s retro vibe. A lot of work seems to have gone into re-creating the flaws and inconsistencies of real analogue synths – and it’s paid off.
Some software synths are criticised for sounding too perfect, but here that’s not the case. These tiny fluctuations in pitch and timing are customisable, so it’s up to you how you use them. The sequences and arpeggiated patterns are particularly strong, thanks in part to the excellent onboard sequencer. Keys, leads, basses and effects all fare well and even that patches that don’t really sound anything like their names – woodwind or brass, for example – have that artificiality about them that makes them so beloved by producers. MTM
WHY BUY
Authentic analogue sound
Highly flexible modulation
Re-creates imperfections common to analogue synths
Lets you make unique sounds
WALK ON BY
iLok key not everyone’s favourite method for authentication
Verdict
A unique and fascinating instrument capable of generating excellent analogue sounds.
★★★★★★★★(8/10)
Score: 8
This review first appeared in Music Tech Magazine issue 97
Filed under
Reviews,
Software,
Synths
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