VPS Avenger Manual English

Vengeance Producer Suite
Avenger
Version: 1.4.2
Date: Dezember 2018
Vengeance Producer Suite – Avenger Contents
Contents
Vengeance Producer Suite ...................................................................... 1
Avenger................................................................................................... 1
Introduction ............................................................................................ 6
Installation and maintainance ................................................................. 7
Registration ................................................................................................ 7
Installation (Windows) ................................................................................ 7
Installation (Mac) ........................................................................................ 7
Activation ................................................................................................... 8
Option 1: Your computer is connected to the internet: .......................................................... 8
Option 2: Your studio computer is NOT connected to the internet: ........................................ 8
Updates ...................................................................................................... 9
Bug report................................................................................................... 9
Overview............................................................................................... 10
Quick guide ............................................................................................... 10
GUI ........................................................................................................... 11
Handling concept ...................................................................................... 12
Generators ................................................................................................ 13
Transformators ......................................................................................... 14
Filter, shaper, effects and mixing .............................................................. 15
Modulation ............................................................................................... 16
Organization and helpers .......................................................................... 17
Quick handling bar ................................................................................ 18
File menu .............................................................................................. 18
Info screen ............................................................................................ 18
Browser................................................................................................. 19
Content tab / Preset browser .................................................................... 19
Preset search ..................................................................................................................... 20
Build a custom bank ........................................................................................................... 22
Info tab ..................................................................................................... 23
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File browser .............................................................................................. 24

Importing samples (leftclick): .............................................................................................. 25
Converting shapes (rightclick): ............................................................................................ 25
Converting granular or resampler files ................................................................................ 25
Importing (granular) multisamples ...................................................................................... 26
The oscillator area ................................................................................. 27

Tab system................................................................................................ 27
OSC Browser ............................................................................................. 28
The oscillator panel in detail ..................................................................... 29
Waveform display .............................................................................................................. 29
Global OSC panel controls................................................................................................... 31
Voices panel.............................................................................................. 34
V-Saw ................................................................................................................................ 34
Vibrato............................................................................................................................... 34
Chorder.............................................................................................................................. 35
Sub osc .............................................................................................................................. 35
General: ............................................................................................................................. 35
Routing panel ........................................................................................... 36

OSC types .............................................................................................. 37
Shapes ...................................................................................................... 37
Shape modulation options .................................................................................................. 37
FFT (fast Fourier transform) editor ...................................................................................... 40
Freeform ............................................................................................................................ 43
Wavetables / Resamples .................................................................................................... 44
Samples .................................................................................................... 51
Samples and multisamples ................................................................................................. 51
Sample stacker ................................................................................................................... 53
Granular samples ............................................................................................................... 55
Drums ....................................................................................................... 59
Drums main page ............................................................................................................... 59
Drum sample editor ........................................................................................................... 60
Drums routing .................................................................................................................... 61
Drums routing (multi selection) .......................................................................................... 61
Drumkit / sequences browser ............................................................................................. 61
The central display ................................................................................ 62

Editor tab .................................................................................................. 62
The Arpeggiator ........................................................................................ 63
Chords mode ...................................................................................................................... 65
The drum sequencer ................................................................................. 66
3
The step sequencer ................................................................................... 68

The pitch module ...................................................................................... 69
The modulation envelopes ........................................................................ 71
The mixer area .......................................................................................... 73
Key and velocity zones .............................................................................. 74
System page.............................................................................................. 75
The amp section .................................................................................... 77
Overview .................................................................................................. 77
The filter section ................................................................................... 79
Overview .................................................................................................. 79
The shaper section ................................................................................ 81
Overview .................................................................................................. 81
The mod matrix ..................................................................................... 82
Overview .................................................................................................. 82
Shape................................................................................................................................. 83
Mod matrix routing via drag & drop.......................................................... 84

The LFO section ..................................................................................... 85
Overview .................................................................................................. 85
Macro area ............................................................................................ 87
Overview .................................................................................................. 87
Lock buttons ......................................................................................... 88
Overview .................................................................................................. 88
Readout Display .................................................................................... 88
(MIDI) Controller bar ............................................................................. 89
(MIDI) Controller to Modwheel ............................................................. 90
MIDI Learn ............................................................................................ 91
The FX section ....................................................................................... 92
Tips on working: .................................................................................... 94
Right clicks and menus ....................................................................................................... 94
The middle mouse button / double click ............................................................................. 94
Turning the dials (fine) ....................................................................................................... 94
Effects as send effects ........................................................................................................ 94
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Master filter ....................................................................................................................... 94

Cursor keys / preset choice ................................................................................................. 94
MIDI controller (pedals)...................................................................................................... 94
Changelog ............................................................................................. 95
Support & Contact............................................................................... 105
5
Vengeance Producer Suite – Avenger Introduction
Introduction
Dear customer,
Thank you for purchasing the plugin „Vengeance Producer Suite – Avenger“ (which we will hereafter
simply call: „Avenger“)! This new syntheziser will open you undreamed of possibilities!
3 years of planning, development, dedication and love have flowed into Avenger to make this
synthesizer the most complete and best synthesizer on the market. Avenger is capable of a lot of
common and new forms of synthesis, has almost unlimited modulation possibilities and a wonderful
- as well as informative - graphic interface, by which you can experience live, direct and to the point,
what is happening to and with a sound or modulation.
For a live overview of Avenger, it is worth having a look at our Youtube channel, providing you with
more than 25 (still growing) tutorials by Manuel Schleiss, covering the major parts of Avenger in over
6 hours. Further, you will find preset walktroughs and expansion demonstrations here.
http://bit.ly/VPSAvengerYoutubePlaylist
Enjoy your new Vengeance Producer Suite – Avenger!
The vengeance-sound team
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Vengeance Producer Suite – Avenger Installation
Installation and maintainance

Registration
In order to use the full version of Avenger, you will have to activate your license at:
https://register.vps-avenger.com/login.
There are a few initial steps to follow:

1. Register first
2. Log in to the user area and enter the activation code, ShareIt has provided with you via e-
mail. After successful registration, Avenger will show under “your products”.
3. Download the installer by choosing your desired OS (Win/OSX)
4. Download the content (~4,5GB)
5. Make sure the demo version is uninstalled (if you have demoed)
6. Install Avenger
Installation (Windows)
Start the „WIN_Avenger_x_x_xx.exe “ and install the plugin in your sequencers „vst plugins“ folder.
Follow the instructions on the screen.
The plugin should now be available the next time you start your sequencer.
Installation (Mac)
Unzip the file „vps Avenger installer.zip and start „vpsAvenger.pkg“.
Follow the instructions on the screen.
The standard path for the vst version is: /library/audio/plug-ins/vst

The standard path vst3 version is: /library/audio/plug-ins/vst3
The standard path for the au version is: /library/audio/plug-ins/components
The standard path for the aax version is: /library/application support/avid/plug-ins
After installation, please check that the files for vps Avenger can be found in these places.
The plugin should now be available the next time you start your sequencer.
7
Activation
Option 1: Your computer is connected to the internet:
In this case you just start Avenger in your DAW. On the left bottom you will see the “VMAN” (V-
Manager), which will make the next steps quiet simple.
The VMAN lets you manage the keyfile, the installer, the manual and your expansions.
- The latest installer and the latest manual (english version) can be downloaded by clicking on
the button. A “select folder”-dialog will shown and the selected content will be downloaded
to that location.
- By clicking “KEYFILE” VMAN will update your keyfile
- If you purchased an expansion to following:
o Enter the code at the bottom
o Click the “ADD CODE” button.
o Click “KEYFILE” to update your keyfile
o The content will be downloaded and installed automatically
Option 2: Your studio computer is NOT connected to the internet:

1- Open Avenger in your DAW.
2- Avenger will now show you a SYSTEM ID.
(This will always be shown in the bottom area of the “SYS” tab.)
3- Return to your account on https://register.vps-avenger.com/login with a computer, that has
internet access.
4- Paste the ID into the textbox next to the “KEY-FILE” button and click the KEY-FILE button to
download the key-file for your Avenger.
5- Copy the key file to your offline computer
6- Return to VPS-Avenger in your DAW and click on the IMPORT button.
7- Select the just downloaded KEY-FILE.
8- After the “SUCCESS” message, unload and reload VPS-Avenger in your DAW.
9- If you have not done it yet, you can now import your downloaded Factory Library by electing
it on your Hard Disk or drag and drop the file into VPS-Avengers’ open GUI.
8
All files like Expansion packs, key-files etc can be imported by dragging and dropping them into VPS-
Avenger. Remember that you need to download and import a new KEY-FILE after you purchased
additional VPS-Avenger expansion packs from Vengeance-Sound.
Updates
In case your computer is

connected to the internet,
Avenger will show a notification
for every update available and let
you download this to the desktop by
clicking on this notification.
There is no need to
uninstall previous version,
or redownload the
content, just run the
updater.
If your computer is not connected to the internet,

you will have to download the update via your account on https://register.vps-avenger.com/login.
Please note:
We are doing our best to debug every update before releasing it – still in some cases there might
occur problems in specific configurations. If you rely on Avenger for your daily work, our advice is to
keep the previous installer before updating, so you can downgrade in those cases. Second option is
to wait some days for potential hot fixes before updating. Still most of our customers do not
experience any issues at all with updates.
Bug report
Please report any bugs you encounter to [email protected]. Please describe your
problem as precise as possible, sometimes pictures are helpful. Please name your setup, including:
- Processor
- Graphic card
- Operating system
- DAW
9
Vengeance Producer Suite – Avenger Overview
Overview
Quick guide
Avenger is an incredibly powerful synthesizer and the latest development from vengeance-sound and
keilwerth-audio. There is almost nothing that you can’t do with Avenger. A preset in Avenger can
begin simply and grows automatically depending on how complex you want it. Individual
components like oscillators, LFOs, filters or effects can be added or removed whenever you want, by
use of the tabs or and can be freely linked by you, in any way you wish. Every waveform can be bent
and manipulated live and directly or by modulation in all directions and frequencies (FFT) – all that
with very low cpu use and amazing alias-free sound quality.
Avenger features a multitude of synthesis forms for the sound generation such as complex
wavetables. In this form of synthesis, the relationship between the harmonic and disharmonic
overtones can be regulated at any time by FFT. All the results can be seen at all times in the central
display which shows the current waveform. Avenger comes with a very clean and cpu friendly
„supersaw“ mode named V-Saw, a chorder to stack notes, a multisample stacker for layering samples
and also seperate drumkits complete with drum sequenzer. Thus very complex arpeggios and
sequences can be created.
The flexible effect routing system is also one of the highlights. There are insert racks, send and
master racks. The oscs (oscillators) and busses are freely routeable (for example: rack 1 -> rack 2).
There is the shaper with many different distortion types which can be placed before or after the
filter. Naturally there are many filter types in which we invested a great deal of time to achieve the
best sound and performance possible.
Modulators have never been so complex yet so easy to configure as in Avenger. Almost everything
can be combined with anything else. You can do this in the modmatrix or simply be dragging and
dropping between source and destination. There are arpeggiators, step sequencer, drum sequencer,
pitch and mod envelopes, special wavetable envelopes with patterns for wobble sequences,
keyzones, velocity zones, macro controller, MIDI controller/pedal support and much more.
As well as all this there is a graphical librarian with a tag/cloud keyword filter. The user also has the
possibility to import own samples, waveforms, wavetables or drums which expands the possibilities
even further.
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GUI
We have been carefully designing the Avenger GUI, to provide the best possible workflow and show
everything needed on screen at any time. Most areas contain tabs. Usually they are color coded, to
provide a fast overview, which oscillator is connected to which further processing steps.
1. Quick handling bar

2. File menu
3. Info screen
4. Output level meter / master volume
5. Browser
6. Voices panel
7. Oscillator panel
8. Routing panel
9. AMP panel
10. Filter panel
11. Effects panel
12. Central panel
13. Shaper panel
14. Modulation panel
15. Controller bar / wavetable-view
16. Macro panel
17. V-Manager (VMAN)
18. Readout screen
19. Lock buttons
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Handling concept
Looking at the general handling concept, there are only a few things to remember:
- Resetting controls to its default state

o Control + click or
o Double clicking
- Additional functionality, such as adjusting attack curves or adding a random

pitch be editing the inner ring
o Right click the control
- Rawtune a control in bigger steps by using your mousewheel
- Finetune a control
o Shift + right click (working for all controls) or
o Right click (for controls without addional functionality)
- “Go to” function in the routing panel:

o Right click on the module or
o Left click on the module and choose “go to”
- Set up a modulation:
o Drag the “six points” to whatever you want to modulate or
o Use the modulation matrix to set source and target
- Adjust a modulation:
o Use the modulation matrix for bigger changes
o Use to small orange triangle in the upper left of the dial
- Add a tab by clicking the “+” next to the last tab
- Copy, past or delete a tab by right clicking on the tab
- Tool tips can be enabled on the sys page and are provided for most controls. For those with
additional functions the tip will be shown, when right clicking while hooverin over the
control.
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Generators
- VA Shapes
Classic synthesis, consisting of 1-cycle waveforms. This is where you find the classic
waveforms, like sine, saw, pulse, triangle etc (basic shapes)., but aswell you can convert all 1-
cycle wav-files to a shape (imported shapes) or even draw your own shapes (freeform).
All shapes can be manipulated and transformated by the various options Avenger is giving
you. 100% clean and free of any aliasing.
There are some additional free shapes on the Avenger download page.
- Wavetables
These are various „oscillator shapes“, one after the other (for instance: 256), which you can
smoothly move through. Avenger comes complete with a huge collection of wavetables, you
can however also create your own.
There are some additional free wavetables on the Avenger download page.
- Resample
In principle a wavetable, but this mode lets you load large wave files and then move through
microscopically small grains to use as your sound source.
- (Multi-)Samples
An oscillator can also play multisamples. With our „sample stacker“ you can stack up to 4
samples per osc (layers). Oneshots such as „attack clicks“ or „organic noises“ also belong to
the samples which can be layered to the multisamples.
- Granular
The granular engine let‘s you load wavefiles and splits them into tiny pieces (so called grains),
which can be used to do everything from small adjustments to the original sound, to creating
completely new sounds through various parameters.
- Drumkits
These are not simply multisamples but rather „real“ drumkits with many editing options and
their own specially optimized drum sequencer.
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Transformators
- FFT filter (free / harmonic / bin)
All the above mentioned synthesis forms (apart from (multi-)samples/drumkits and granular)
can be cut up using an FFT filter. Root tones, individual harmonic, fifths or disharmonic
frequency parts can be individually increased, reduced or completely removed.
- X-bend / formantshift / crush
The waveforms from each mentioned synthesis forms (for (multi-)samples/drumkits and
granular only crush is available) can be bent, squashed, stretched or effected by lo-fi effects.
All this controlled and modulated in real time or by envelopes/LFOs.
- OSC sync
Every one of the above mentioned synthesis forms (apart from (multi-)samples/drumkits and
granular) can be „synced“. An integrated „sync envelope“ can be used as modulation source.
- FM/AM
Frequency and amplitude modulation can be used on each of the above mentioned synthesis
forms (apart from the drumkits).
- Noise
A noise generator that can be mixed with all the synthesis forms. The sound color and the
sample rate of the noise can also be set.
- V-Saw
The V-Saw is our equivalent to the well known „supersaw“ (unisono) and functions with all
the synthesis forms (apart from drumkits). The V-Saw can generate up to 7 voices, softly
detune as well as allow voices to be spread in the panorama or octave. Adding to this there is
a vibrato LFO that can be applied to all of the voices at once or even to any of the 7 voices.
All the while the cpu usage is happily kept to a minimum.
- Chorder
A comfortable „note stacker“. With the chorder you can quickly generate a further 4 voices,
for instance a +12 voice on top or a -12 bass voice, a quinte or any other interval/chord. All
voices can be placed in the panorama, volume levels can be adjusted and the detune factor
also can be set.
- Sub bass modul
Avenger includes a genuine sub oscillator that can be mixed in all the synthesis forms (apart
from the drumkits), using a sine, triangle, saw or square waveform.
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Filter, shaper, effects and mixing

- Filter / master filter
We paid a lot of attention to the development of the filter. You have the possibility to choose
between many filter types. Also included are special filters for vocal/robot sounds, a tb303
filter, comb, FM and lofi filters. Many of these filter types can be overdriven (drive).
- Shaper
The shaper is a distortion module on an oscillator level with 2 integrated special eqs. It
includes numerous distortion models and can be routed flexibly (before or after a filter,
before or after envs etc).
Futher Avenger includes numerous high quality effects such as sidechain, ArtsAcoustic reverb, delay,
various distortion and lofi effects, dynamic and chorus effects as well as special effects like tapestop,
each one coming with presets and able to save your own presets. Avenger offers channel presets, so
you can safe and recall your favourite effect chains.
- Insert FX rack
Avenger offers you up to 4 insert FX racks with up to 8 individual effects per rack. The output
of an insert FX rack can be routed to another insert FX rack, to the master FX rack or directly
to the output.
- Send FX rack
There is a separate effect rack solely for the send effects (up to 8 parallel effects). The active
effects found here can be mixed with any oscillator without adding to the cpu load.
- Master FX rack
At the end of the effects chain is the master effect rack. This includes a further 8 slots. The
master effects rack is idealy suited for eqs, compressors or limiters. Individual FX busses or
oscs can be routed to bypass the master FX. So, for instance, you can route a bass drum to
bypass the master limiter while heavily compressing the rest of the drums.
Mixer
To improve the overview, Avenger offers a mixer page, where you can clearly see and mix all your
drums, oscs, amp groups aswell as the master fader.
15
Modulation
- Mod matrix
The heart of all your modulations: we have given the mod matrix in Avenger a completely
new look! It is now childsplay to organize whole modulation groups and to edit them with
just one click. All the sources listed below, including external MIDI or mathematically
produced sources can be combined with any imaginable destination – for instance visible
dials and with almost any possible setting.
- LFOs
You can have up to 4 LFOs. LFOs work as modulation sources, can also receive modulation for
instance to reduce their own speed. You can choose between many included LFO forms or
simply draw up to 3 of your own.
- Modulation envelopes
Another source of modulation are the modulation envelopes – in short „mod envs“. These
are freely editable envelope curves which means you can add as many points as you require
simply by double clicking. These mod envs can also be looped and synced to the songs
tempo.
- Pitch envelope
The pitch envelope, with its bi-directionality, is specifically suited to affect the pitch of an
oscillator. The pitch envelope can however also be routed to any other destination. Here you
will also find further settings such as poly/legato modi or settings for the pitchbend wheel.
- Step sequencer
Once known as „trancegate“, this step sequencer can now however do much more than
simply influence volume and naturally – as with the rest of Avenger – can also be routed to
any parameter or setting. The step sequencer offers amazing possibilities in regard to exact
timing and syncronized modulation.
- Arpeggiator
Avengers arpeggiator has also grown: an „arp“ can consist of up to 4 patterns (a b c d) which
can be played after one another or separately. The arpeggiator is also a powerful and
accurate source of modulation: the pitch of a note could for instance control the filter cutoff
amount at the same time as controlling velocity and reverb mix.
- Drum sequencer
The drum sequancer is a totally new development specifically designed for working with the
drum kits. A major difference to the arp is for instance that you can play several notes at the
same time (kick+clap). Apart from that it offers numerous special functions such as various
copy/paste modes, a drumroll mode for fast notes, group selections and velocity flags.
- Key/velocity zones
You have the possibility to freely set the playability of any preset. You can set different
velocity zones, which for instance add new oscs, when a key is pressed harder, or keyzones
that splits the keyboard into different areas. Everything is clearly and graphically editable.
Seamless blends between the areas are naturally also possible.
- Wavetable envelope / envelope patterns
This is an envelope that traverses the wavetable index, which also obviously can be routed to
anything else. This envelope offers many features that are specially suited for use with
wavetables, for instance a pattern editor to generate „wobble“ sequences in various
successive speeds.
- Macro controller
Avenger offers you 3 macro controller and 2 macro switches as modulation sources. These
macros typically control modulation groups and thus totally change the sound . All the macro
controllers and switches can be freely named and are naturally saved with the preset. All the
factory presets have sensible allocations that allow you to directly influence the sound.
16
- External MIDI pedals

