Manuel Sch­leis

Vengeance-Sound’s main man gives us first-hand ad­vice on get­ting the most out of VPS Avenger

Computer Music - - Make Music Now -


“We de­signed Avenger to be very easy when it comes to mod­u­lat­ing things. You should al­ways ex­plore mod­u­lat­ing things like the FFT Sweep, X-Side, For­mant or ef­fects val­ues… like phaser po­si­tion, cho­rus de­tune, etc – es­pe­cially when de­sign­ing com­plex pads. You don't usu­ally need more than one os­cil­la­tor – just one os­cil­la­tor, mod­u­lated by many things, can cre­ate a true fire­work.”


“At­tacks of­ten form the char­ac­ter of a sound. We have tons of sam­pled at­tacks and noise wave­forms for you to ex­plore, but you also can cre­ate your own unique at­tacks eas­ily…

“For ex­am­ple, choose a very fast and spiky Mod En­ve­lope and route this to the

FM Amount to cre­ate in­ter­est­ing metal­lic at­tack clicks.”


“Check out the Send FX page. You can route the en­tire send FX out­put to an­other FX bus – so you could, for ex­am­ple, process only the de­lays or the re­verb tail with fur­ther ef­fects like cho­rus, phaser or rate re­duc­ing.”


“In Avenger, you can cre­ate your own per­son­al­ized INIT startup pre­set. You can over­wite the de­fault one or set your cus­tom startup pre­set in the SYS tab.”


“One hid­den gem is our Wavetable pat­tern ed­i­tor. You can find it in the Wavetable En­ve­lope by set­ting the Ed­i­tor from Env to Env+Sq; a spe­cialised wob­ble ed­i­tor will ap­pear, where you can de­fine mul­ti­pli­ers for the cur­rently set en­ve­lope. Right-click to re­veal more op­tions like re­verse, flip, and more.”


“Fre­quency and Am­pli­tude mod­u­la­tion both work best when us­ing very sim­ple sig­nals, such as sine waves. You can use the FFT fil­ter to thin out any os­cil­la­tor – very few har­mon­ics will still give you ver­sa­tile FM sounds. Don't for­get to add move­ment us­ing a mod en­ve­lope.”


“Some mod­u­la­tion sources, such as mod en­velopes, LFOs etc, have trig­ger op­tions. They can be poly­phonic (All Osc, trig­gered by ev­ery voice) or mono­phonic (First Note, trig­gered one at a time).

“For ex­am­ple, if you have a rhyth­mic pul­sat­ing mod en­ve­lope pat­tern and you want to play chords, but you want all notes to be synced to each other, your trig­ger mode should be set to First Note. Fur­ther pressed notes will add into the al­ready-run­ning pat­tern in­stead of cre­at­ing a new one for each note.”


“I've cre­ated wave­forms ( OSC Shape / Thin & Real / Even Freqs 1&2) which have a nearly-even fre­quency re­sponse – ie, there's as much bass as mid and tre­ble. “This is a great wave­form for cre­at­ing ad­di­tive synth sounds. Wipe out ev­ery fre­quency in the FFT (Bin Mode, for ex­am­ple), and just raise spe­cific fre­quency bands un­til you have the sound you want.”

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