Music software company XILS-lab is proud to announce availability of its first effects plug-in — in collaboration with Le Lotus Bleu (Laurent Bourgeon). Available in 64- and 32-bit versions, Le Masque: Delay is a Mac (OS X 10.4 and later; Audio Unit, VST, RTAS — Pro Tools 7.0 and later) and PC (Windows XP, Vista, and 7; VST, RTAS — Pro Tools 7.0 and later) compatible, polymorphic timeline-driven delay effects plug-in; it can behave like a regular digital delay, and inherits XILS-lab’s renowned filtering and audio effects technology, featured in the cutting-edge company’s lengthening line of virtual analogue soft synth plug-ins — PolyKB II (based on the RSF Polykobol II, plus extras), XILS 3 (based on the EMS VCS3, plus extras), and Synthix (Elka Synthex, and extras), and draws upon an accumulated wealth of research and development experience to allow users to speedily and intuitively perform hitherto unheard of delay-based effects.
So how, exactly, does Le Masque: Delay work, then? In a nutshell, it lets users accurately specify the part(s) of the dry signal — based on their time position and/or frequency content — that will be processed by the delay itself (accessed from within the GRID view); its associated LFO, envelope, and filter components (via the LFO & ENVELOPE view); and various modulators (within the TIME & MOD view) — masked zones within the grid area are processed by the delay while any audio data outside those masked zones remains untouched, in other words!
A mask — to which Le Masque: Delay owes its ‘nom de plume’ — is defined by its two locators: the left locator specifies the start point, the right its end; when the current transport locator enters a mask, the audio is sent through a full modulated filter into an accurate, fat-sounding delay. Unlike some other delays, the filter section is a crucial part of Le Masque: Delay — it uses XILS-lab’s renowned warm and smooth analogue filter models’ surgical-like precision to perform delicate musicals tasks, such as extracting and modifying existing parts of a drum loop (or any other loop), or transforming delayed kick drums into Simmons toms, for example. The delay area offers five dual-concentric knobs to control the delay settings (left and right FEEDBACK TIME, DRY/WET GAIN, and left and right PAN LEVEL), together with a synthesiser-type modulation wheel, while the LFO and ENVELOPE settlings can modulate the filter frequency and volume applied to the signal entering the delay.
Users can create up to eight independent masks (or zones) in the grid, each with different lengths, quantised or non-quantised locators, plus a specific level parameter; the grid can be synchronised to a DAW or its own internal clock for added flexibility.
Le Masque: Delay… perfect for taking creative control of existing loop libraries or reviving live recordings, offering:
• True stereo signal path (with independent right and left delay).
• MIDI Sync and Stereo Link (delay modes).
• Sync grid zone (with up to eight custom masks, each with independent length and level).
• One multimode filter (zero-delay, self-oscillating, feedback design with drive).
• Two independent envelopes (loop-able ADSR and AR with three trigger modes).
• One synchronisable multi-waveform LFO (with three reset options).
• Snap-to-grid function (to quantise mask locators on musical values).
• Swap masked/unmasked function (in realtime).
• Four clock modes (DAW, FIX, TAP temp, IN).
• Realtime temp analysis function (for live performance).