You have the possibility to connect a breath controller, expression pedal, foot pedal or
sustain pedal to any destination you wish. As most of the presets have already been given
suitable modulation routed to the mod wheel, you can simply route these controllers with
one click to the mod wheel. The MIDI pedal for instance would then be routed to the
modulation that is routed to the mod wheel.
- Quick modulation assign
A comprehensive modulation matrix is great but there are times when things need to be
quick and easy. You can therefore link by drag & drop almost every source you can see on the
gui with almost any destination and then directly set the modulation depth. It could not be
easier. As each dial has a surrounding led ring you can always see, live, when a dial is being
modulated.
Organization and helpers

- Preset librarian
The new preset librarian in Avenger allows you to organize all your installed sound banks.
The librarian is not simply text based. It uses graphics and icons for things like sound banks or
expansions to improve readability.
- Tag / search
Avenger comes with a huge number of presets. To help clarity and find the sound you want
Avenger uses a tag cloud. With these you can select sounds by genre (house, edm, dub etc.)
or by sound characteristics (aggressiv, warm, bass etc.). The search will then be limited to all
the chosen characteristics.
- Import / organize
You can also import your own (multi)samples, wavetables, drums etc from your hard drive.
On top of that, you can create your custom expansions with all presets and used samples in
one file. Your can also add your own icon to your custom expansion.
- Preset browser everywhere
Within every sub system in Avenger you have the possibility to save presets. There are
already very many presets for each effect type such as arpeggiator, step sequencer, FFT
filter, wavetable envelope, chorder, drum sequences etc.
- Undo
Avengers amazing undo function should also be mentioned! Whatever you have done –
loaded another preset by mistake, changed the filter or deleted an arp note – anything can
be restored with a single click. A real life safer in many situations.
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Vengeance Producer Suite – Avenger Features in detail – Handlingbar, file menu and info screen
Quick handling bar
This bar provides you with four functions (left to right):

- Zoom level
Avengers GUI was designed with future screen resolutions in mind and is scalable from 50%-
200%. We recommend using a resolution higher than full HD and at least 100% zoom level to
experience the full beauty of Avenger – nevertheless it will work on smaller screens as well.
- Assign preset to a bank
Navigate to the bank and category you want the preset to be, click and hold the six dots or
the preset name and move it to the preset browser. This will be a duplicate, like “save as”.
- Rename preset
Change it by double clicking and the name. After renaming you will have to “save as” or use
the “Assign preset to a bank” function to make this change permanent.
- Previous/next preset
This is exactly what it you would expect: Navigate through a preset bank, one by one.
File menu
Load, save or save as a preset.
Initialize the preset. (Set the init preset on the “sys – content” page.)
Leftclick: Undo up to the last 20 changes you made.

Rightclick: Redo and see which where the last 11 parameters you changed
Info screen
- Global maximum voices are set here, as well it is showing the currently played voices.
1 played note per oscillator tab = 1 voice. Example: 3 oscs, C4 only played = 3 voices
- Used number of oscillators. This value is calculated for each osc-tab by:
[(voices + chorder) x v-saw] x 2 (if endless sub is used).
- muted tabs are counted as well
- “v-saw” only if “mix” > 0%, number of voices
- “sub” doesn’t count
- “endless sub” doubles the value
- Last played note + velocity
- CPU usage
- Host BPM
18
Vengeance Producer Suite – Avenger Features in detail – Browser
Browser
The browser will help you to navigate throughand search for presets, build your own expansions,
categorize presets and browse your computer for content to import to Avenger.
Content tab / Preset browser

Avenger comes with a well-developed preset browser, which will help you to keep an overview of
the factory presets, own presets or bought expansions packs. It works on three levels:
1. Bank/expansion
2. Category
3. Preset
The level 1 view can be switched from “list” to 1-8 per row in the left upper corner. This might be
handy, when the number of banks is rising.
As soon as you click on one of these banks, you will land in category choice menu of this bank.
19
In the second level the categories in this bank can be seen on the left. By clicking on a category you
land on the following level, the preset choice itself. Presets can be now loaded with a double click or
with a curser key (see tips on working). Dont forget that you can use a mouse wheel to scroll through
these menus. Naturally you can use scroll bars in the menus.
Go back to the expansion overview at any time by clicking the arrow in the upper left corner.
If you got the “favourites-view” (FAV, top right) active, you can mark a preset as favourite by clicking
the star. Otherwise you are always able to mark a preset as favourite by rightclicking it and choosing
the option “mark as favourite”. Note: Unmarking a preset will only work by clicking the star!
Rightclicking will also let you rename, delete, duplicate and save the preset as well.
Banks and presets can also be organized directly on your hard drive.
Preset search
By clicking the magnifying glass in the upper right corner, the search function will open.
You got up to five options to combine a search:

- Categories (stock categories only)
- Tags (stock tags only)
- Textsearch (preset names only, no comments)
- Artist (dropdown menu of all available artists/preset authors)
- Favourites
The results will be displayed in the content browser. Sort them by category (CAT) or alphabet (ABC).
Down right you see a “surprise!” button – this will load a random preset, based on the search result.
Please note: To make this preset search fully functional it is important that you name, tag and label
your own presets. If you want to release the expansions this becomes of even greater importance!
When you create your own presets, please remember to use the tag cloud to activate all appropriate
characteristics to help you (and others) find your presets later.
Tip on handling:
Browse through the library with your keyboard:

- Up/down: navigate up or down
- Right: load a preset
20
21
Build a custom bank
Building your own bank is simple.

- Rightclick in level 1 of the content browser and create a new customer expansion.
- Rename it afterwards
- Choose “Browser Folder with explorer”
- Adjust the “.info” file if you want to add some infos about the expansion
- Folder image: Replace the image with anything you like – make sure it’s the same size
- Folder presets: Although we strongly recommend staying within the stock categories, to keep
all search options you can create new folders or rename existing ones for customized sub
categories.
- Create presets!
In case you want to publish your expansion:
- “Verify expansion” to make sure all needed content files (shapes, samples etc.) are in the
folder and you used all files in the folder
- Publish your expansion!
Building your own presets:

- We recommend using category prefixes (see appendix)
- Tag your presets in the info tab
- Add a comment if needed
- Type in your own artist name (or save it in your init preset, so you do this only once)
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Info tab
As already mentioned there some options to categorize presets and make them searchable.
Activate words in the tag cloud to describe your presets. Add a comment, if there are some special
functions in the preset, you want to hint at and adjust the artist name.
You need to save your preset, to make your choices permanent.
23
File browser
The third tab in this section takes you to the file browser. Here you can browse through all your
drives and import your own content (wave files).
Leftclicking a file:
- Drag an drop samples to OSCs, drums or wavetableview
Rightclicking a file:
- Convert shapes
- Convert granular samples
- Convert resampler samples
- Convert sfz to multisample
(not recommended, depending on source file, problems might occur)
Rightclicking a folder:
- Convert multisamples
- Convert granular mutlisamples
- (Batch-) Convert granular samples
- (Batch-) Convert resampler samples
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Importing samples (leftclick):

Importing to OSC:
- Drag and drop them to the waveform-display in the OSC-panel
This imports will be only for this Avenger patch, they won’t be available in the library.
Drums:
- Change to the „drum“ page (click above the routing panel)
- Drag and drop your chosen drum samples to the appropriate slot.
Granular/Resampler/Wavetable:
- Select a resampler or granular OSC (see below)
- Drag and drop the sample to the wavetable view.
This imports will only available be in other Avenger instance, if you save the altered drum kit.
In contrast to the drag and drop actions, all following imports/conversions will be permanently
added to the library
Converting shapes (rightclick):

- Create a wav in your favourite audio editor
- The OSC shape needs to be exactly one waveform length
- Make sure the waveform is cut cleanly that there are no audible clicks at the beginning or
end. (You may intentionally want such clicks however to create more overtones.)
- Rightclick this wav file
- Select “convert shape”
- Choose the destination path in Avengers library
- Use the waveform in Avengers engine, free of any aliasing
By the way: You can draw your own waveforms as well in the freeform editor (see below).
Converting granular or resampler files

- Rightclick the wav file
- Select “convert granular/resampler file”
- Choose the destination path in Avengers library
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Importing (granular) multisamples
Please choose a folder that contains the multisample files in wav format. Following rules apply:
- The last characters contain the note, from that the sample will be used
(to avoid aliasing downwards to the next sample, upwards only if it’s the highest sample)
- Allowed range: C-3 to G7
- Sharp notes (#) may be used, flat notes (♭) are forbidden
(Please note: sharp notes won’t work from C#-3 to A#-1)
- Intervalls may be choosen to your likings and may change inside one multisample
- The multisample will be named like the source folder
- The multisample can be found in the chosen library
Notes on use:
- Samples need to be prepared loop point wise
- Keep the sample size in mind – a multisample will be fully loaded to the RAM
- A multisample could be used for different sounds as well, for granular multisamples this only
a reasonable choice, when turning keytrack to zero.
- You can use any text you wish. The only important thing is that the note name at the end
before the .wav is included. However we recommend however that you use a system (e.g.
numbers) as this helps keep an overview. Above picture uses following system:
Patch name Octave no. Sample in oct. Note
Air Keys (Poly-61m) _ Ox - xx _ xxx
Air Keys (Poly-61m) _ O5 - 03 _ G#5
Air Keys (Poly-61m) _ O6 - 01 _ C6
26
Vengeance Producer Suite – Avenger Features in detail – Oscillator area
The oscillator area
With its up to 8 single oscillator modules and drums the oscillator area is the heart of Avenger. An
oscillator module can however be far more than just a single voice. Every osc module has its own V-
Saw, its own chorder, sub oscillator and its own routing. Although you got this lot of possibilities – try
to use as little as possible, when designing new sound, to prevent CPU hugs. Keep gainstaging in
mind – your ears are easily fooled by just making things louder and will tell you “more is better” even
if the sound didn’t get any better, but only louder. The complete 8 OSCs will barely ever be needed
to create a full sound.
The OSC area always consists of the voices panel, oscillator panel and the routing panel. Depending
on the type of OSC, the central panel and the controller bar / wavetable-view will be used as well.
Last but not least keyzone may be adjusted in the “zones”-tab.
You’ll find an in-depth video about the OSC section here: http://bit.ly/VPSAvengerOSC
Tab system
Avengers GUI is based on “tabs”. The OSC area will always have at least two tabs, one OSC and the
drums. By clicking the “+” (3) you will add another OSC, up to a total of eight. Rename the tabs by
doubleclicking them and open the context menue (1) with a rightclick. By hoovering over the tabs,
they can be muted/soloed (2). This function is linked to the mixer tab. Every tab will have its own
colour to help you follow your routings in a bigger patch.
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OSC Browser
At the top of the waveform display, the name of the currently used oscillator is shown. To change to
another OSC preset within the OSC type, there are two options:
- use the two arrows on the right to step through them
- click on the name to open the browser, containing the Avenger oscillator library
The Browser is easy to understand and follows Avengers design concept:

1. Browser settings and search function, functionality from left to right:
- Close the browser
- Preview function and volume slider.
When used the preset will be previewed, when clicking them
- Size and position of the browser.
Choose your favourite position and size
- Font size
Choose from 4 font size options by using the ABC button.
- Search function
Doubleclick the search field and enter your text to find results within the chosen OSC
type in all banks
2. OSC selection
Click once to choose an OSC type and browse through the banks and presets. Doubleclick to
open an empty instance of this OSC type (working for Freeform, Resample, Samples and
Granular only)
3. Bank selection within the chosen OSC type
4. Preset selector
Clicking once will preview the preset and show the waveform in the associated display,
doubleclicking will load the preset and close the browser.
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The oscillator panel in detail
The OSC panel consist of the inner waveform display, (shape based OSC types). For samples based
OSC types. Depending on the OSC type, these options may vary, only the left side will stay the same
at all times. Some functions will be linked to other parts in the Avenger GUI, offering the same
function; other functions will be reachable only here.
Waveform display
The core of the OSC panel is the waveform display, showing a realtime view of the current waveform.
For shapes/freeforms (1) you will see one cycle of the waveform in detail and it will give you visual
feedback about the changes you are making by using the multiple options around the display to alter
the sound. When choosing a resample/wavetable it will be similar, showing the current wavetable
position in detail. For samples (2) you see the whole sample including the starting position, for
granular samples (3) there will be no starting point, since this is controlled by the granular envelope.
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You will find a simple high- and lowpass filter bar between OSC browser and waveform display. The
bar has two handles, the hipass filter (hpf) on the left, the lowpass filter (lpf) on the right. If your
oscillator is a normal oscillator or a wavetable, the hpf and lpf are linked to the FFT area and you will
get instant feedback how your waveform changes (more in the FFT section of this hand book). If the
current oscillator is a sample (single, multi or granular) the hpf and lpf are resource friendly 6db/oct
filters.
Below the wafevorm display are up to 5 parameters, depending on your OSC type.
- OSC phase (OSC/Freeform/Wavetable only)

The phase can be random or fixed to a specific phase position. Click on „random“ and move
the mouse upwards while keeping the mouse button pressed and you can set the start
phase. A green bar appears in the waveform display to help you. Alternative a double click
will open a text field. Enter a value from -1 (random) to 100% here.
- Keytrack (Single, multi or granular sample)
Controls how the sample pitch is aligned to the keyboard. 100% means full scale, while 0%
means no pitch over the whole keyboard (you might want this for drums or vocals). For
samples this is linked to the keytrack knob inside the central panel.
- Gain
If you are using very quiet waveforms or samples you can use the gain control to raise the
volume. This gain has a further function. It influences only the oscillator itself, not any noise
that may be mixed in. You can thus turn the gain completely down to hear the noise only.
This is useful when designing drum sounds.
- Micro fade in
In certain start phase positions the oscillator may cause clicks. This may be wanted e.g for
bass drums, generally however this is not wanted. For this reason, you can use a tiny micro
fade (up to 5ms) to fade in the waveform so such clicks will be eliminated.
- Phase invert
This small icon at the bottom right turns the phase 180°. This is good, for instance, to use
together with a second oscillator to create very specific cancelations.
- +
When using a sample a + will appear above the phase invert sign. This is part of the sample
stacker, which will be explained in detail later.
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Global OSC panel controls

For the various controls around the waveform display following operating concept is used:
- Left click (LC)
Open a context menu.
- Left click and hold
Control the outer ring, horizontal bar or envelope curve
- Right click (RC) and hold (no inner ring)
Finetune the control (same as using ‘shift’ + left click)
- Right click and hold (inner ring)
Control the inner ring. Finetune by using ‘shift’.
- Hoover and mousewheel
Rawtune a control or scroll through context menu options
The right hand side provides controls that are OSC type specific and will be explained in the
respective parts of this handbook. The left side and the bottom will be the same at all times. Modes
can be changed by using the popup menues behind most of the lables.
Volume (LC): Set the total volume of the oscillator (OSC + noise).
Range: 0% to 200% / -96dB to +6dB
Panning (RC): Set the panning of the OSC.
Both parameters are linked to the mixer tab.
Transpose: Set the pitch of the oscillator.

Range: -48 to +48 semitones.
Fine tune (LC): Fine adjust the pitch.

