Silent Spinner by Pendulum

Used for: Synth bass and guitar emulation.

"Aside from all the synths and bass, most of the 'guitar' you hear in this track isn’t even real – it’s Phase Plant doing a good impression.

I imported a sample of my guitar, made a wavetable out of it and then used an HPF, lots of distortion, and EQ to try and replicate the sound of a D.I.'d amp.

For the solo'd 'synth guitar' patch at 03:37, I just ran a saw wave through the same chain, along with the guitar – messing with the sync sounded insane!"

Rob Swire

Halo by Pendulum and Bullet for My Valentine

Used for: Lead synth design.

"The lead in Halo started out as pure Phase Plant chaos – lots of wavetables and noise oscillators, all affecting each other in different ways (mainly pitch and phase).

Then I tamed it a bit with comb filters and ring mods, carving that mess into something sharper and more pitched."

Rob Swire

This Could Be Us (Nasko Remix) – Virtual Riot & Modestep (ft. Frank Zummo)

Used for: All main bass sounds and synths.

"Phase Plant is used throughout the entire remix for synths and bass sound design. All patches are made from scratch and utilize advanced bass design synthesis techniques, including some help from my own samples layered into the Phase Plant patches using the sampler.

From chorus bass phrases, growls, supersaws, and huge granular pads, Phase Plant is used for all of them, as it provides the highest quality results in one efficient package.

Particularly, the sustained bass at 2:14 is a Phase Plant patch without any post-processing outside of it. It uses a detuned, higher-pitch analog sine oscillator for the main formant and a complex bass wavetable as the core synthesis technique. The special sauce in Phase Plant is that the complex wavetable ring modulates the analog sine oscillator, causing intermodulation between the two oscillators due to the slight detune of the sine formant. This gets further exaggerated with the comb filtering, high-pass filter modulations, and multiband compression, all within the Phase Plant patch. A parallel sub oscillator then finalizes the patch, thanks to the versatile routing available in Phase Plant.

This remix wouldn’t sound the way it does if it were made using other synths—and I’m loving how it sounds!" 🥳

Nasko

Step Five by LAXX

Used for: Reeses and bass effects.

"I used Phase Plant for the Reeses and bass effects throughout the drop of Step Five. I'd created a few patches and adapted them over the weeks before making this track, and I knew they were exactly what it needed.

The Reece patch is changing envelope size via the macros for faster and slower oscillations. To match how high-energy the lead synth is, the bass needed to be upfront and powerful.

Using Multipass within the chain, I could multiband compress and saturate, as well as run multiple moving notch filters to get that upfront neuro bass feel.

Phase Plant is a weapon with so many different strings to its bow. No task is too big."

LAXX

Astatine by Mat Zo

Used for: Bass and lead, all within one instance.

"For Astatine, the bass and lead sounds are all covered by a single instance of Phase Plant, and it was the first element I made for the song. The rest of the track came together after being inspired by that patch.

The patch started as an experiment shortly after the update that introduced the Remap modulator. The Remap modulator was essential for what I wanted to do: have one set of oscillators play the bassline while another set played a melody with a different set of notes on top, all using the same MIDI input as the bassline.

I used the Note modulator to feed into two Remap modulators, which then controlled the pitch of the oscillators handling the melody. I played each note of the bassline and adjusted the Remap modulators to create different intervals, building an interesting harmony. I also used macros to further control and evolve the lead melody as the song progresses.

The sound itself is composed entirely of sine waves, with an LFO modulating the volume and a high-pass filter adding a rhythmic quality. That all feeds into wavefolding distortion, which generates the texture and harmonics. When the lead sine oscillators are distorted together with the bass sine oscillators, playing different notes, they create rich intermodulations and harmonics.

With multiple Remap modulators and several oscillators, only Phase Plant could achieve the result I wanted within a single instance. It might have been possible in another synth by using three instances, but then they wouldn’t all share the same LFO, and things would get messy.

No other synth allows for this level of modular flexibility and granular control in such a clean and intuitive way. Astatine is just one of many tracks of mine built around Phase Plant patches. Phase Plant is now so central to my workflow that it's loaded by default whenever I create a new MIDI track."

Mat Zo

Kisaragi by Camellia

Used for: Twin lead, chords, arps, pads, and more.

"Phase Plant is used everywhere all over my projects nowadays. For basses, chords, pads, FXs, etc... Even for kicks or percussion, as a sampler, too. Honestly, it was hard to pick one use case to represent how versatile this plugin is!

In Kisaragi, along with many other PP instances for chords, arps, or pads, the main twin lead part is made with Phase Plant. It is rather simpler than complex routing or processing, but one of the best things about PP is how customizable and limitless it is. What you instinctively feel while working on designing sound can be implemented very quickly and without the frustration of restriction. This is one of the reasons I chose PP when I tried to program this lead sound — it basically makes me comfortable designing abstract ideas that come into my mind.

This song was released in 2021, and now I’ve been using PP for over four years. Combining it with Multipass, Snap Heap, and many other various Snapins has improved my sound design a lot, too. The convenient and useful ability to reuse complex, multi-layered processes made in these Multipass/Snap Heap chains inside PP is frankly awesome — it makes me intrigued in a “what would happen if I brought this enigma stack into the chain” kind of way.

