There’s no denying that this cross-platform, VST, RTAS and AU instrument from XILS-lab bears a resemblance to the ancient – and rather quirky – EMS VCS3, which was a hardware synth popularised by big names like Pink Floyd, The Who and Hawkwind.

In fact, the synthesis controls that take up the right half of the GUI are nearly bang-on identical, and a trip through the presets drives the similarity home with some sequences that recreate Pink Floyd’s EMS masterpiece On the Run.

However, XILS-lab claims that its instrument leverages the best aspects of the VCS3′s semi-modular design to create a thoroughly new synth with its own character. And the company has accomplished this well, although XILS 3 is, indeed, also capable of recreating the most famous EMS sounds.

In detail

Like the VCS3, XILS 3 sports three oscillators with a pair of waveforms, a Shape control and level knobs for each wave. Oscillator 1 offers sine and saw, while oscillators 2 and 3 have square and triangle onboard. There’s also a noise generator with Level and Color parameters.

Timbral shaping is provided by a resonant filter with 2- and 4-pole low-pass modes, the latter of which is capable of self-oscillation. There’s a switch position reserved for a 3-pole filter mode that will be added with an update – this will bring the instrument even closer to the VCS3.

Ring modulation is here, too, as is a simple spring reverb, and these are parts of the synthesis architecture itself – ie, they’re separate to the chorus and delay found in the Effects section. This is an important point, as it means the ring mod and spring reverb can be placed anywhere in the signal path via the mod matrix, on which more later.

Envelope generator

VCS3 maniacs will be pleased with the inclusion of the rather befuddling ‘trapezoid’ envelope generator that was unique to EMS in its day and still leaves even seasoned synthesists scratching their heads.

Like the original, it has four parameters: Attack, On, Decay and Off. With the Off knob fully clockwise, the envelope functions as normal, but in any other position, it switches into looping mode and controls the length of that loop.

This has always been a powerful modulation tool for EMS users and bolsters its reputation as a source of special effects. If you can’t get on with the trapezoid system, however, XILS-lab has thoughtfully included a regular ADSR envelope, too, which is activated by clicking the envelope panel’s header.

Sequencing and more

The left-hand cabinet is dedicated primarily to the sequencer controls. Modelled on EMS’ famous 256-step digital sequencer (erroneously dubbed an “analogue-style sequencer” in the XILS 3 manual), this 128-event, three-track sequencer can be routed to six outputs, which, in turn, can be patched to a vast selection of destinations.

The sequencer can be clocked to the host or left to run on its own. Thankfully, notes can be entered from your MIDI keyboard in a step-entry fashion, too.

The VCS3 offered audio inputs – which were most famously put to good use by The Who – and XILS 3 follows suit. A separate effects version appears in your plug-ins folder and it offers everything that the regular instrument does.

In yet another tip of the hat to EMS, XILS-lab has provided a neat pitch-tracker that detects the frequency of incoming audio and applies it as a modulation source – we had a great time throwing different a cappella vocal clips at it and using them to control oscillator pitch, filter frequency and more. Transient detection is offered as well, so that incoming audio can also trigger the synth.

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XILS-lab XILS 3