Range: -1 to +1 semitone.
Random pitch (RC): The inner dial controls the amount of pitch change for
every retrigger of a note (keypress or ARP). Turn the inner ring to the left for
random pitch, turn it right for alternating pitch. The more you turn up/down
the dial the more intense will be the results. This function is excellent for
analog sounds.
Range: up to -1 to +1 semitone from the pressed note
Noise volume (LC): Set the noise volume
Stereo spread: There is a choice of 3 stereo width settings. Noise 100% is full
stereo width, left and right are totally different. Noise 50% has only half the
width and noise mono has, as the name suggests, no stereo width.
Phase lock can be turned on to have better transient control e.g. for drums.
Noice colour (RC): Control the colour of the noise. You can mix smoothly
between white, pink and brown noise.
Rate reducer: The horizontal slider under the noise dial is a rate reducer just
for the noise. Perfect for lofi sounds or percussion.
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Frequency modulation (FM) means the pitch (frequency) of the oscillator is

modulated rapidly by a second oscillator. How deep this occurs can be set
here. Choose the shape of the modulating oscillator under the FM dial. The
popup contains 9 standard waveforms, 3 customs waveforms/LFOs and other
OSCs (‘real FM’ – only if there are at least 2 OSCs).
When chosing an OSC, this OSC will be muted and used for modulation only.
This is visually represented by a swichted off diode, no color bar above the
OSC, and a label saying ‘OSC … (FM)’. In order to choose an OSC, you need to
use FM modes ‘continuous’ or ‘oversampled’. Apart from the disabled routing,
the FM OSC can be changed and modulated as any other OSC.
FM (continuous/oversampling): This mode continuously generates FM

signals. It’s thus completely smooth. Because of this aliasing can occur in the
highs, which could be wanted in some cases. To reduce this, the oversampling
mode could be used – but be aware: This will be very CPU consuming!
FM (table mode): This FM mode generates a FM signal in blocks, similar to a

wavetable. Intermediate steps, which doesn’t fit in the table, sound different
than in the normal FM mode. We suggest „harmonic“ or „octave“ mode for
FM rate. With these all the waveforms fit perfectly in a table. This mode is
crystal clear in the highs and has no aliasing artifacts.
FM (table mode windowed): Equivalent to the normal „table mode“, but a

fadein/fadeout at the beginning and end of the table will take place to damp
clicks, when a wave doesn’t fit properly in the table.
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Rate: AM and FM share the rate dial, which sets the speed/frequency of the
modulating oscillator. Since even intervals (octaves) or quintets sound
cleaner than odd intervals, various modes can be chosen, which allow only
the rates inside the chosen grids. Change grids by using the popup menu.
Free: No grid, the pitch of the modulating oscillator can be smoothly set.
Since all other modes start at a rate around 50% of the free mode, you need
to choose the free mode for lower rates.
Harmonic: Only octaves and quintets are allowed.
Semi: The rate dial is fixed in semitone steps.
Octave: Only octaves are allowed.
Chord octave min: only octaves and minor third (+3 semitones) intervals.
Chord octave maj: only octaves and major third (+4 semitones) intervals.
Chord octave 5th: only octaves and fourth (+5 semitones) intervals.
Chord octave 7th: only octaves and fifth (+7 semitones) intervals.
Phase lock: Sets the start phase of the modulation oscillator for FM/AM.
If phase lock is on, the phase is the same as the main voice. If phase lock is
off, the modulation phase is random. This will be clearly visualized, when
setting a phase/start offset for the main oscillator.
AM: Oppose to FM, which modulates the pitch/frequency, this dial modulates
the volume (amplitude). Amplitude modulation (AM) simply multiplies the
original waveform amplitude by the choosen waveforms amplitude at a higher
frequency/rate. Depending on the rate setting, this will produce different
overtones, which are added to the original signal.
You will have the same modulations shapes as for FM, apart from other OSCs,
which are reserved for FM only.
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Voices panel
The voices panel provides a supersaw, vibrato, a chorder, the sub OSC and an endless sub mode.
V-Saw
Avengers V-Saw is a classic „supersaw“ unisono module with its own
special features. With this you can quickly and efficiently create really
fat detuned sounds which are essential in modern club music.
- Voices: Avengers V-Saw can generate up to 7 voices. Here you

choose how many there should be (2-7).
- Octaves: using this control the 7 voices can be spread over 4
octaves.
- Voices display: a small display shows you the number of
voices, the octave spread, detune and panning.
- Mix: mit with this slider you can set the mix level of the V-
Saw. At 0 (dial completey down) the V-Saw is not active (and
thus uses no cpu). If the mix dial is at its full position (right at
the top) this means the additionally generated voices are as
loud as the original voice.
- Detune: the largest and most important dial in the V-Saw is
the detune knob. With this you set how much the voices are
detuned from each other.
- Pan: here you can set how much the (up to 7) voices are
spread out over the stereo field.
Vibrato
- Vibrato LFO waveform: the V-Saw gives you a special vibrato LFO. This modulates the pitch
of the V-Saw. You can choose between two modes:
o Global: the vibrato LFO modulates the pitch as a whole (all voices 1x).
o Independent: the vibrato LFO modulates the pitch of every single voice differently.
This gives you many possibilities and allows you to create even wider sounds.
- Under the global/independent selector you can choose the waveform of the LFO. Click on
the waveform graphic and take your pick.
- Vibrato LFO rate: here you can set the speed of the LFO.
- Vibrato LFO amount: here you set the amount of pitch modulation (depth of the vibrato).
- Vibrato LFO fade in: the pitch modulation of the LFO can start with a delay and slowly reach
the set amount. Here you can set the time of this delay. With the „curve“ control under the
fade in dial you can set the shape of the transient.
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Chorder
Avengers chorder, as the name suggests, generates chords and other intervals. On top of that the
chorder can act as a second unisono module as you can set panning, volume and detuning of the
individual voices.
- Chorder preset browser: Numerous chorder presets are

included and can be selected through the browser.
- On/off switch: Turn the individual voices on and off. The
chorder can generate a maximum of 4.
- Coarse tune: Set the pitch (-24 to +24 semitones).
- Tune (fine): With the tune dial you do the fine adjustment of
the pitch. The range of the dial is -1 to +1 semitone.
- Pan: You can position each of the voices in the chorder across
the stereo field. The central position is „centered“.
- Volume: Volume of this chorder voice. (0%-200%)
Sub osc
In every oscillator in Avenger you can mix in a sub oscillator which is
one octave below the main voice. This saves resources and is clearer
than using a completely new oscillator.
- Volume: Volume of the sub OSC, up to +6 dB.

- Invert: Inverts the phase of the shape
- Shape: the sub osc can have various shapes. From right to left:
sine, triangle, square and sawtooth.
- Octave: Choose from -1 / 0 / +1. +1. Plus one would be the
same octave as the trigger note, minus one 2 octaves below
the trigger.
General:
- Voices: Sets the voice limit for the selected oscillator. This can be used to save on cpu (for
instance with pads that have a long release time) or if you want a special play mode
(monophone). In modes max 1-64 the usual ‘first in – first out’ applies. Additionally there are
two special modes: ‘max 1 lowest’ and ‘max 1 highest’, which will always play the
lowest/highest played note, not caring which note has been triggered earlier.
- Endless sub mode: this is a special mode designed for bass sounds use in sequencers (sqs). If
the endless sub mode is active there are only 2 octaves on bass that continuously blend with
each other. This means that even if you play to the far left on the keyboard the bass stays
clearly audible and powerful. This is important with sequencer and arpeggio runs.
35
Routing panel
The entire right side of the oscillator panel consists of the routing panel. In principle this allows you
to see the path the selected oscillator takes in the signal chain, to
influence it and also to add effects etc. You can add new modules (for
instance a further shaper or filter) at any time by clicking on the „+“
button in the top right corner and temporary disable them by using
the the on/off switches.
Some modules such as the ARP or the AMP are fixed and not
moveable in this chain. Other modules can be moved. It makes a huge
difference for instance wether or not a shaper module is before or
after a filter. You can move a module by clicking with the left mouse
button and dragging the module to where you would like it. If a
module is moveable you can see immediately where you can move it
to.
A left click on off of the modules opens a menu to choose the module
number (e.g. ARP 2) or delete a module.
You can also add send effects by using the „+“ button. This effect has
to obviously be added first in the send rack before it can be seen in
this list. Send effects are a resource friendly way to use effects such as
reverb or delay. The effect is only loaded once, can be used however
on every oscillator with its own mix setting.
At the end of the chain you can route the oscillator to one or more of
the 4 insert effect channels or directly to the master FX. The master
filter can also be turned on and off here.
Note: All modules need to be created first ( + tab) before they appear here in the lists.
Should you loose the overview you can use the „go to“ function. Click on the left of a module and
choose „go to“(or use a simple right click). Avenger shows you with a red target cross where the
module can be found on the GUI.
36
Vengeance Producer Suite – Avenger OSC type: shape
Modulation of shapes
OSC types
Avenger comes with two superordinate OSC types: shapes and samples. While shapes provide a lot
of opportunities to form them and give you a visual feedback about changes in the waveform display
at all times, samples tend to bring complex textures with them that can’t be reached that easy by
modulation shapes. Shapes, freeform shapes and resamples / wavetables are shape based, single
samples, multisamples and granular samples are – as the name indicates – sample based.
Shapes
Shapes, freeforms, resamples and wavetables are basically the same, varying in flexibility only. They
always provide exactly one wavecycle, which will be transposed through the whole keyboard range
without any aliasing. They share the same parameters and can be modulated and transformed in
various ways.
Shapes are fixed waveforms, which came with the factory library, have been imported or created in
the freeform editor and saved. The basic form can’t be altered.
In the VA-Shapes folder, you will find all the basic waveforms: saw, square (which serves as pulse by
using the X-side control as well), triangle, sine, noise and static noise. Further you will find a lot of
additional imported and created shapes in this folder as well. Most expansions provide additional
shapes and some are free to find on the internet. E.g. there is a pack of 400 available on
http://www.vengeance-sound.com.
Shape modulation options

All shape based OSC types come with the same options to modulate the shapes on the right side of
the OSC panel control.
XCITE-side:
Squash the left or right side of waveform, depending on which direction you
turn the dial from its central position (neutral).
XCITE-mid:
Zoom the middle of the waveform in or out, depending on the direction in
which you turn the dials from its central position (neutral).
37
Formant: Controls the pulse width of the waveform. Turn it left and the
waveform is squashed and shrunken towards the left hand side. Turn it the
right and the waveform is expanded out of the right hand side. The part of the
waveform that is sticking out will either be simply cut off (clicks) or gently
faded out depending on the mode you are in.
Cut: The end is not faded, producing clicks.
Fade: The end is faded to zerocrossing.
X fade/X fade 2: Both crossfade modes behave the same in + range, blending
start and end into zerocrossing.
In minus range X fade blends start and end into each other.
In X fade 2 , start/end amplitude of the original waveform are preserved and

used for blending.
This effect is on oscillator level and acts differently than most normal audio
effects that you may know. It actually draws numerous steps and innacuracies
into the waveform.
Modes: Rate, bit, both
Rate reducer: Reduce the rate (number of horizontal steps in time in the
waveform amplitude) down to a minimum of three steps).
Bit reducer: Reduce the bit depth (number of possible different vertical values
in a waveform amplitude) up to a square.
38
You can use a second OSC (having the same waveform as the original OSC)
and add it to the original waveform (add modus) or use the copy only (pure
modus). The rate/pitch of this copy is increased and modulated independent
of the original OSCs pitch. In windowed mode the second synced oscillator is
faded in and out to avoid clicks, when a pitch that would be outside the
original waveform occurs. This can be easily heard in the nonwindowed mode.
The sync effect has its very own envelope.
Sync amount/frequency (LC): Set the frequency of the 2nd OSC from zero 0%
(original pitch) to 100% (+5 octaves) seamless.
Sync envelope amount (RC): The inner ring controls the amount of
modulation, which is sent to the internal sync modulation envelope. This
control has a central position 0 (neutral, no modulation). Move it to the right
and the sync dial will be positively modulated, move it left and negative
modulation occurs.
Sync envelope length: The horizontal control under the sync dial controls the
length of the modulation and can be set from 50ms to 3500 ms.
Sync envelope curve: The sync dial has its own small modulation envelope.
This can be bent up and down. This is set by the inner dial. The envelope is
bent upwards by turning the dial past its central position. Turning the dial left
of its central position and you bend the envelope downwards.
39
Fast Fourier transformation
FFT (fast Fourier transform) editor

For all types of shapes, the editor tab in the central panel will show the FFT editor. When using a
freeform, resample or a wavetable, you need to choose the FFT tab to see the FFT editor. A FFT splits
the signal into innumerous bands and lets you thus work very closely on individual harmonic or
disharmonic frequency components. The deepest harmonic is known as the fundamental harmonic.
The FFT editor has 3 different modes (to be selected bottom left):
Free mode: In this mode you can freely draw in the FFT with the mouse. With a pressed “Alt”-key
you can draw straight lines. The scale on the left shows the amplification or reduction in dB. The 0dB
line is the normal standard volume of the waveform. As the display is logarithmic the deeper bands
are larger than higher bands.
Harmonic mode: The harmonic mode groups individual harmonic or disharmonic bands together.
You can identify the bands at the bottom scale and also by the colour of the bands. „0“ is the
fundamental harmonic, „1“ is an octave above. Next there is the „7th“, which is a fith (+7 semitones)
higher (colour is slightly darker). Following this comes the „2“ (next octave) and after that you can
40
see a “trash”-band without a name (very dark colour). These bands are all disharmonic bands to the
next harmonic band grouped together.
Bin mode: In bin mode all the 256 bands of the FFTs are shown at the same size, linear and not
logarithmic. Because of the width of this screen you can zoom in and out using the mouse wheel.
Straight harmonic octaves have been marked with lines to help with orientation.
As you can see in the pictures, the scales differ from mode to mode, the controls stay the same. The
values of the mouse positon will be shown in the read out screen at all times.
Controls in the FFT editor
The sweep dial moves your drawn changes upwards or downwards in the
frequency spectrum. Thus very nice phasing and morph effects are possible
with complex mountain/valley waveforms. Standard setting for this dial is the
middle position. The sweep can be placed before or after the lp/hp in the
signal chain by switching modes. A set lp/hp value can act as a limit for the
sweep (sweep disabled) or move along with the sweep (sweep enabled).
As the name suggests, the flip control flips all the drawn settings in the FFT
editor around. A valley would so become a mountain.
LP/HP: An FFT-based lowpass and highpass filter. This is linked to the filter bar
above the waveform display of the OSC panel.
Tip: Naturally those dial can be automated with an envelope. Thus the lp and
hp dials give you a FFT based alternative to a normal filter. The special thing
about a FFT based filter is the steepness of its flanks and the resonance, which
can be freely drawn by you. The steepness can be up to 90°!
41
If you dont want to draw the steepness of the lp/hp yourself, you can use the
slope dial to in- or decrease it.
Random:
The „random“ buttom gives all of the 256 FFT bands a random value.
Reset:
This sets the FFT back to its original state, leaving the dials as they are
Vspeed / vstrength:
This is a special mode in the FFT. You can pulsate all the bands with a speed of
your choice (vspeed dial) and the intensity of your choice (vstrength dial). A
really nice effect for permament frequency morphings, for instance on organic
sounds.
Again a preset browser is included to choose between numerous FFT curves and patterns. Also your
own FFT presets can be saved and stored by clicking on the „save as“ button.
42
Freeform
Freeform
Avenger allows you to draw your own waveforms. Freeforms are created and edited with the
freeform editor, which allows you to draw one wavecycle as you like.
When loading the freefrom editor by doubleclicking “Freeform” in the OSC browser or loading the
default setting from the menu, you see a horizontal middle line which is your starting point and you
can now draw using the left mouse button. Keep the right mouse button pressed and you can draw
straight lines. The background of the display has visible aids that help you draw basic shapes. Please
remember, 90° angles or other overly exaggerated bends can leads to clicks = highs/brilliance.
Controls in the freeform editor
- Preset browser: the freeform section also has many waveform presets as well as the
possibility to create and save your own presets.
- Smooth A / smooth B: Here you can smooth the waveforms in zone A and zone B. Sharp
corners are evenly smoothed. The amount of smoothing can be seen in the waveform
graphic (the filled area inside the yellow lines).
- Split: The waveforms can be smoothed in 2 different areas, A and B. This dial lets you decide
where these areas are. In the standard setting this is set to 100% which means that zone B is
not active and zone A fills the complete waveform.
- Normalize: When this is activated, the waveform is continuously normalized. This means it’s
made as loud as it can be without going over 0db.
- Adapt / zero / symmetry: this dial gives you another possibilty to smooth the waveform and
avoid jumps. This however only on the start (fade in) and end (fade out) of the waveform.
„adapt“ tries to center the start and ending of the waveform. „zero“ is always set to 0 (center
line) and the „symmetry“ mode cross blends the entire right and left half of the waveform
together.
As soon as you have created an interesting waveform, this can be converted to a new shape preset
by rightclicking the waveform display in the OSC panel and selecting „create shape“. The currently
shown shape will be added to your Avenger shape presets. After clicking on „create shape“ you
simply have to name the shape and set the destination folder. Your new osc shape is from then on
available for use.
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Vengeance Producer Suite – Avenger OSC type: shape based
Wavetables / Resamples
A wavetable (WT) is in principle a string of different waveforms (in Avenger up to 256), which can be
travelled through in real time. Avengers resampler (RS) lets you load normal wav files from which you
can generate wavetables. Both modes are, from a parameter point of view, almost identical, which is
why they are explained here as one. As already mentioned, WTs and RSs have the same parameters
and controls und functions as a normal OSC shape, they won’t be explained again here.
Choose „resampler“ in the OSC browser or load a „wavetable“ and quite a lot changes in the central
panel and the controller bar.
1. The waveform display shows “Resampler” in RS mode or the WT name in WT mode

2. A new tab lets you choose between the FFT editor and the WT editor
3. WT travel controls + RS exclusive controls
4. WT travel envelope editor
5. WT travel sequencer / pattern editor
6. WT travel strength editor
7. WT travel editor controls
8. WT/RS controls + RS export to WT + view selector: controller bar / wavetable view
9. Wavetable view + WT/RS controls
44
The main functionality for wavetables, traveling through the WT, is controlled by the following three
dials and drop down menues, which can be found on the right side of the central panel.
When a wavetable is loaded, all the waveforms are displayed one after the
other in the wavetable view and can be scrolled through with the index dial
This is visualized by the highlighted part in the wavetable view and can be
followed in the waveform display as well. The index dial has two sub modes:
- Index smooth allows smooth movement between 2 wavetables by
blending from one to the other.
- Index steppy mode provides a hard cut between 2 wavetables,
without any smoothing or blending.
This dial allows you to increase (RS only) or decrease (RS + WT) the number of
waveforms used by the index dial.
The minimum is 2, maximum 256.
As already explained in the freeform area, this dial smoothes the start and
end of the waveform to avoid clicks, providing three modes.
Adapt will center start and ending of the waveform.