And last but not least, another song that I made around the same time as Kisaragi, The Cat Evolved Into The Microwave-proof Cat!, is almost entirely made with only PP. That song better represents what we can explore with these plugins — and now I believe, there is vast, vast more to play with and experiment on.

(Also, it’s great that PP doesn’t crash with 2000+ BPM.)"

Camellia

Tek No by Teddy Killerz

Used for: Drums, bass, lead, FX, and every single element in the track.

"This project was a true challenge for me as a sound designer: creating a track using only one synth, Phase Plant. My goal was to dive deeper into the instrument, master its workflow, and learn how to use it more efficiently in everyday tasks.

Phase Plant gives you the power to shape every stage of your sound design process. You can add movement, fix imperfections, enhance harmonics, or remove unwanted elements—all within a single environment.

The Kilohearts ecosystem unlocks almost limitless creative possibilities. You can split your signal into individual parts, process them in parallel, or manipulate even the smallest part of the spectrum. This flexibility lets you completely transform the character and feel of your sound."

Anton Mashevsky - Teddy Killerz

Disruptive by Black Sun Empire

Used for: Effects and synth leads.

"We already had the basis for the track for a while and still felt like we missed something. Phase Plant was perfect for quickly setting up some modulation and binding it to the Wavetable Oscillator, and the brand new (at the time) Filtertable and Shapertable effects. The combination of these things can cut through any mix (which was already quite dense) and become a recognizable element in a track.

We use Multipass inside Phase Plant for setting up the effects routing as this allows the same modulation to be used and you can make sure the reverb doesn't get all over the low frequencies.

Another great use of Phase Plant is creating transitions inside the track. We hardly ever use sample packs for risers/downers anymore as this synth is so perfect for it. Just create 2 or more modulations, bind them to pitch, filter and distortion and let them influence each other and you are basically done :)”

Black Sun Empire

Usurper by Kompany

Used for: Aggressive lead bass in the drop.

"I used Phase Plant for the aggressive lead bass that defines the drop in Usurper. It was the centerpiece of the sound design — distorted, dynamic, and constantly shifting. I wanted something that felt alive but controlled, and Phase Plant delivered that flexibility.

I think I used a cool Malstrom one-shot I made and dragged it into the Phase Plant sampler to be able to get nuts with the post-processing and squash it all together, with a sub going to a separate lane.

I chose Phase Plant because it lets me build a whole modular chain in one place without having to rely on external processing. Between the Snapins, Multipass routing, and macro control, it’s basically a playground for any idea I throw at it. No other synth gives me that level of control while staying CPU-friendly."

Kompany

Don’t Look Back by Kill the Noise and MOELLE

Used for: Bass sounds and melodies.

"I used Phase Plant for my song Don't Look Back with MOELLE from the album, EMBRACE. It was used for all the bass noises in the song and a few of the melodies.

During this time I was also working on my Content Bank, Book of the Dead, for Phase Plant. I wanted to be sure that the presets were functional and they consequently ended up being used on the album.

Many of the sounds used are tweaked versions of a preset called Tales from the Heckrealm, which ended up being included in the bank and is a great jumping off point for this kind of sound design."

Kill the Noise

Galaxies by Protostar

Used for: Layered mid-bass.

"So phaseplant has actually been a staple in every single one of my releases since its beta version that I used to make patches for the factory soundbank (shoutout "noise to meet you" my beloved). For my song Galaxies in particular I used a few patches called Dangerous Territory and Bacteria Bass (biggups Rob Swire & ARTFX for these patches), and they were both layered together with another synth to make the main mid bass layer in the drop.

Phaseplant is my usual go-to because even if I am starting from scratch, or "preset surfing", I have so much flexibility in the routing and especially FX chain that I can achieve almost any sound I can think of or want. I just love the open sandbox nature of it and still to this day I find myself reaching for it more often than not!"

Protostar

Run Time by Dash Glitch

Used for: Bass and gated vocal lead.

"I used Phase Plant extensively for the core elements—mainly the bass and leads—across most of the tracks on my album. Its semi-modular design makes it an ideal choice, because you never really hit a creative ceiling. With so many generator, effect, and modulation options available, I can usually shape the sound I want entirely within Phase Plant, without needing much post-processing.

On this track specifically, Phase Plant handled both the bass and the main gated vocal lead. The bass started with a basic saw wave, processed with the Disperser effect in the wavetable editor, followed by some filtering and additional shaping. For the lead, I used several layers of the Granular modules loaded with factory vocal samples that I processed and then re-imported back into Phase Plant.

One of the things I love most about Phase Plant is how seamlessly it integrates with the rest of the Kilohearts ecosystem. I often create custom templates across Snap Heap, Multipass, and Phase Plant itself, so when I’m working, I can just load one up and quickly switch between different pre-configured setups. It helps me move fast, whether I’m going for experimental sound design or more refined, mix-focused tweaks."

Dash Glitch