Zero will blend into zerocrossing.
Symmetry blends the left and the right half into each other.
Since the most important difference of RTs/WTs to shapes and freeforms are the multiple
waveforms, Avengers RS/WT module comes with its own modulation source, which lets cycle you
comfortably through the tables. There are up to three editors, which can give you quite complex
results in no time.
45
Envelope editor
The envelope editor is used to build the basic envelope. Add envelope points by doubleclicking in the
editor, drag and drop existing points wherever you would like them, or use the rightclick context
menu, to delete points. Further the context menu lets you flip the envelope, reverse or reset it.
Curves between two points can be altered by dragging them up or down and reseted by ctrl+click.
Sequencer / pattern editor

The pattern editor could be called “wobble“ editor as well - it allows you to to play the RS/WT
envelope in a sequence of different speeds and in a number of variations with the following options:
Step mode Abbr. Description

Plays the complete envelope, multiplying the envelope speed by the
Normal x chosen number of iterations for this step. (This is the standard behaviour
for PP, R, U as well.)
Splits the envelope into the chosen number of iterations for this step,
Trigger t
repeating the first part for the chosen number of iterations.
Ping Pong half PP Cuts the envelope into half and uses the first half forwards-backwards
Reverse R Reverses the whole envelope
Flip U Flips the envelope upside down
Silence S The RS/WT won’t be played
High H Uses the last waveform in the RS/WT
Mid M Uses the middle waveform in the RS/WT
Low L Uses the first waveform in the RS/WT
The step mode can be set by rightclicking in the steps. A leftclick plus holding and moving the mouse
up/down will set the number of iterations and the step length. Maximum step length can be 2 steps
(1e), minimum 1 step. Minimum number of iterations is 0.5, growing in steps of 1 from 1 to max. 16.
Strength editor: this is an extension of the pattern editor, which allows you to set the strength of the
index modulation per step. This is achieved with a simple envelope with start and end points. A
further point can be added in the middle of the curve by a double click. You can also bend the
envelopes up or down.
Please note: There is no undo for the envelope editor!
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Below the RS/WT envelope editor, there are some additional settings:
On/off: Turn the wavetable envelope completely on or off.
- „voice“ – polyphonic: The envelope is used per voice (only the last
voice is visualized)
- „first“ – monophonic: The first pressed note in the keyzone triggers
the envelope once for all notes, no retrigger by further notes until all
notes are released
- „last“ – monophonic: Every pressed note in the keyzone will retrigger
the envelope for all voices.
- „global first“ – monophonic. The first key pressed will start the
envelope, no matter if in the keyzone or not.
- Loop: This is the default mode. The envelope (and pattern and
strength settings) is continuously looped.
- Ping pong: The envelope is also looped, but this time forwards /
backwards.
- Oneshot: the envelope is played only once and not looped. The last
point in the enveloped will be hold.
Blends in a visual help line exactly in the middle of the envelope. This is
helpful when working with bi-polar values where the index is in the middle
and movements are possible to both the left and right
Blends in and activates the two additional editors:
- ENV: Only the envelope will be used
- ENV + SQ: Envelope + pattern editor (sequencer) will be used
- ENV + SQ + MOD: The strength editor will be used as well
Further settings can be done by using the knobs, dropdowns and buttons below the envelope editor.
47
The strength dial sets the amount of modulation of the index position by the
wavetable envelope.
The strength velocity slider defines how much the strength dial reacts to
velocity. Click and hold the small piano above the slider to bend the velocity
curve in a positive or negative direction.
When the strength editor is used, the set strength is adjusted percentagewise.
Smooth rounds the the wavetable envelope by adding inertia to it and slowing
down the time of reaction.
Phase sets the start phase of the wavetable envelope. This has a huge effect
on the rhythm, when the pattern editor is in use.
As the name suggests, this will flip the envelope
The speed dial sets the speed at which the wavetable is travelled through by
the envelope. Next to the speed dial you can set whether or not this is
syncronized to bpm or not. This is set to ¼ notes in its standard setting. This
means the envelope pulses in a 1/4th note grid. Triplets (t) and dotted (d) or
free are also possible. The choosen setting will be represented in the envelope
editor as well.
„Pattern mode“ offers 3 modes: loop, pingpong and oneshot.
„Steps“ sets the number of blocks in the pattern editor from 1 to 16. This
option will be only available, when the SQ editor is used.
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To cover the multiple wavetable functionalities in Avenger, the controller bar is used addionally to
the central panel.
The currently loaded wav file or wavetable is displayed in the wavetable view. One light green block
equates to one „table“. By turning the index dial you can see how the waveform is traversed
(highlighted table), the red dot shows the current wavetable position, when using the envelope.
Use the mouse wheel to zoom in and out. As well as this you can move the start and end markers to
limit the played area (resampler only).
You also have the possibility to fade in the start or end of the wave. Please be aware: The more you
blend, the more clicks will be produced. Blending all the way, as in above picture will result in heavy
clicks.
In the top right area above the waveform display, there are also several new elements.
Normalize: This function normalizes the volume of every single table

separately. In the signalchain “normalize” is prior to “fade”, so the
normalization will be reduced back to the fade settings.
Reverse: Turns the complete wavetable/waveform around.
Vocoder:
An alternative sound variation. This
sometimes works better with certain
waveforms and also prevents clicks.
It forces the waveform to be

symmetrical, going from down- to
upwards..
As you can see in the examples, the

changes to the waveform can be quite
dramatic, which will result in a
significant changed sound as well.
This switch let’s you choose between the controller bar and the wavetable
display.
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Resampler mode:
These drop down menus are resampler exclusive and won’t appear in WT mode. They are
used to design the wavetable (pitch and waveforms).
A wavetable in Avenger can consist of 2 to 256 waveforms, each having between 128 and 4096
samples per waveform. When loading a wavefile, Avenger needs some information how to handle
the wave, which can be set using thess two options and the start/end point in the wavetable view.
Increments: This first drop down allows you to set a distance between individual waveforms
(highlighted in the wavetable view). “Increment” (1) means waveforms will directly follow the
previous one. An increment of “Incr.x2“ (2) skips the waveform between 2 shapes, “Incr.x3” (4) skips
two waveforms and “Incr.x4” (4) three.
There is also a special mode ”sub. divide“ (5), which is kind of a free mode for distances between
tables and allows overlapping tables as well. This will simply create the chosen number of waves in
the the range between start- and endpoint. Depending on your root setting and the distance
between start- and endpoint this will cause overlapping or a free distance between the waveforms.
The starting point can be moved for all modes (drag & drop), the end point only in “sub div.” mode.
Root: The length of one waveform, which determines the tuning of the wavetable, can be set here.
This is done by defining the number of samples per waveform, which defines the frequency, which
defines the tune. The length is shown in the wavetable view as well in the highlighted index position.
Input options are note values, fixed number of samples or manual set number of samples. The note
values will be translated to the number of samples per waveform as well, they are here to make life
easy for you. So if its known that the wav file, you have loaded, is in „c“, you should choose „c“ here.,
o the wave length fits a c note perfectly. If the root note of the wavefile is missing, just use a multiple
of the sample number below for tuning.
Note Samples Note Samples Note Samples Note Samples

C0 337 C1 674 C2 1350 C3 2696
C#0 318 C#1 636 C#2 1272 C#3 2545
D0 300 D1 600 D2 1201 D3 2402
D#0 283 D#1 566 D#2 1133 D#3 2267
E0 268 E1 535 E2 1070 E3 2140
F0 253 F1 505 F2 1010 F3 2020
F#0 238 F#1 476 F#2 953 F#3 1907
G0 225 G1 450 G2 900 G3 1800
G#0 212 G#1 424 G#2 849 G#3 1698
A0 200 A1 400 A2 801 A3 1603
A#0 189 A#1 378 A#2 756 A#3 1513
B0 179 B1 357 B2 714 B3 1428
The Export-Button will be shown above the wavetable view in WT and RS mode, but be
active in RS mode only. It will create a wavetable using the chosen settings.
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Vengeance Producer Suite – Avenger OSC type: sample based
Samples
Samples
The second superordinate OSC type is the sample. Based on samples are the (multi-)sample player
with its sample stacker and the granular engine.
Samples and multisamples

Choose a sample in the OSC browser and the display content changes slightly.The right side of the
OSC panel will have other options, when compared to a shape based OSC type. All of them can be
found in the editor in the central display as well. Dials and the drop down are linked to each other.
Depending on your choice of sample the central display will provide more (single sample, see below)
or less options. While the single sample can be edited to some point, multisamples need to be
prepared in advance in terms of loop settings. The parameters for single samples are quite
selfexplaning (loop on/off, loop mode forward/crossfade, loop start/end, root key) and won’t be
explained further.
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Samples
The shift dial is useful for multisamples. It will shift the samples up- or
downwards while keeping the pitch. This will alter your sound, producing
typical pitch effects. Depending on the number of used samples, the dial will
have different numbers of steps.
Example: 5 samples (S1-S5, root C4-E4), showing the used samples:
Shift: … C4 C#4 D4 D#4 E4 …
-3 S1 … … … S1 S2 S2
-2 S1 … … S1 S2 S3 S3
-1 S1 … S1 S2 S3 S4 S4
0 S1 S1 S2 S3 S4 S5 S5
+1 S2 S2 S3 S4 S5 … S5
+2 S3 S3 S4 S5 … … S5
+3 S4 S4 S5 … … … S5
Keytrack has a range of -100% to 0% to +100%.
- +100% is the default setting, playing all notes as expected.
- 0% will play the same pitch at all times, regardless of the played note.
- -100% will turn the notes upside down – a low note will produce a
high sound and vica versa.
The keytrack dial is linked to the “KTRK”-option in the waveform display.
Using this parameter will pitch every sample from its root note to a C2. When
using a multisample, this will be done for each sample in the defined range.
Sample start: Sets an offset to the sample start, which is visualized by a green
line in the displays. The sample starts, when a key is pressed from the green
line and skips anything before this line. By doing so you can for instance
ignore the attack phase of a piano and create a pad sound.
When setting the sample start by drag+drop the green line in the central
display, your position is shown in milliseconds instead of percentage.
Random start: Turn this dial and a grey area appears over the waveform.
Inside this area a random start position will be chosen, when you press a key.
This is very useful when using the V-Saw so that all 7 voices have a different
phase length. With arpeggios you can use the same function to avoid any
„machine gun effect“.
Delay: here you can set a delay of up to 200ms for the samples. After pressing
a key, the sample will start after the delay time set here. This is useful for
instance with a group of bells that you would like to play with slightly different
starting times.
Rate/bit reducer: This effect is similar to the rate/bit reducer in the shape
based OSCs. Its sound however is more like the sound of an external rate
reducer/bitcrusher effect.
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Samples
The low pass and high pass filters are resource friendly 6db/oct filters. They
are linked to the filter bar in the waveform display of the OSC panel.
Sample stacker
Avenger offers you a very comfortable way to stack samples on top of each other (layering): the
sample stacker.
You reach the sample stacker mode, when you first load a sample and then press the „+“ symbol in
the bottom right corner of the waveform display. The library opens once again and lets you choose
another sample. As soon as you load a second sample, the waveform gets smaller and the sample
stacker shows two samples. The original sample and the new one. You can layer up to 4 samples per
oscillator. The new set of controls, which becomes visible, when you have 2 or more samples layered,
has the following options in the waveform display:
 Arrow down: Blend out the sample stacker menu.

 Plus: Add another layer.
 Numbering/delete: a simple numbering (1-4). When you hover over a layer number, it
allows you to remove this layer by clicking the red “X”.
 Solo: solos this layer
 Name: shows the loaded sample in this layer. A click on the name selects the layer and
provides additional options in the central panel for this specific layer. Further now you can
change the sample via drag+drop from the file browser. Please note: drog+drop will always
replace the selected sample – no matter where you drop it.
 The arrows allow you to step through the library samples without having to open the
browser.
 Volume: a simple volume control for this layer It is linked to the control in the central panel.
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Samples
Further settings need to be done in the editor of the central panel. The editor will have two tabs
now, named “Global” and “SLOT x: Name of the sample”. The global tab is exactly the same as
described before and contains two types of global settings:
Imidiate impact on all stacks:

Those settings will be applied to all stacks.
Shift, rate-/bitcrusher, low pass filter, high pass filter

Optional impact:
Those settings can be switch on/off for each stack on the respectiveslot tab.
Keytrack on/off switch: Keytrack
Start on/off switch: Start offset
Rnd. Start on/off switch: Random offset
Delay on/off switch: delay
Further individual settings for each stack on the slot tab:
Shift Works like the global shift and may be used additionally to the global shift
Transpose Transpose the sample up to 3 octaves up or down
Fine Fine tune the sample +/- 100 cents
Volume Raise or lower the volume of the stack. Link to dial in the waveform display.
Pan Pan the slot to your linkings.
Remember, a sample stacker needs much less cpu compared to putting every multisample in its own
oscillator module. For this reason, always use the sample stacker if you can. To take the sample
stacker apart again you simply need to delete all but one of the layers or choose another
multisample or osc shape in the main browser.
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Granular
Granular samples
The granular engine could be seen as the counterpart to the wavetable module in the sample world.
Granular synthesis cuts a sample into small fragments, so called “grains” and combines those grains
back to a full sound (up to 200 grains per second). While doing so, grains may overlap,be played
forwards and backwards and be randomized in pitch, pan and position. Grains are smeared into each
other, which lets you hold even smallest samples as long as you’d like to.
Again a dedicated granular envelope lets you travel through the sample or jump to specific points.
When opening a granular presets or an empty granular module, Avenger will look similar to this:
The OSC panel will provide you with three new controls, density, grain size and random position,
which are all linked to the respective controls in the editor in the central panel. The editor will have
granular specific controls, which will be explained in detail.
The waveform display below the editor is used mainly for visualizing the granular synthesis with
some additional functionalities.
55
Granular
The main functionality of granular synthesis is traveling through the sample and hold the position by
playing the grains. This is controlled by the following dials and drop down menues, which can be
found in the central panel.
Position defines the starting point of your sound in the sample. When using
an envelope, this will move the starting point from the beginning (0% to the
end (100%) and adjust all values in between.
When working without envelope this dial defines the position, which will be
played.
Density defines the number of played grains per second and may be set from
10 grains per second to 200. While 200 grains per second will result in quite a
rich soundscape, this will as well use a lot more CPU than going for 10 grains
per second. A density of less than 30 grains per second will – depending on
the grain size - result in a rhythmic effect. When choosing a higher number or
a bigger grain size, the grains will overlap and produce a higher amplitude
(loudness) and complex sound textures, containing more formants and
overtones.
Grain size can be set to anything between 25ms and 1000ms and defines the
length of the individual grains. This is visualized in the waveform view below
the editor.
Combined with the density control this will have the biggest influence on the
sound and the use of CPU as well.
Grain envelope the defines how grains are blended in and out, which will
have a big influence on cllicks and overtones. Options are:
- Triangle: 50% blend in, 50% blend out. Smoothest setting, no clicks.
- Trapezoid: near to a square with a short fade in/fade out.
- Ramp up: Fade in, no fade out. May produce clicks.
- Ramp up rounded: Rounded version, less clicks
- Ramp down: No fade in, but fade out. May produce clicks
- Ramp down rounded: Rounded version, less clicks
Root note needs to be set like in every sampler, when using a sample for
melodic purpose.
Rnd Pos (Random Position) sets a random starting point in the sample. 0%
will be excatly the chosen position. The random chosen grain position will
increase in relation to the position dial. This means at 100% the grains will be
chosen from anywhere in the sample. Small values lower 10% might introduce
a small flanging effect.
Rnd Pitch (Random Pitch) works similiar to random position, but will alter the
pitch. While using smaller values results in a rich and full sound, high values
might be less harmonic and sound chaotic.
56
Granular
Spread pan will spread the grains in the stereo field. Turn this dial left to use a
random position in the stereo field for each grain, turn it right to make the
grains alternating from left to right.
The dial can be set from 100% left (random) to 0% (none) to 100% right
(alternating) and defines the depth of the stereo effect.
Spread pitch pitches the left and the right channel in opposite directions.
A left turn means left up to 1 octave down, right up 1 octave up, a right turn
the opposite.
RND, the random grain directions decides the direction of playback of the
grains. While 100% means all grains are played forward, 50% will have halfe
the grains played backwards, half of them forwards and 0% will play all grains
backwards.
To set the granular envelope the central display is used, which works like all other envelopes. A
double click will add an envelope point, envelope curves are done by dragging the line between two
points up- or downwards, a rightclick lets you delete points and flip, reverse or reset the envelope.
The mousewheel zooms in and out the envelope. Further the loop and release points can be moves
via drag and drop. For a detailed description please read the for the pitch module and the
modulation envelope, since they work the same.
Speed sets the playback speed of the granular envelope. The drop down lets
you choose between “smooth” and “steps”. Smooths provides you with
seamless speed options, while steps will give you only specific options.
This dial is linked to the speed parameter below the envelope editor.
Flip will flip the envelope upside down. This can be followed in the waveform
display.
57
Granular
Strength and strength velocity works as all other strengtg velocity options in
Avenger. Again the result can be seen in the waveform display only, not in the
envelope editor.
The last part of the granular module is the waveform view.
It visualizes your sound by showing green dots – which represent the played grains.
When turning up the random position, they will spread to the left and the right, turning up the
random pitch lets them wander from the middle to the top and the bottom.
Bottom left you can set the grid with a right click, clicking inside the view will move the position in
the wave and scrolling will zoom in and out the waveform.
Finally there are three buttons:
The loop button makes the sample to an neverending loop, which will switch
the position seamless from 100% to 0% and vica versa. When switched off,
grains from start and end of the sample won’t be blended into each other.
Cloud was made for lengthy samples. When a sample is played in the higher
octaves, it will be played faster due to the pitching and therefore get shorter.
When activating "Cloud", the grain will preserve its length. Sometimes the
grains might be too long for the shortened sample, which leads to a smeary
sound. This is good for slow pads, but not suitable for drums or loops.
Therefore the initial setting is off and grains will be shortened to fit the
sample length of the note pitch.
Transient add a dry version of the original sample to the attack phase to
emphasize the transients. This option shouldn’t be used for pads to soften the
sound.
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Vengeance Producer Suite – Avenger OSC type: drums
Drums
You can also find the tab for the drums / drum kits amongst the osc tabs. This osc module differs
quite largely from the normal oscs. V-Saw and voicing are not present and these make place for a
vertical keyboard octave. The keys of this keyboard can be filled with drum samples. All together this
then makes a complete drum kit which you can play and use over and over again. Heres a short
overview of all the elements:
Drums main page:
 Vertical keyboard/sample fields: every key has a sample loaded on it. For better orientation
the names are set (c=bassdrum, d#=clap). This aligns with the general MIDI standard. You can
naturally load different samples.
 Waveform view: a miniature waveform view shows the form of the sample. A running line
show you the current position during playback. Hover over the waveform with the mouse
and an „edit“ text appears which you can click on to enter the sample editor for the sample.
 Mute/solo: here you can mute or solo the individual drums.
 Vol: this sets the volume of that particular drum slot. Another way of raising or lowering the
volume is by using the „gain“ dial. This is in the sample editor and will be explained further
on in this hand book.
 Pan: this positions the sample in the stereo field.
 Pitch: this sets the pitch of the specific sample. This dial is set to step in semitones. A pitch
control that can be set freely can be found in the sample editor.
 Save drumkit: with a right click on the drum main page gets you to the menu. Here you can
play the current drumkit or initialize.
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Drum sample editor:
By clicking on „edit“ in the miniature waveform view of a specific sample you reach the drum sample
editor. Here you can do various things that only affect that sample.
 Sample start and end flags: these two flags are to be found in the wavefom and represent
the start and end of the sample.
 Monophone/polyphone: if very fast successive overlapping notes are used (for instance a
snare drum roll) then this control sets if the notes can overlap (polyphone) or are cut off
(monophone).
 Gain: if the normal volume dial isn’t enough you can use the gain dial to set the volume. This
is helpful if you are using very loud or very quiet samples.
 Envelope: above the waveform graphic you can also find the envelope. Its possible to add
new points to the curve or by using a right click to delete them. The menu that appears per
right click contains many other functions such as mirroring or rotating of the envelope.
 Volume: this dial is the same as the volume dial you already know from the drum main page.
 Pitch: this dial is the same as the pitch dial on the drum main page with the difference that it
isn’t fixed to turn in semitone steps. It has a finer resolution.
 Pan: this dial is the same as the one on the drum main page.
 Spike: this gives the sample an additional accent on the attack time (the first milliseconds of
the sample).
 Delay: ths control has two functions. You can use it to delay the sample (right of center) or
push the sample forwards in the drum sequencer (left of center). If you delay the sample, it
will be played later and the waveform moves back. Pull the sample forwards and a green bar
appears. This bar represents the anchor point in the drum sequencer. The sample is lined up
with this point. This makes it possible to exactly position handclaps, snares or short FX
swooshes.
 Lp/Hp: a simple 6db/oct filter. Well suited to thin out hihats or dampen a kick.
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Drums routing:
In principle functionally the same as with the normal oscillators (see

„the oscillators area“ -> „routing“). The drum routing is however not
quite so involved. You do have the possibility to add send effects, FX
busses or shaper modules. The routing is per drum sample, it thus
affects only the drum sample that is currently chosen on the left. The
first entry is however an exception. The „drum sq“ is global and turns
the internal drum sequencer for the entire drum section on and off.
Drums routing (multi selection):
You can have a multi selection with the drums

by pressing the shift key. Every change that
you then do in the routing will affect all the
selected drums. With a pressed ctrl/strg key
you can also add or take drums out of the
selection. This way you can select everything
in one go then deselect for instance the
bassdrum and so add a reverb insert FX to
everything except the bassdrum.
Drumkit / sequences browser:
Under the routing area you can find the browser for drumkits and
drumsequences (tab: „drums“ and tab „seq“). In the „drums“ tab you
can load the drumkits from the factory bank or your own kits. In the
„seq“ tab you can load the drumsequences from the factory bank /
expansions as well as your own. Between both these tabs you can see
„lock symbol“. If this is activated whenever you load a drumkit the
related drum sequence is also loaded (and visa versa).
Warning: if you want to link your own drumkits and sequences they
only have to have the exact same file name. There are folders for
drumkits and drum sequences in your Avenger folder.
Check this in-depth video about the drums section here: http://bit.ly/VPSAvengerDrums
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Vengeance Producer Suite – Avenger Features in detail – Central panel
Editor
The central display

The tab based central display is used in many ways and will provide different functions for the OSC
types, modulation sources.
Editor tab
The „editor“ tab has various functions depending on which form of synthesis has been chosen in the
currently active OSC: Those functionalities are described in the chapter “OSC Types” and won’t be
repeated here.
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Arpeggiator
The Arpeggiator
Avengers arpeggiator lets you create complex sequences and rhythms. Each of the up to 8 arp
modules consist of up to 4 patterns (a, b, c and d) each with a maximum length of 32 blocks. You can
set a block (note) simply by clicking in the arp area. This can then be transposed up or down by
clicking on the „0“ at the bottom with the left mouse button and moving up or down. The length of
the blocks can also be changed by clicking it and moving the mouse left or right while holding down
the mouse button. Green blocks are always positioned on an octave, transposed notes in between,
for instance +6 or +7 are displayed in yellow. Every block also has a velocity value. This is the grey bar
in the background behind the blocks. You can click on the background and with a pressed mouse
button move the velocity bar up or down.
The controls in detail:
 +1/-1 shift: here you can simultaneously move all arp notes together a semitone up or down.
 Pattern play: if the play button is active (green) Avenger will play all the active patterns in
succession (a b c d). If the play button is deactivated (grey) then only the currently chosen
pattern will be played and then looped.
 Pattern selector: switches between the 4 possible patterns (a b c d).
 Pattern options: to the right of the pattern selector you can see another button which offers
you further options such as copy/paste for a preset etc.
 On/off button: at the bottom on the left you can see the on/off button for this arp module.
 Mode: every arp module can also have a special mode which sets how incoming polyphone
notes are separated in the arp. For instance with the mode „up“ the notes are separated
from top to bottom. The special mode „poly“ doesn’t separate the notes at all but rather
sends them in their original polyphone state. This allows for chords.
„Chords“ mode will be explained in detail below.
 Pattern speed: here you can set the length of an arp block. This also sets the speed for this
arp module.
 Octaves: with the octave choice you can set over how many octaves the arp notes are
spread.
 
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Arpeggiator
 Fixed Note: With chord detection, only an "A" is inserted in the arp, if you play an A major, A
minor or any other A chord. The advantage is that you can play a normal PAD with your left
hand, and the arp will play the correct bass line. It would be difficult if there were +3, +8 + 4
etc transposings in the arp pattern. You grab an A major and the arp has +3 in it - that
wouldn't fit. That's what the "+" mode is for. This scales the arp in real time and changes the
+3 to +4 if you play e.g. major. Check the corresponding video tutorial:
http://bit.ly/VPSAvengerArpChordDetection
 Strum: when chords or poly mode is active, you can adjust here how strong the chord
strumming should be. Click on “Strum” to edit each step individually.
 Humanize: this will randomly shift the starting position of each step.
 Shuffle: this is the global shuffle in Avenger. Shuffle gives the melodie „groove“ or „swing“.
This control is global which means other shuffles, for instance in the drum or step seq are
linked to this.
 Gate: the gate dial lets you shorten the arp blocks. This always affects all the arp blocks in
the arp module. Important: if a portamento / legato is set then only the notes which are
touching in the arp will „slide“. This means the gate dial should be set to maximum,
otherwise this will never happen.
 Pattern length: here you can set how many blocks this arp module has. Put differently, the
length of the arpeggio. The range is from 2 to 32 blocks.
 Velocity: here you set how the arp module deals with incoming velocity values.
o First note: the note pressed first sets the velocity. It stays then set no matter what
velocity any following notes may have.
o Last note: every newly pressed note sets the velocity. All the previously played notes
then get this new velocity value.
o Each note: every played note has its own velocity value which it then keeps.
o Lowest note: the lowest note currently active sets the velocity value.
 Star note / end note: here you can set the range / zone in which the arp is active. This is
especially important with complex sequence presets when you only want for instance that a
bassline arp will play in the left hand part of the keyboard. The commonly used split in
Avengers sequence presets is „b1“. This note separates the bottom half of the keyboard from
the top.
The arpeggiator section was completely rewritten since v1.4 – get an overview here:
http://bit.ly/VPSAvengerArpeggiator
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Arpeggiator
Chords mode
When choosing “Chords” in Mode panel, the ARP panel view is changing. Each step are now chords,
not single notes. Select the root chord – like major, minor etc – directly under each step. Under the
chord selection you can transpose the chord by semitones.
If you move a chord step horizontally (up or down), you change the interval of the chord.
Place the cursor over a step and wait 2 seconds, a popup will appear where you’re able to delete
single notes from that chord, or adding a sub note, which can be separately transposed.
Check the corresponding tutorial on Youtube here: https://bit.ly/VPSAvengerChordsMode
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Drum sequencer
The drum sequencer
Avenger offers you a very deep and unique drum sequencer. In principle it’s a polyphone sequencer
which has been specially designed for drums. There is no pitch but rather the 12 samples of the drum
kit are displayed. Key c is the bass drum, key d the snare etc. Notes can be placed with a simple left
click and removed with a right click. A pressed shift key allows you to draw a bounding box and so to
select multiple notes, for instance to move or edit a group.
The elements in detail:
Per note area:
 Velocity: here you can set the velocity (volume) of the currently selected notes.
 Pan: the currently selected notes can be positioned in the stereo field with this control.
 Pitch: this dial sets the pitch of the currently selected note.
 Gate: the length of every selected note can edited. Very short values will only play for
instance the „start click“ of a bass drum.
 Roll / Reverse: here you can set if a currently selected note gets a roll or not. For instance 2x
rapidly plays the note 2x successively. Set to 8x and the note will be played 8 times. The
value 3x is a triplet. Since v1.35 it’s possible to play a sample backwards (reverse). The
second option, „Reverse, end sync“ will sync the reversed sample to the end of the step.
 Clear: Clears the actual drum pattern. Located in the top left corner.
Pro tipp:
Holding CTRL key while dragging a note in drum sequencer will turn off snap-to-grid so you can fine
adjust the position of that note.
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Drum sequencer
Global area:
 Velocity amount: here you set whether or not the entire drum sequence reacts to velocity.
Set velocity values in the drum sequencer remain untouched, this only refers to played
velocity on a keyboard. Set the velocity for instance to „0“ and the incoming velocity will be
totally ignored.
 Length: you can set here the length of the drum sequencer. This is in beats, maximum length
is 16.
 Shuffle: this dial is exactly the same as in the arp section.
 Speed: this sets the speed at which the drum sequencer is played. Triplets are also possible.
A beat is then automatically spilt up and no longer consists of 4 but rather 3 parts.
 Pen / frame selector: you can choose between 2 different control modes. If „pen“ mode is
active you can the set and delete notes. If „frame“ mode is active you can do multi
selections. Tip: if you are in frame mode you can open a special menu with a right click with
numerous functions, for instance mirror, invert, copy or repeat a selection. A further special
feature in this mode is when you can select note blocks with the frame mode and then move
this block up, down, left or right by using the cursor keys on your keyboard. You can also use
shift and cursor up/down to change the velocity of all selected notes.
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Step sequencer
The step sequencer
Once known as „trancegate“, this sequencer is now called „step sequencer“ as now far more is
modulatable then just the volume. You can generate blocks (steps) which always have a syncronized
length simply with a left click. With a held left mouse click you can set the height (depth of
modulation) of each of these steps. Individual steps can be linked and unlinked by use of the arrow
symbols. With a right click you can delete individual steps.
The functions in detail:
 Speed: Here you can set what length a step has. This also then affects the speed at which this
step sequencer module plays.
 Mode: Mono or stereo can be chosen. In stereo mode the step sequencer is split in the
middle. The top half is now the left side, the bottom half the right side.
 Length: Here you set the length of the step sequencer. Possible are 2 to 32 steps.
 Contour: Normally the steps have got a very angular and hard form. With the contour dial
you can change these to a softer form to prevent any possible clicking.
 Gate: Gate time sets the length of the individual steps.
 Vol mix: The step sequencer is set up initially like a classic trance gate (routed to volume).
The depth of the volume modulation can be set with the „vol mix“ dial. To turn the pre set
volume modulation off simply turn this dial to 0.
 Stereo width: If you are in stereo mode (see „mode“) you can set how wide or narrow the
stereo separation is.
 Decay: In addition to the gate time the steps can also have a decay time.
 Fadein: Sets long the modulation in the step sequencer fades in.
 Delay: Sets how much times passes before the step sequencer starts.
 Start/end note: As in the arpeggiator module. You can set a key zone in which the step
sequencer is active.
 Shuffle: This dial is the same as the one in the arpeggiator section.
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Pitch module
The pitch module
Here you can do many settings which affect the pitch. The centrally placed pitch envelope is a bi-
polar envelope, the middle position is neutral, positive and negative values are above and below.
This is thus perfect for use as a source for pitch modualtions. It is whats known as a „multipoint
envelope“ on which you can add as many points as you wish with a double click. A right click then
„delete“ lets you delete a point. Click on the line between two points and you can set the curve. A
right click in a free field opens a menu which offers further options such as turn upside down, rotate,
and reset.
The controls in detail:
 Enable on/off: Turns the pitch envelope on or off.

 Mode: There are 4 different modes on offer:
o Oneshot: Oneshot is the standard setting. In this mode the pitch envelope once per
played note from beginning to the end. It isn’t looped.
o Sustain: In this mode an envelope is also started for every note. It however keeps the
position of the release flag when a a key is pressed and stays there till the key is
released. The envelope then runs through to the end. When released in the attack
stage, it will jump right to the release point.
o Sustain release jump: Works basically like the sustain mode, but when releasing the
note in the attack stage, it will search for the corresponding point in the release
stage and jump there This comes handy to avoid “jumps” in the sound, when
releasing the note.
o Loop: In this mode 2 moveable flags appear. The envelope then loops continously
between these two markers.
o Loop + release: This mode is the same as the normal mode apart from one thing:
after releasing a key the position jumps to the release flag and runs then to the end
of the envelope.
o Loop pingpong: This mode is the same as the normal mode except for the play
direction. Here the play direction goes backwards and forwards between start and
end.
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Pitch module
o Loop pingpong+release: This mode is the same as the normal loop pingpong mode
apart from one difference: after releasing a key the position jumps to the release flag
then runs through to the end.
 Speed: This sets the play speed of the pitch of the pitch envelope, (max = 10x quicker, min =
10x slower).
 Range: Here you can set the pitch range of the envelope. 24 semitones, both up and down
are possible. 48 semitones in total.
 Steps: Normally the envelope works very smoothly. You can use this control however to
make it more stepped to create for example arcade game sounds or FX.
 Flip: Flips the envelope on its head. Tip: this dial is obviously modulatable from other
sources.
 Keytrack: This dial has nothing directly to do with the envelope but rather sets an area which
can actually be pitched. A setting of 0 means that an oscillator that is routed to this pitch
module can no longer be pitched. Negative -100 would mean that everything is turned on its
head, higher notes would be ever lower. Standard setting is +100.
 Pitchbend up/down: Here you can set the range of the pitch bend control. 2 semitones are
set as standard you can however set it for instance at an octave (+12).
 Pitchbend lag: Here you can give the pitch bend a certain amount of lag. This can smooth 90°
host automation or or pitch bend automation that isnt as smooth as it could be.
 Portamento mode: This sets whether or not an oscillator routed to this pitch module gets a
portamento / glide. If this is not wanted you should switch this to „off“.
o Legato: This makes the sound monophone. When notes overlap (old and new notes)
the sound will glide smoothly to the new note (at the speed set by „time“).
o Poly: The sound will glide this time polyphone. This has the disadvantage that every
note (apart from doubly played notes) glides, for instance in a chord.
o Poly legato: This is a mixture of both modes. A simultaneously pressed chord will not
glide, every additional note played after however will be.
o Split zone: Some modes (poly und poly legato) have the possibility to define a note
from which the portamento is active. All notes below this note will not be glided and
also no effect on higher glided notes. This allows you for for instance to play bass
notes and a lead voice. Only the lead voice glides, the bass doesn’t.
 Time: Here you set the length of the portament / glide.
 Curve: This control allows you to make the glide function, which is normally linear, become
logarithmically bent upwards. This sounds slightly different, similar to a siren.
Too much text? Check the video tutorial: http://bit.ly/VPSAvengerModPitchEnvelopes
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Modulation envelope
The modulation envelopes
Avenger gives you up to 8 modulation envelopes, so called multipoint envelopes. The modulation
envelopes are a very flexible modulation source. They can loop areas and work then similar to an
editable LFO or, per one shot mode, fade out like an envelope. With double clicks you can add as
many points as you wish. Apart from this you have in „sync“ mode an time based envelope similar to
the step sequencer.
Many of these elements have already been explained in the pitch envelope section. For this reason,
we will now explain only the new elements:
 Enable on/off: turns mod envelope on and off.

 Mode: see pitch envelope section.
 Scale: see pitch envelope section.
 Sync: see pitch envelope section.
 Trigger modes:
o First MIDI note: the note that arrives first starts the mod envelope. All additional
notes get added together at the current position in the mod envelope. This mode is
monophone (global) as only one envelope is active at any time.
o Last MIDI note: every new mote starts the mod envelope. Example: if a key is
pressed the mod envelope starts. Keep this key pressed and play other keys the mod
envelope re-starts. This mode is monophone (global) as only one envelope is active
at any time and is simply re-triggered by new notes.
o Arpeggiators: played or sent MIDI notes play no part in this mode. Only internally
played notes (the arpeggiator) trigger the envelope. This mode is also monophone
(global) as only one envelope is active at any one time and is simply re-triggered by
new notes.
o Drum sq: this mode acts the same as the „arpeggiators“ mode, with the difference
that here Avengers internal drum sequencer triggers the mod envelope.
o Osc \ all oscs: in this mode the mod envelope is polyphone (per voice). This means
that every incoming note gets its own copy of the mod envelope which all run
completely separately from one another. An example: the mod envelope controls
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Modulation envelope
pitch changes in an oscillator. Every pressed key gows though the same pitch
changes. Even notes played shortly after one another don’t affect each other. The
note that was played first isn’t re-triggered but rather runs independently from any
subsequently played notes.
o Osc \ osc1-8: oscillators can also re-start the mod envelopes. This module is however
monophone (global). An example: whenever osc 2 sounds the mod envelope is
triggered which is then, per mod matrix, could be routed to osc 1.
o Drums: in the sub menu you can select one of the 12 drum slots as a trigger. For
instance, the bass drum. This means that the mod envelope is started whenever the
bass drum sounds. A well known use for this is a fade in on osc 1 (the so called side
chain effect) or also other destinations such as filter, pitch, reverb send amount etc.
 Offset: the mod envelope is not bipolar in its standard setting. With the offset dial you can
however insert a 0 central line. This way the offset dial becomes bipolar, it works in both
directions like the pitch envelope.
Too much text? Check the video tutorial: http://bit.ly/VPSAvengerModPitchEnvelopes
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Mixer
The mixer area
In Avengers mixer you can see an overview of all the included channels (osc, drums or amp groups).
You thus have a better overview for mixing your presets or drum tracks. Individual channels can be
soloed and muted. Panning can also be set. On the far right there are 3 tracks for osc (all osc groups),
drums (all drum tracks as group) as well as the master output (the output of the entire plugin).
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Key and velocity zones
Key and velocity zones
In the keyzone tab you can find all the functions to define key and velocity zones. You can set zones
in which oscs or drums play or zones in which velocities have an affect oscs or drums. You do all this
graphically! Each currently existing osc has its own row with a keyboard which displays the entire
pitch range (split into octaves, -3, 0 to +7). Above the keyboard image you have a moveable bar with
handles on each end for the start and end point of the keyzone. Smooth transitions are also possible.
For this you have to move the bar sitting above, this generates a fade in or out for the keyzone. The
light vertical line in the middle marks the keyboard split between the lower and upper parts of the
keyboard which is usually to be found in the factory presets sequences. To give a better overview the
names of the osc can be found be vertically on the left. As already explained you can use a double
click to rename an oscillator.
The editor on the right functions works in a very similar way. The number at the bottom left is the
start point of the velocity zone. In the top left you can set a fade in for this zone. The number at the
bottom right is the end point of the velocity zone. A fade out for this zone can be set at the top right.
Tip: when you press a key on your MIDI keyboard you can see in the keyzones the currently played
key and in the velocity zone the currently played velocity. This help with orientation.
Get a deeper insight into this topic on Youtube here: http://bit.ly/VPSAvengerKeyzones
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System page
System page
On the system page you set all the general settings for Avenger. The path to the factory library can
also be seen here and, if wanted, changed.
 Global tune: Avenger is set to the concert pitch (440hz). This can however be changed. You
can see this as a fine tuning for the entire plugin.
 Global transpose: here you can set the octave position for Avenger. -12, 0 (default) or +12
are possible.
 Master gain: this setting influences the volume level in which Avenger enters your DAW. -
3db is the standard setting. If you want it to be louder or more quiet, you can do that here.
Be careful not to go too loud to avoid clipping in the DAW.
 Preview drum sample in sequencer: here you can set if the drum sound plays when you
place a drum note. This is on in the standard setting.
 Preview drum sample in drumkit: here you can set whether or not the drum sample is
played when you click on a drum slot on the drum page. This is set to on in the standard
setting.
 Show tooltip: here you can turn the tooltips (help windows that appear when you hover over
an element) on and off. In standard mode this is set to on. Advanced users can turn this off.
 Ask before deleting a send FX: if this is turned on Avenger checks with you if you really want
to continue when you delete a send FX. Deleting a send FX has an effct on all the osc that are
using it. Even if you accidentaly delete something you can always use Avengers undo
function to correct your mistake.
 Enable sequencer on seq load: this turns the drum sequencer on when you load a drum
sequence through a preset so you can immediately hear the loaded sequence.
 MIDI note-off stops sample: this option sets whether or not a sample is played to the end or
stops when you release the key. This is set to on in the standard mode.
 All arp sync trigger: this is a very interesting function and affects the live playing with
sequences and arp presets.
o First note: if the first note is played then this silently starts all the arps and
sequencers in Avenger even if they are in other keyzones and not audible. This has
the advantage that a note played slightly afterwards in another keyzone is always in
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System page
sync with the note that was played first. Example: a sequencer preset with
bassline/drums on the left of the keyboard and a lead arp on the top part of the
keyboard. When you want to play bot at the same time it could be that for instance
the bass note for the bassline/drum is played somewhat late. Normally this would
mean that their arps start slightly later and so are out of sync with the arps being
played by the top part of the keyboard. This can be avoided by using the „first note“
setting as all arps start (silently) when the first note is pressed.
o Independent: arps in the various keyzones start independently from one another
when a key is their keyzone is pressed.
 Init preset: here you can set the path to your init preset (the preset that is loaded when you
start Avenger). You can design a preset for this and use this as your start preset.
 Content location: this sets the path to Avengers factory content.
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Vengeance Producer Suite – Avenger Features in detail –AMP panel
The amp section

Overview
This area is Avengers amplifier. To put it shortly, everything that has anything to do with volume or
panning happens here. Every osc must be connected to an amp (see the chapter: „the oscillator
area“ – „routing“). Avenger gives you the possibility to create 4 independant amp modules. Here the
elements in an amp module:
 Volume: dieser this dial sets the volume of the amp module.
 Volume velocity: with this vertical slider you can set the reaction of the volume to key
pressure (velocity). If the slider is fully open (at the top) the volume reacts to 100% to the the
velocity. That means if a note is played at full velocity (128) then the volume is 100% of the
set volume. If the velocity is only half as much (64) this means 50% of the volume that has
been set. At velocity 0 the volume is 0.
 Spike: the spike function adds a very short set amount of volume to the start of the note. It
thus accentuates the attack. A high spike value gives you very percussive sounds.
 Spike inner dial: with the inner dial you can set the shape of the envelope which affects the
attack. If the dial is completely to the left the env is bent downwards (closes quickly). To the
right and the env is bent upwards (closes slowly at the beginning then end faster).
 Spike velocity: the spike function can also react to key pressure (velocity). The harder the key
pressure (high velocity) the higher the spike value.
 Pan: with this you set the position of this amp in the stereo panorama field.
 Pan keytrack: the pan can also be linked to the keyboard. This way you can, as with a piano,
have the deeper notes to the left and the higher notes more to the right. The central setting
of this dial in the neutral position. Turn to the left or the right and it swaps the relevant
direction around.
 Spread: the spread dial allows you to set whether you want individual notes to alternate or
randomly move in the panorama field. The central position is neutral, here nothing happens.
Turn the dial to the left and this sets the amount of a random panorama placement of the
sound. Turn the dial to the right and this sets the amount of an alternating panorama spread
(alternating left and right).
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Vengeance Producer Suite – Avenger Features in detail –AMP panel
The amp section runs subsequently through an envelope. This has various phases (attack, hold,
decay, sustain und release):
 Attack: the first phase of the envelope is the attack. This sets how quickly a note reaches
its maximum value after it is played.
 Attack inner dial: the inner dial lets you set the form of the attack phase and also bend it
in both directions. The neutral position, in the center, is a linear form.
 Hold: the second phase of the envelope is the hold phase. After the attack has reached
the maximum level, the length of time this level is kept before moving onto the next
phase is set by the hold parameter.
 Decay: the third phase is the decay. You can set here how quickly the decay into the 4th
phase should be.
 Decay inner dial: the decay dial also has an inner dial with which you can set the form.
The central position is neutral (linear).
 Sustain: the fourth phase is the sustain. This phase is a special one. It doesn’t have a
fixed time but rather affects the level of the held volume. The sustain phase is active as
long as a note is being played.
 Release: the fifth phase is the release phase. This phase starts as soon as a note or key is
released. Then the phase moves from sustain to release and the sounds fades out.
Release always ends at 0.
 Release inner dial: this lets you set the form of the release phase. Negative bends sound
nicer and represent how most sounds reacts in nature. You should however keep an eye
on the number of voices / cpu, because notes that can barely be heard still use cpu.
 External source: with this selection box you can avoid the amps own internal envelope
and instead use for instance the mod envelope or the envelope from another amp
module. As soon as you have chosen another source, the internal amp envelope is no
longer working.
 Status led: this light gives you a visual feedback for your envelope. The greater the level
and or value in the envelope the brighter this lights up.
Check the corresponding video on Youtube: http://bit.ly/VPSAvengerAmpFilterSection
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Vengeance Producer Suite – Avenger Features in detail –Filter panel
The filter section

Overview
Filters are inherent in modern music production. Its the filter that gives a sound its form and
character. Avenger gives you the possibility to create and use 4 independent filter modules. In the
routing section you can also route the filters to be behind one another. There are many different
filter modules that are explained further on. First all the elements of a filter module in detail.
 Keytrack: the keytrack sets if and by how much the filter reacts to the pitch of an incoming
note. If the keytrack is set to 0% then the filter doesn’t react to the pitch at all and sounds
the same no matter which key is pressed. Set it to 100% and the cutoff of the filter will open
further and further as the pitch of the notes being played increases. The distances at 100%
relate directly to the note distances, that means you can for instance create a playable
„whistling“ tone by setting the filter resonance very high. This is, at 100% keytracking, tonally
playable.
 Filter type: see „filter types“ further down.
 Cutoff: the cutoff dial is the most important dial in the filter section and sets how open or
closed the filter is.
 Cutoff velocity: the intensity of the cutoff dial can also obviously be controlled by velocity.
Set the velocity slider high and the cutoff will be low when a key is played softly. Play with
more velocity and the cutoff will be higher.
 Resonance / Q: the resonance dial sets the level of amplification on the cutoff edge
frequency. High resonance values sound very shrill and this shrill whistling sound. It moves
when the cutoff is moved.
 Resonance velocity: the level of the resonance can also be controlled by velocity. This can be
set with this slider.
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Vengeance Producer Suite – Avenger Features in detail –Filter panel
 Drive / band / comb: this dial has numerous functions depending on the type of filter:
o Drive: this is the distortion directly in the filter.
o Band: on most of the bandpass or notch filters you can use this to set the distance of
the high and low bands. Very important for vocal-like filter sounds.
o Comb: a comb filter can be added to many of the filter types and creates many
interesting phase cancellations. If comb is selected, then the filter envelope also
reacts to the strength of the comb effect.
 Envelope amount: the intensity with which the filter envelope acts on the cutoff can be set
here. The central setting is neutral (no effect). Negative values are also possible.
 Envelope amount velocity: the intensity of the cutoff on the filter envelope can also be set
to be controlled by velocity with this slider.
The filter section then goes through an envelope. This has various phases (attack, hold, decay,
sustain und release). In principle all these phases are the same as in the amp section. The same can
be said about the „external source“ function and the led light.
Check the corresponding video on Youtube: http://bit.ly/VPSAvengerAmpFilterSection
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Vengeance Producer Suite – Avenger Features in detail –Shaper panel
The shaper section

Overview
The shaper module in Avenger is a very effective distortion unit which can be positioned before or
after the filter. Two parametric eqs are placed before the distortion that allow you to colour the
distortion. You can have up to 4 shaper modules which can be positioned after one another. You can
also route as many osc modules to a shaper as you wish. Here are the controls in detail:
 Drive / distortion model: here you can choose the type of distortion in the drop down menu
and set the level of distortion with the dial.
 Drive velocity: the level of distortion can also be controlled by velocity. The amount iss et
with this slider. A key played at maximum velocity (128) always relates to the currently set
value.
 Eq gain1/2: here you can set the amount of amplification or reduction of the eqs that are
influencing the gain. Central position is and deactivates that eq band.
 Eq freq1/2: this dial sets the frequency of this eq band.
 Eq q1/2: the q-factor sets the width of the eq band. Thinner settings reduce the area in
which the eq is working.
 Eq split: with this button you can position band 1 far left and band 2 far right in the stereo
field. This allows an extreme widening of the stereo signal.
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Vengeance Producer Suite – Avenger Features in detail –Modulation panel
LFO
The mod matrix

Overview
Avenger has a very powerful mod matrix. A mod matrix can seem complex at first but its worth the
effort to understand it. When creating this mod matrix, we have tried (and succeeded) in making it
less complicated than most. For instance, same sources are displayed in groups. In principle a mod
matrix area consists of 3 elements:
Source modulated  destination  with value x %
Value x is displayed in procent and can either be negative (-100%) or positive (+100%). No
modulation occurs in the central (neutral) setting. Avenger always displays the modulation sources as
group headers (grey bar, white centered font). The destination is then shown below in this group
(yellow font). A source can be sent to more than one destination at once. Here the individual
elements in detail:
 On/off button: the button on the left at the top (with on/off symbol) lets you turn on or off
the entire mod matrix. Turned off, no modulations will occur.
 „+“ button: directly below the on/off button you can find the „+“ button. With this you can
add a new modulation source. Press the button an a menu appears containing all the sources
available in Avenger. Choose a source and this then appears as a new group on the right and
now needs a destination.
 Init button: this botton sets the mod matrix back to its initial state.
 Collapse in/out: this button allows you to collapse or show all the source groups. This is
handy in complex mod matrix set ups to help keep the overview.
 Group on/off button: with this button you can turn on or off this individual modulation
group.
 Readout (#1 etc): this readout helps with clarity and shows how many modulation
destinations there are currently in this group. If for instance a #7 is shown here this means
that this source is being sent to 7 destinations.
 Group collapse: to the right you can find an arrow to collapse/show this group.
 Source (name display): in the middle, in white text, you can see the chosen source for this
group. You can change this at any time by clicking on the name.
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LFO
 +add button: this button allows you to add additional modulation destinations to this group.
A selection of all possible destinations appears and the selected destination will be added to
the group.
 Destination on/off button: individual modulation destinations can also be turned on or off.
 Destination (name): all modulation destinations are displayed in a yellow text. You can
change any destination to be another at any time simply by clicking on this text and selecting
a new destination for this group. If you want to delete a destination, simply choose the
selection „-----„. The destination is then removed from this group.
 +/% switch: the modulation can affect the destination additively (fixed value positive or
negative) or procentual (value depends on the remaining travel). An example: source LFO
and destination is FM amount. The FM amount dial is set to its middle position (has 50% of
its possible value and 50% travel available left and right). Set the strength of the modulation
to +100% and the +/% switch to + (additive). The FM amount dial will now be stopped at 50%
of its value, it can’t go further. Now switch the +/% to % (procentual) and the available travel
from 50% to 100% can be used and it ends cleanly at 100% at the end of the dials travel. It
will however always wander to the end of its travel even if you set the FM amount to just
20%.
 Modulations strength: here you set the strength of the modulation.
It goes from -100% to +100%. In the central position it has no effect.
 Modulations lag (inertia): the small control to the right of the modulation strength sets
whether or not the modulation has a certain amount of inertia or not. You set this by clicking
on this element, holding the mouse button and moving the cursor up or down. If the graphic
is angular then the modulation happens immediately. If the graphic is round, then there is a
certain amount of inertia and the modulation happens somewhat later (and smoother).
Shape
In the mod matrix you can click on the shape button of each modulation. Here you can change the
shape of the modulation from linear to any desired envelope.
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LFO
Mod matrix routing via drag & drop
As we have just shown when talking about the mod matrix you can do many complex things to your
sound. Avenger however offers you the possibility to link modulations together in a far easier way.
Look for this symbol:
This symbol marks valid modulation sources. These can be clicked on and dragged to any valid
modulation destination. For instance, you can click on the symbol on the bottom left over the mod
wheel and drag it to the filter cutoff dial. This then appears in the mod matrix:
Source: modwheel  destination: filter 1 cutoff
What is now missing is the strength of the modulation. After releasing the mouse button you will see
that a new symbol has appeared next to the cutoff dial:
You can click on this symbol and move it up or down to set the strength of the modulation. A
coloured ring will appear that shows the set modulation strength. You can also delete these routing
links. Simply click on this symbol with the right mouse button and delete the modulations you dont
want in the menu that appears. Once you have got used to routing modulations in this way you will
never want to be without it.
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LFO
The LFO section

Overview
Avenger offers up to 4 independent LFOs as modulation sources. An LFO is a periodically oscillating

waveform which cn be used to modulate a number or parameters. Here the individual elements in a
LFO module:
 Waveform display: here you can see the current waveform and by clicking on the display
also choose other waveforms. The last 3 waveforms are freely editable.
 C(ustom)-LFO1-3: when you click on these tabs you have the chance to draw your own LFO
shapes. Every Avenger preset can have 3 seperate and individual shapes. The shapes you
have drawn can be chosen directly in the waveform choice menu. These shapes can also be
used as modulation for the vibrato LFO of the V-Saw and for the FM mode.
 Oneshot mode: to the left of the waveform you can find the „Oneshot“ button. Normally a
waveform will be looped. This can be turned off with this button. If the oneshot mode has
been activated, then the waveform will be played only once. This is useful for percussive
sounds or other single events.
 Phase: turning this dial and you move the phase position of the waveform. The LFO starting
point can thus be moved further backwards or forewards in the waveform.
 Offset: with this dial you can move the position of the waveform. The central position is
neutral which means the waveform moves above (positive) and below (negative) the null
line. You can move the waveform so that for instance the entire waveform is above the null
line and thus only emits positive values.
 Delay: here you can delay the start of the LFO. The LFO will so pause before starting after a
set amount of time.
 Fade in: with this dial you can let the LFO fade in. The effect of the LFO will thus start from 0
and increases with the delay set here smoothly to the final set value.
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LFO
 Rate: the rate sets the frequency (speed) of the LFO waveform.
 Sync: the sync function affects the rate dial and determines whether this runs to a fixed note
value and thus to a bpm or not. You have here a choice between 4 different modes:
o No button activated: the rate is in „free“ mode and isn’t synchronized to the song
tempo or note values.
o Noten button activated: this is the normal sync mode with „even“ note values, 1/8,
1/4 etc.
o „t“ button activated: this is the sync mode for triplet note values. For instance 1/8t
or 1/4t.
o „d“ button activated: this is the sync mode for dotted notes. For instance 1/8d or
1/4d etc.
 Synced Mod: When activated, a rate change via “Rate” knob will always be synced to the
beat.
 Trigger (LFO mode): the LFO can have various trigger modes:
o Global free: in this mode the LFO is monophone. That means there is only one LFO
that permanentaly runs in the background, even when no note is being played. The
LFO has thus no link to newly played notes.
o First MIDI note: the first note starts the LFO. All further notes add to each other in
the current LFO position. This mode is monophone (global) because only one LFO is
active at any time.
o Last MIDI note: every new note starts the LFO. For example: playing a key starts the
LFO. Keep this note pressed and press other keys and the LFO starts over with each
key pressed. This mode is monophone (global) because only one LFO is playing and is
only being retriggered by newly incoming notes.
o Arpeggiators: played or sent MIDI notes play no part in this mode. Only internal
notes played by Avengers arpeggiator itself triggers the LFO. This mode is also
monophone as only one LFO is playing at any time. It is simply being retriggered.
o Drum sq: this mode is identical to the arpeggiators mode with one difference,
Avengers internal drum sequencer triggers the LFO.
o Osc / all oscs: this is the standard mode. In this mode the LFO is polyphone (per
voice). That means that every note played has its own copy of the LFO which then
run fully independently from one another. For example: the LFO controls a pitch
change of a sawtooth osc. Every note played will go though this same change. Notes
played shortly after one another have no effect on each other. The note that was
played first is not retriggered but rather runs its course fully independent to what
comes after it.
o Osc / osc1-8: oscillators can also re-start the LFO. This mode is however monophone
(global). Example: whenever osc sounds the LFO is retriggered which could be,
through the mod matrix, linked to osc 1.
o Drums: in this sub-menu you can select any one of the 12 drumslots as triggers. For
instance, the bass drum. This means whenever the bass drum sounds the LFO is
started. A well known example of this would be a volume fade in on osc 1 (sidechain
effect) or also other destinations such as filter, pitch, reverb send amount etc.
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Vengeance Producer Suite – Avenger Features in detail –Macros and Controller
Macro area
Overview
Avenger offers 3 macro controllers as

well as 2 macro buttons which have
been set up from the factory to have
useful modulation routings. Thus you
can quickly and easily do changes and
modulations to your sound with these
controllers. You can also patch these
controllers to your external hardware
MIDI controllers for live use without a
mouse.
 Macro controller: a normal dial

which is without function till it
has been given a modulation destination. The easiest way to do this is per drag & drop (see
chapter: mod matrix routing by drag & drop). Every macro controller can be freely named. To
do this simply double click on the readout and type. For instance „filter sweep“ for a filter
movement or „vibrato“ for a pitch modulation.
 Macro button: in principle the same as the macro controllers apart from the fact that this
has 2 states: off and on (0% or 100% of the set modulation). These are great to for example
switch arp patterns or to turn something on and off.
 Macro button special mode: hidden in a menu (access by a right click on a macro button)
you will see these buttons have a special function. If the special mode is active, then both
buttons can never both be active. One will always, when activated, turn the other off. This is
sometimes necessary with advanced modulations to make sure button 1 and 2 never add to
each other or get in each others way.
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Lock buttons
Overview
Problem: you have found the perfect shuffle factor, reverb amount or global volume for your song
and dont want to lose these when you load new presets. You have the possibility here to „freeze“
these three settings. They will then not be changed when new presets are loaded.
 Lock shuffle: here you can freeze the shuffle factor. This will stay unchanged even when you
load new drum kit patterns, arp presets etc.
 Lock master filter: the master filter module stays unchanged when loading new presets.
 Lock master volume: Avengers global master volume stays as you have set it even when you
load new presets.
Readout Display
This large display area which you can find in the center at the bottom edge should always be kept an
eye on when you are turning a dial. You can see here the complete names of all the controls being
moved and also their exact values.
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(MIDI) Controller bar

Directly above the keyboard you can see many buttons that represent further modulation sources.
From left to right:
 Pitch(bend): this is the pitchbend wheel. A pitchbend wheel can be found on almost all
master keyboards. It has a neutral central position and allows movements in positive (up)
and negative (down) directions.
 Mod(wheel): this is the most commonly used controller in Avengers presets. The modwheel
is, like the pitchbend, a central part of any master keyboard and allows for movement from
the lowest setting at the bottom (0) to fully up (127).
 Velocity: velocity means the pressure at which the keys on a keyboard are pressed or of the
notes being sent per daw.
 Aftertouch: aftertouch is more or less a second velocity layer. After pressing a key, you can
once more push even harder on the key and so generate a controller value from 0 to 127
(soft to hard).
 Keytrack: the pitch of incoming notes can also be used as a MIDI controller. Deep notes send
lower control values and high note high values.
 Breath controller: a breath controller is a mouthpiece which can convert the strength with
which one blows into it into MIDI values.
 Expression pedal: an expression pedal is the most common MIDI footpedal and is similar to a
volume pedal. Its the same as the modwheel only controlled by your foot.
 Sustain pedal: originally from the piano world. On a piano you achieve more sustain by
pressing the sustain pedal which releases the dampers from the strings allowing them to
swing freely. You could obviously route a sustain pedal to amp/release to get a similar result
but other (harder) switchings are possible. The sustain pedal knows only 2 modes: „not
pressed“ (0) and „pressed“ (127).
 Random: this controller is a special function. Used as a modulation source it generates
random values between 0 and 127.
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(MIDI) Controller to Modwheel
Some of the MIDI controllers have a special function. Because almost all of Avengers factory presets
use the modwheel to control modulation within the sound you can, by using the „mw“ buttons easily
re-route this controller to the modwheel.
An example: you load a preset which has a mod matrix setting in which the modwheel controls the
filter cutoff. Now, by clicking on „expression pedal / mw“, you can re-route your MIDI expression
pedal to the modwheel. You can thus immediately control the modwheel and thus the cutoff with
your foot. You can obviously route more than one destination to the modwheel in this way.
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MIDI Learn
Connecting external MIDI controllers:
In the lower right corner you can see the lastly used incoming midi controller. As you can see, there is
a 6pin handle to drag and drop this controller to any VPS Anvenger control (like you can do with the
Mod Matrix drag and drop feature). Once you connected it with an VPS Avenger control, for example
the cutoff dial, you midi controller is from now on linked with the cutoff. If you turn the midi
controller, your cutoff will also turn.
Deleting and manage existing MIDI connections:

On the SYSTEM page tab, you can reach the MIDI connections overview. You can delete existing MIDI
connections here. Furthermore you can import & export your settings, or set them as default, so the
settings will be saved even if you close/re-open VPS Avenger. You reach those functions with a
rightclick or the icons above.
A great video tutorial about midi learn can be found here:

http://bit.ly/VPSAvengerMidiLearn
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Vengeance Producer Suite – Avenger Features in detail –Tips
The FX section
Avenger gives you a substantial effects section. Effects are important and give a sound often their
necessary depth and complexity. You can create up to 4 independent FX modules (busses). Each of
these models can be home to up to 8 effects which work in series. There is also a send module with
up to 8 send effects which run in parallel and can be mixed to every osc in individual amounts. There
is also a master FX module which is at the end of the chain and consists of up to a further 8 effects
working in series. All together this means you can have 48 effects open at once. This huge amount
will however hardly ever be needed. You can also set where the output of the 4 FX modules (busses)
should be routed to. This can be another FX bus, direct to the master FX bus or even completely
bypass all this and go straight to the output. Here the controls in detail:
 FX slot: as already mentioned each FX module has 8 such slots into which you can load
effects. A click on a slot opens a menu containing all the available effects. You can also
change the effects position in the list. Click on a effect and drag it to its new position.
 FX slot on/off: on the left of every FX slot you can find a bypass button (on/off).
 FX slot gain: on the right of every FX slot you can find a dial with which you can set the
intensity of the effect.
 FX editor area: the parameter settings of each loaded effect are displays here. Each effect
also has its own browser for presets.
 Output routing: under the FX slot you can find a button with which you can set where the
output of this effect chain should be sent. This can be other FX modules (should they exist),
master FX module (standard setting) „output“, which means that the signal is sent directly to
the output. This way you can for instance send a bassdrum past the mastering (master FX) so
it doesn’t run to the limiter.
92
The effects in the FX modules 1-4 have a mix dial. With this the relationship between wet (effected
signal) and dry (non effected signal) can be set. Please notice that this dial is missing in the send
effects. The wet/dry relationship of send effects is set in the osc, to which they are to be mixed,
directly in the routing.
Tip: a detailed description of every effect type would be too much for this hand book. You can
however look up these descriptions in both of our hand books for „Vengeance Producer Suite FX
Bundle 1 & 2“. This can be downloaded on our site:
http://www.vengeance-
sound.com/plugins.php?sub=Vengeance%20Producer%20Suite%20Essential%20FX%20Bundle&issue
=DOWNLOADS
http://www.vengeance-
sound.com/plugins.php?sub=Vengeance%20Producer%20Suite%20Essential%20FX%20Bundle%202&
issue=DOWNLOADS
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Tips on working:
Right clicks and menus
Whenever possible try to see if a right click opens a menu. In various areas of the plugin it is in this
way possible to do additional settings.
The middle mouse button / double click

Almost every element in VPS Avenger, be it a dial, envelope, fader or number field can be set to its
standard value (default) by clicking on the control with the middle mouse button. If you don’t have a
middle mouse button, then a double click for normal dials and a double right click for inner dials does
the same.
Turning the dials (fine)

With a left click and holding the button while you move the mouse you can turn a dial, so much is
clear. However, not everyone knows that by turning a dial with the right mouse button instead of the
left button you can control the turning of the dial in a far finer, more accurate way. This is ideal to
finely set certain values. For inner dials, which normally use the right mouse button, you have to use
a shift+right click to achieve this.
Effects as send effects

Effects such as reverb, delay or chorus are perfect to be used as send effects. This way you only have
an effect, for instance a reverb, open only once and you can send every track in your project through
this one reverb. This enormously saves CPU and helps to keep the overview. How to create send
effects can be found in this hand book.
Master filter
A simple way to send the entire output of Avenger through a filter (for instance a high pass or low
pass sweep) is to use the master filter. This has to first turned on. It acts like all other filters and
offers the normal filter types.
Cursor keys / preset choice

The easiest way to browse through the presets is to use the cursor keys. Up/down chooses a preset
in the current folder, right arrow loads this preset, left arrow sends you a folder level deeper.
Warning: certain DAWs block such a use of the cursor keys. We couldn’t find a way to bypass this. In
these hosts the cursor keys unfortunately wont work.
MIDI controller (pedals)

As we only have two hands it can be at times difficult to adjust the mod wheel whilst playing. The
hands are in use; we have however two feet. Here you can use a MIDI pedal. With a bit of practice
this can be used at the same time as you play. You will never want to be without one. Warning: there
are expression pedals with a range of 0-127 which are so perfect for controlling the mod wheel.
There are also sustain pedals, these are simple on/off switches which send only 0 and 127. These are
perfect to for instance completely open the release of a note or change patterns. If both feet are also
now in use you only have your mouth left. Here you can use a breath controller. At the point the
coordination becomes somewhat difficult…
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Changelog
1.4.2 hotfix
 fixed a problem with arp notes did irgnore legato
 fixed a problem with poly legato split zone load/save
1.4.1 - minor fixes

 minor internal changes to fix the crash on preset save
 sorting folder list for multisample import
 fixed a small issue with multisample-conversion for sample-stacker
 fixed an issue with changing chorder-arp presets would stop arp playback
 fixed note-hang issue
 adjusted font-brightness in the fx-section for the vintage skin
1.4.0 - Chord - ARP update

Updated Factory Content to R5! Please (re-)download it from https://register.vps-avenger.com/
 Hundreds of new presets for ARP (chord mode), FX chains, Mod Env, FX, etc...
ARP:
 added new Arpeggiator module: Chord Mode
 added Per-Note strumming for ARP Chord and Poly mode
 added ARP cotave shift-button (or chord intervall/variation shift in chord mode)
 added selection capabilities to the ARP (hold shift to draw a box and select multiple items)
 added copy/paste 1st or 2nd half of an ARP pattern
 added ARP Humanize function (randomly shifts notes positive AND negative in time)
 ARP: added chord detection as "fixed note mode" where only the base note of a pressed
 rd is played. Perfect for bass adds to pads or SQs.
 fixed an issue with ARP patternmode poly fixed note
 fixed an issue with ARP fixed note octaves parameter not working properly
 fixed an issue with displaying arp pattern modulation in negative direction
Others:
 added a new free skin: Vintage Skin for Avenger by SatYa Tunes
 added new FX type: Clipper (Distortion)
 added new FX type: VMS Stereo Expander
 added new FX type: VMS Stereo Shifter
 improved UNDO for removing a FX from a send slot, which could affect OSC/Drums routing
 changed OSC-soundbrowser preview. its playing 1sec with a single click, if the file is longer,
hold the mouse button to preview longer than 1sec
 added scrolling target texts in the mod matrix when the text is longer than the textbox
 fixed an issue with noise-phase lock when using a lower noise-sample rate.
 fixed an issue with tempo-update in the Trancegate
 fixed an issue with PitchBend and value mapping.
 fixed some memory leaks related to VMAN
 fixed a crash when GUI vanished after initializing the preset (very rare)
 OSC Transpose dial has an improved scale when using the mouse-wheel. Now changes 12
semitones or 1 semitone when using shift mouse-wheel
 GRANULAR: added "Convert To Granular" to context on the Granular-Sample display.
rightclick to open the context. File will be loaded automaticaly to the OSC after conversion.
This is only available on User-Samples, when the source-file is available.
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 The minigame "MIDIWARS", which was exclusively in the 8/16Bit XPs is now available for
everyone
1.3.5
 added new function for DRUM-SQ: "REVERSE SAMPLE". You can access it in the ROLL-MODE
context. That will playback the sample reverse. The tempo anchor point is the Step next to,
where the arrow will point at
 added Shape for a MOD entry / slot in the MOD MATRIX. With that function you can
additionaly shape the modulation value before if modifies the target.
 added new LFO Parameter: "Synced Mod." When this is turned on, rate changes via
modulation will be synced to your Song BPM, meant it will switch the Rate only at full cycle
values to stay in sync. So a 32th to 8th wobble will always sound tight in your mix.
 added "CLEAR" button to DrumSQ. Clears all notes
 added UNDO for preset load. If you accidentially load a preset, you can un-do this.
 added COPY/PASTE for FX settings, now you can copy FX specific settings from one instance
of an insert FX to another instance
 added ENDLESS BASS Mode playing the octaves from the ARP. Endless Bass Mode also only
takes 1/1 voice now in the Voices page / global voice limit.
 added ARP shuffle is now working correct on pattern lenghts that are not related to 4/4 (esp.
odd pattern lengths, i.e. length 9 or length 7)
 added KEYTRACK to insert FX: Filter. Good if you want to use the new Comb filter for
example on the master sum or an effect bus.
 added visual feedback for inner dials (i.e. OSC PAN, Noise color etc...)
 added visual feedback for the OSC's HP/LP Filter bar
 added phase-lock for OSC Noise, very handy for static attack-noises (Drum sound design)
 added OSC-endless bass mode as mod target
 added: quick assign drum slots to aux or specific FX bus. Now you can route all AUX Outputs
with 1 click
 changed: loading a ModEnv preset does not chagne the trigger-mode anymore
 changed: preset search->added VARIOUS folder to author context where authors with less
than 10 presets are listed
 fixed issue with solo-ed sample stacker after loading a new sample to a stacker slot where all
slots were audible again
 fixed DrumSQ. leftClick CNTRL to move the event free from the bpm-grid. Was working
before but the note had to be selected first - now its easier to use. Great for Humanized
Drum patterns
 fixed drum kit route gain-slider
 fixed a issue in AAX format where not all AUX outputs were processed correct.
 fixed an issue with resample/wavetable beat selector which was working only for OSC1
 fixed wandering crossFM attack sound
 fixed StepSQ clicks in stereo mode when stereo width is not 100%
 fixed an issue where granular-env position-dot did display the position of OSC1 even if OSC2
was selected
 fixed an issue where custom-samples was not stored correct in the sample-stacker
 fixed an issue with insert FX Filter "inertia". Now the insert FX: Filter is much faster for
modulations.
 fixed an issue with Arp clock mode "first note" and play with multiple patterns where the arp
did start at pattern A but B should have been already reached.
 fixed an issue in the mod matrix. modulating the strength of a slot using a per-voice-source
where the target of the modulated slot is not per-voice
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 fixed: changing StepSQ state and stepSQ module on multiple-selected drumSlots does not
work
 fixed: mod-matrix slot strength modulation "bar" showed wrong value if mod add was used
to modulate the strength
 fixed: granular-envelope speed mode wsa not saved/loaded correct
 fixed: crash when removing ARP1 after ARP2 was created.
 fixed a scrolling issue, when adding a new target/source to a quite full modmatrix
 fixed retriggering voices on chorder on/off and active legato
 VMAN: fixed: expansion not visible after downloading and importing it via VMAN
 VMAN: fixed: wrong folder for VMAN bitmap cache on MAC OS
 tons of minor bugfixes and improvements
1.3.4
 added VMANAGER(beta) to manage the expansions in your account.
 added snap for ARP Pattern length
 improved preset search startup (loading a index list from harddrive so that it must not be
created each time the plugin is started)
 fixed a issue for OSX GUI implementation that caused a very highg CPU usage
 fixed a crash caused by the COMB KEY filter
 fixed a tuning error for C-3...D#-3
 fixed some memory leaks
 fixed a issue where arp pattern length 16 could result in length 17
 fixed a issue that caused the routing display to show "#ERROR" after initalizing a OSC and
disabling a filter-route
 fixed a problem with pitch-steps-parameter calulation
 fixed a click-noise at sample loops points (introduced with 1.3.0)
 fixed a issue where removing a module could cause a routing into a module of the same type
for two times. ( i.e. 2x shaper1 when removing shaper 2)
 fixed a issue with DelayFX-Kill Feedback if it is pressed manualy and is modified via the mod
matrix could cause a CPU spike
1.3.3 - hotfix
 fixed a crash starting a sound from the drum kit
1.3.2
 fixed a issue where it may occour that not all expansions were visible.
 fixed a issue with recursive cross FM ( OSC3-> OSC2 ->OSC 1 ) where OSC3 was not handled
correct
1.3.1 - Hotfix
 removed a memory leak that was intorduced with 1.3.0
 fixed a small issue with deleting a FM-Source OSC. it does not get stuck in source mode
anymore
1.3.0
 added REAL-FM. a OSC can be used as FM Shape.

 small cpu improvements on pitch module
 SYSTEM ID is displayed on the SYSTEM-Tab.
 improved sfz code. !Not all SFZ files will be handled correct. Avenger does not support
layering ( multiple samples for same note velocity ), also "#include" opcode will be ignored.
97
 added MIDI-CC Learn for PREV/NEXT preset

 added MIDI-CC Learn for Macro-buttons
 fixed: Preset Browser Category sorting for OSX High Sierra with APFS
 fixed: FX Chorus, created "phased" sound on disable/enable fx.
 fixed: problem reading skin-zip files that were created on OSX
 fixed a issue where the SteqSQ enabled parameter was always set ON after loading a project
 fixed a crash that may occur after removing a OSC between 2 oscillators that are using
samples.
1.2.6
 added new filter model: "COMB KEY". This one is perfectly tuned (keytrack). Use it on
waveforms or attack clicks
 added favourite rating system (star) for presets. You can tag your favourite presets and
search for them in the search page
 added new roll/flam modes pattern to drum kit sequencer. Fade ins/outs and many more
new rolls!
 added new OSC formant mode "x-fade", very smooth and handy for wavetables where the
waveform does not start with a zero-crossing
 added line draw mode for FFT-Harmonic & FFT Bin (use ALT key % mouse click)
 added audio preview for shapes, freeform & wavetables in the OSC sound browser
 added new modsource: osc-pitch-keytrack. Try this on formant/x-cite for example to get
smooth transitions when using portamento legato
 added current BPM is shown now in the top bar display
 added more voice-limit intervals
 added more master gain intervals
 added own format for user-skin files, so developers are not forced to release their source-
images
 added multisample converter for SFZ files. (WAV and AIF samples are supported) Just
rightclick on a sfz file in Avengers' browser and convert
 added the OSC browser sound preview now correctly use the loop points in the sample
 added more modulation display in numeric/text box views. (for example OSC gain, Arp Speed
etc...)
 added tool-tip for Granular start/end locators
 fixed a crash on NPOINT envelope if loop-end is too close to its left neighbour
 fixed: "loop enable" button was always "ON" after loading a preset that contains a user-
sample
 fixed: WaveTable/Granular Sample overlay logic issue
 fixed: Drum Slot Lock state will be resetted on initialize/preset load
 fixed: Zones Page ModMatrix KEYTRACK Slot label was not visible in other zoom modes than
100%
 fixed: issue with loading "Sustain Release Jump" Envelope mode when loading a preset.
 fixed: issue with "Default Settings" on Mod envelope browser did not load a customized
"Default Preset"
 fixed: npoint envelope sustain jump mode could have caused strange behavior on specific
circumstances
 fixed: fixed a problem with drum kits and locked slots where the locked samples was
replaced on save/reload
 fixed: adjusted size for the "X" on Dial-Mod controller. It was too tiny
98
 fixed: adjusted font size of i.e. ModEnvelope Trigger Mode context for labels "GLOBAL" &
"PER VOICE". These were too tiny
 fixed a issue with sample stacker and exclude start offset for a slot
1.2.5
 added: progress bar for function "publish expansion"
 fixed: ARP muting itself on touching notes
 fixed: minor issue on loading NPoint Envelopes
 fixed: aliasing chorder oscs when VSAW num oct parameter = 1
 fixed: rare click sounds that were audible on voice start while send-fx strength was
modulated
 fixed: renaming a preset and using prev/next arrows did load the wrong preset
 fixed: sample name for user samples in the stacker is displayed correct
 fixed: midi CC import did not update GUI, import did append the list instead of replacing it
1.2.4
 fixed wrong inital values for mixer volumes after preset load. this caused some "pop" sound
in specific circumstances
 fixed a issue with AM-FM filter in the filter module wich have been very slow
 implemented cursor key support for the preset view in the content search
 fixed: using right-arrow in the new sound browser did accidently load a new preset instead of
the selected sound
 fixed: missing drum-sequencer notes
 improved Avenger loading time
1.2.3
 added system-ID locked licenses
 included: new Avenger skin: Chrono_Jade by SatYa!
 fixed: high CPU usage on some filter models while no audio was playing
 new mode: if you right-click on the Drumkit lock buttons, they will lock all exept the clicked
button
 fixed a crash that occurs while loading a sample while playing notes.
 fixed a crash in the new sound browser
 fixed a crash on loading VPS Avenger
 WIN: fixed importing expansions from folders that containing UTF8 chars
 fixed Drumkit browser lock-state is was not remembered when reopening the GUI
 fixed a rare problem with double drum sequencer notes on loop
 fixed Minichain FX "Drum SQ BD" Triggermode
 fixed a logic-problem when OSC voice limit was set to 1, ARP was active for a OSC and
Wavetable trigger was set to "FIRST"
 under certain environments preset loading time is faster now
 dozens of small improvements and minor bugfixes
 preparations under the hood for the next synthesis module
1.2.2
 fixed invisible value readouts
 fixed reordering FX-Slots did not update the GAIN-dails
 fixed ARP-MiniNote handling
 fixed vanishing VEL-Curve buttons on GUI scales < 80%
 fixed a problem with long ARP notes when the ARP length was changed afterwards
 fixed removing a OSC will reset Keyzones for folling OSCs
99
 fixed click sound caused by midi patterns with single notes in a cue ( ie. 1/4 pattern )
 added a write-permission check before the license file will be replaced. this should prevent
confusion about still-locked expansions after license import
 changed: Updates will be downloaded via Avenger again. ( v1.2.0 did just open the browser )
a progress bar is displayed instead the unreadable circle animation
1.2.1
 added Key-File import via SystemTab->Content->button "Import Content"
 added LICENSE-GUIDE. This will show up if Avenger loads an expansion without having the
licenes for it.
 fixed: droping a custom sample onto the osc will not automatically switch to Granular mode.
Granular mode must be set first to load sample into granular-osc's
 fixed a issue with the library that was invisible if the Computer was running longer than 3-4
days.
 fixed: Transpose of stacker-sample not working correct after retriggering a note
 fixed a ARP releated CPU spike
 fixed Granular Envelope is not working correct on old customized init-presets
 fixed issue in SoundBrowser where selecting a freeform shape did not set the correct
synthesis
1.2.0 - big GRANULAR Update

 added new Granular synthesis module
 added 32 new Granular presets
 added granular factory library with 219 waveforms/loops for granular synthesis
 added new mighty soundbrowser to load sounds into an OSC
 added the library for the "resampler" into ne new browser
 added new release mode for mod-envelope (releasing the note in an attack phase will jump
to the correspondent volume in the release phase)
 fixed a problem with ARP undo for patterns B, C, D
 fixed some ARP issues like hanging notes, pattern issues
 fixed a issue with loading Impulse samples for "FX Impulse" effect
 added "verify expansion" to the expansion browser, so that customer expansions can be
verified before
 publishing them. That shows issues with using content from other expansions than the target
expansion or the factory.
 added version check for presets: You can not longer load a preset in an outdated Avenger
version (example: a preset created with 1.2 using the new granular module loaded into an
Avenger 1.0) which would otherwise lead to a crash.
 added new DrumSequencer functions: export to MIDI and import from MIDI, just rightclick in
the DrumSQ area below
 added the possibility of live recording the Arpeggiator note output into Midi (only supported
for DAWs which allow MIDI return, and only VST2/3). Just create a new MIDI track and select
VPS Avenger as input source.
 INIT preset load fix. The correct INIT preset should now be loaded for everyone
 dozens of smaller bugfixes
1.1.2 hotifx
 fixed the crash that was introduced with verion 1.1.1
 fixed the content import problem at the end of a sucessfull import process
1.1.1
100
 added support for WAV samples in 32bit PCM format.

 shortcut: now its possible to delete an envelope point with left click ALT
 selecting a mod source on the small triangle symbol will reveal the mod-source in the GUI
(zooming red crosshair rectangle)
 OSC Wavetable envelope can now be used as modulation source for other targets than the
osc it belongs to
 fixed: adding a source via the " "-button in the modmatrix is working again
 fixed: masterfilter will now load its settings in a project correctly
 pitch envelope did affect OSCs, even if it was not activated in the routing. This if fixed now
 after converting a multisample, the sample was not available in the stacker menu (" " button)
directly. This is fixed
 fixed: changing the length of a looping modenvelope during playback lead to a "jumping"
playbackposition
 fixed some memory leaks
 fixed a rare crash when a pitch envelope / mod envelope used a mode that used "release"
1.1.0
 custom samples can now be loaded into the OSC via drag and drop from the browser
 added loop editor page for these new imported samples
 added skin selector on the SYS page
 new skin: COBALT BLUE by Satya
 added masterfilter post gain (for post drive gain adjustments)
 added new live play option for the ARP on the SYS page: "Poly Arp quantize". Defines the grid
where new notes are positioned when you play live
 added a new shaper mode "EQ-only". The distortion is bypassed and you now only have a
(polyphonic) 2 band EQ for each note
 osc phase & microfade modulation can now be assigned via drag n drop
 improved GUI Loading time
 improved OSC-Wave selector open time.
 improved visualization: fast-modulation ring movements now displaying 100% movements
correctly
 converting a shape & converting a multisample does create a tune file automaticaly. You can
open it with a txt editor for transpose and gain settings.
 removed syspage option for "sustain pedal mode". Mode will now automatically be in
"SUSTAIN" mode, when the sustain pedal is NOT used for anything in the mod matrix. If the
sustain pedal is used as a switch for something else (for example switching minor/major), it
will not sustain notes endlessy as long as this modulation is active.
 removed syspage option for "accelerated sampleload". This mode is now permanently "on",
since it had no negative consequences.
 while transposing / moving ARP pattern notes will no longer reset the transpose value when
clipping on the max or min heigth
 now ARP pattern notes will reset (by clicking middle mousebutton) to the nearest octave. For
example a 14 transpose will reset to 12, instead of 0
 fixed click-noise issue in resampler when numWaves > available samples
 fixed an issues with loading VINTAGE CHORUS presets. Now all Chorus factory presets will
sound as intended.
 creating a new TG Module does not reset the SHUFFLE value any more
 display for Modulation ring for cutoff knob hung with the last midi note. This is no longer the
case now
 fixed: orange triangle hung in the cutoff, even if there was no assigned modulation
 the editor rembembers selected TABS correct now.
101
 drumkits did not save correct after function "DrumKit copy sample to slot". This has been
fixed
 when you save a Drumkit, now the correct last location when saving a drum kit is
remembered
 there was a sorting issue in the mod matrix when removing entries that was created ealier
than other items in the same source-group.
 wavetable envelope sequencer pattern mode "PING-PONG" works again as intended
 Route View displayed "ERROR" after removing a second filter module that was used in the
routing. This has now been fixed
 Wavetable Env-Sequencer Mode "SILENCE" is now really "silent" again
1.0.34
 fixed a rare crash while loading a project that contains VPS Avenger
 fixed some sound and modulation issues in the Step-Sequncer
 minor changes and improvements
1.0.33
 fixed a crash when loading a preset that contains a ARP in RANDOM mode
 fixed a issue in Pro-Tools OSX where the Editor was not clickable with left MB on specifix
circumstances
 fixed a random crash with sample playback
 fixed a error in sample FM while playing the sample-loop
 minor changes
1.0.32
 added: chorder transpose display shows now the modulated value ( on mouse over orginal
unmodulated value is displayed )
 added: GAIN Modules in the routing can now be drag & drop modulated in the Mod Matrix
 increased the choices you have in the expansion browser view "number of expansions-per-
row"
 increased set of pre-created category folders when a new user expansion is created
 exchanged user expansion icon with a completely blank version so its easier to create your
own icons within it
 fixed CNTRL and Left mousebutton on OSX for expansion browser
 context menu in the expansion browser did not appear when clicking in an empty row, this is
now fixed
 fixed Lock MasterVolume/MasterFilter/Shuffle
 freeform display was not loaded correctly if a sample was loaded before, this is now fixed
 fixed legato note-off while a ARP is active in the routing but disabled in the arp section itself.
 fixed an issue in AA-Flanger where a click-sound occured on specific circumstances
1.0.31
 fixed the WAVESHAPER FX crash (aka the Noiseburst bug)
1.0.30
 Added new button to lock the ARP Mode during ARP Preset load
 Added the ability to store and load complete FX-Chain Presets. New preset button appeared
below the FX slots. For the first time: use "restore factory presets" function to create the
new FX Chain factory presets
 New "Bypass" button added for each FX Page. This bypasses the complete FX Tab
102
 Improved Multisample load time multisamples should load up to 5x times faster now.
(Added SYS page Option to disable accelerated Sample load if problems occur)
 Rightclick on preset: "Rename Preset" function. The text input for renaming is bigger now
and better to read
 The Sub OSC now keeps playing, even when a short sample (Pluck sample for example) has
been played and the sample/voice has ended
 fixed a crash when removing a sample from a sample-stacker-osc
 fixed missing labels for ARP7 & 8, PITCH7 & 8 in the routing tab
 fixed noise burst on Mac
1.0.29
 new feature: You can lock drumkit-slots now, so the sample does not change when you load
a new drum kit. Now you are able to mix/shuffle the drum kits
 ARP-Key Mod value is sustained until the next arp note is fired. ( will not be resettet by an
inactive arp note)
 Fixed memory Leaks
 fixed some random memory writes
 fixed a issue with "MISSING CONTENT" message on preset load if file system is case-sensitive
 fixed a issue with "noise" or clicks on AUX outputs when using samples rates > 44100
 minor changes
1.0.28
 fixed a problem with UTF8-Path Names and license import (WINDOWS)
 fixed renaming a module-preset (i.e. PITCH-preset)
 fixed a minor issue when editing DrumSQ velocity
 fixed left control opens the FX-context on OSX
 fixed the context offset in the mod matrix if the mod matrix display was scrolled down
 fixed a issue with OSC Group name(modmatrix) after adding new OSCs
 fixed a issue with wavetables and fast movements while VSAW is active with 2 or more
octaves
 fixed a crash on osx loading projects where 2 ore more editors were opened
1.0.27
 OSC-Mixer VU displays correct db value now
 improved OSC Waveform Display graphic
 import of an avengercontent-file (expansion etc) can be done via the internal filebrowser
now
 fixed a rare crash that occured while updateing modulations-display and a preset was loaded
 fixed a crash during preset load (endless mod-envelope-recursion)
 fixed AA Reverb: changing the roomtype does not update decay time correct
 added frequency analysis graphic in the background of the Equalizer effect
1.0.26
 removing a modulation with the controller on the dial will also remove the strength-
modulation-source of the row in the mod matrix
 modEnvelope reads presets correct
 fixed: TG Pattern is altered on Editor open and if TG is in Stereo Mode
 changed Filter Frequency Readout to Hz
 XP Preset view context menu save function is working as intended now
 fixed parameter readout in DAW for VST2/VST3
 avenger will notify DAW about paramter changes after preset load
103
1.0.25
 ARP Sync bug case with "touching" notes fixed
 fixed a problem in the NPoint-envelope that may lead to a unsync playstate while envelope is
playing and points are changed
 used different font on SYS-TAB for better readability on small scale factors
 fixed: pitch envelope Sync-Triplets not working
 fixed a crash when using mousehweel on Filter-Additional mode selector while there are no
additional modes
 fixed a issue with start-/end-key selector for ARP and StepSQ
 sustain pedal setting will not be overwritten on preset load
 it is not possible to load another preset while avenger is loading a preset
 browser file view scrollbar is visible again
 changed font-renderer. All Fonts should be more readable on small scales
 OSX AAX Version: Editor should be working normal now
 fixed a crash related to multiple threads reading the resources
1.0.24
 pitch dial in drums tab is visible again
 fixed a error in wav reader that skipped loading specific samples
 changed gui draw methode to imporve draw performance
 fixed a problem with AU Multi out where the final 8 were not processed
1.0.23
 sypage tabs added
 fps setting added
 improved sustain pedal mode. Pedal on OSCs with active ARP will hold the arps instead of
the voices
 experimental: OSX resizing the GUI seamlessy is now possible on Mac
 Scale-Magnifier is clickable even if the "MISSING FACTORY CONTENT" window is visible. so
the editor can be resized also on first start
 fixed a crash that occoured during startup on some hosts
 added some status messages in case GL-Rendering fails. this helps to address the problem
 fixed a issue in routing where adding a second shaper caused the route view to display
"#ERROR"
 removing a LFO module does now remove the mod-matrix entries (as intended)
 added modulation indicator for sample-stacker volume
 fixed a problem im WAV reader that could cause a crash on some samples
1.0.22
 changed default size of the GUI to 75%. (for first start)
 improved import process. displaying more informations in case of a problem
 imporved GUI performance
 added IMPORT button on system page for importing content if drag n drop does not work
because of user-right-restrictions of the OS
V1.00 (December 2016): Official Release
104
Support & Contact

Technical support: www.vengeance-forum.com
[email protected]
Contact: [email protected]
Billing support: [email protected]
Copyright 2018 vengeance-sound/keilwerth audio
105
Vengeance Producer Suite – Avenger Appendix
list of category prefixes:
AR = Arpeggio
AT = Athmosphere
BA = Bass
BR = Brass
BL = Bell
CH = Chord
DK = Drumkit
DR = Drum
DL = Drumloop
FX = Effect
GT = Guitar
IN = Instrument
KB = Keyboard
LD = Lead
MA = Mallet
OR = Organ
OC = Orchestral
PN = Piano
PL = Plucked
RD = Reed
ST = String
SY = Synth
SQ = Sequence / Split
TG = Trancegate
VC = Vocal/Voice
WW = Woodwind
106

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Vengeance Producer Suite

Info tab ..................................................................................................... 23

File browser .............................................................................................. 24

The oscillator area ................................................................................. 27

Routing panel ........................................................................................... 36

The central display ................................................................................ 62

The drum sequencer ................................................................................. 66

The step sequencer ................................................................................... 68

Mod matrix routing via drag & drop.......................................................... 84

Master filter ....................................................................................................................... 94

Enjoy your new Vengeance Producer Suite – Avenger!

The vengeance-sound team

Installation and maintainance

There are a few initial steps to follow:

Follow the instructions on the screen.

The standard path for the vst version is: /library/audio/plug-ins/vst

Option 2: Your studio computer is NOT connected to the internet:

In case your computer is

If your computer is not connected to the internet,

1. Quick handling bar

- Resetting controls to its default state

- Additional functionality, such as adjusting attack curves or adding a random

- Rawtune a control in bigger steps by using your mousewheel

- “Go to” function in the routing panel:

- Add a tab by clicking the “+” next to the last tab

- Copy, past or delete a tab by right clicking on the tab

Filter, shaper, effects and mixing

- External MIDI pedals

Organization and helpers

Quick handling bar

This bar provides you with four functions (left to right):

Leftclick: Undo up to the last 20 changes you made.

Content tab / Preset browser

You got up to five options to combine a search:

Browse through the library with your keyboard:

Build a custom bank

Building your own bank is simple.

Building your own presets:

You need to save your preset, to make your choices permanent.

Importing samples (leftclick):

Converting shapes (rightclick):

Converting granular or resampler files

Importing (granular) multisamples

The oscillator area

The Browser is easy to understand and follows Avengers design concept:

The oscillator panel in detail

- OSC phase (OSC/Freeform/Wavetable only)

Global OSC panel controls

Panning (RC): Set the panning of the OSC.

Both parameters are linked to the mixer tab.

Transpose: Set the pitch of the oscillator.

Fine tune (LC): Fine adjust the pitch.

Frequency modulation (FM) means the pitch (frequency) of the oscillator is

FM (continuous/oversampling): This mode continuously generates FM

FM (table mode): This FM mode generates a FM signal in blocks, similar to a

FM (table mode windowed): Equivalent to the normal „table mode“, but a

- Voices: Avengers V-Saw can generate up to 7 voices. Here you

- Chorder preset browser: Numerous chorder presets are

- Volume: Volume of the sub OSC, up to +6 dB.

Shape modulation options