Video summary

The History of Vengeance – the Sound That Defined an Era

Main summary

Key takeaways

Educational

Main ideas, concepts, and lessons

  • Vengeance’s sound shaped EDM for decades

    • The “Vengeance sound” (bass drums, build-up effects, vocal snippets, etc.) was widely present across radio, clubs, and even advertising.
    • Even if listeners didn’t know the brand, they likely encountered Vengeance samples through DAWs and mainstream production workflows.

  • Manuel Schleis is the central figure behind “Vengeance,” though he wasn’t “Vengeance” at first

    • Born: Germany, 1979 (presented as coinciding with the host’s birth year).
    • Early career: Freelance designer of sounds/presets and add-on packs for major synths.
    • Artist aliases: Spencer & Hill; also used other identities, including references tied to DJ/maniac-style pop/trance acts.
    • Transition: Shifted focus from releasing tracks to sampling full-time.

  • How the company/brand began

    • Not initially a store—started as:
      • A website/forum: vengeancesounds.com
      • Producers exchanged presets, sound sets, tips, tricks, and community content (including jokes/memes).
    • Early products were tied to the forum community (e.g., “Vengeance Forum Sound Set”).
    • Later came purchasable sample packs such as:
      • Essential Club Sounds 1–5
      • Essential House
      • Trance Sensations
      • Dirty Electro
      • Additional genre-adjacent packs (including dubstep and trap), and ultimate fills
    • The host frames these packs as a “map” of dance genres from roughly 2007 to 2015, with 50+ packs.

  • Why the samples became so influential

    • They were engineered to achieve a professional, specific club/EDM sound with minimal effort:
      • Equalization, compression, layering, and processing
      • Designed so users could drop them into projects and get polished results quickly
    • This created a major “shortcut” perception: fast success with ready-made components.

  • The “cheat code” controversy

    • Positive view: Easier access to professional-sounding production.
    • Negative view: If everyone uses the same “cheat code,” producers may begin to sound similar.
    • The speaker suggests forum culture can pressure people into conforming, while “real pros” are still making great tracks for the dance floor.

  • Accusations and licensing issues

    • Unproven forum allegations (speaker hedges):
      • Some claimed early packs contained unauthorized samples (sounds from existing records or from other companies’ sample packs).
      • A specific allegation: early packs supposedly included sounds from VIP Zone sample CDs, allegedly identifiable by original metadata still present in WAV files.
      • The speaker emphasizes they could not substantiate these claims beyond forum posts.
    • Documented/real issue: license terms
      • Packs were sold with “royalty-free” framing, but the speaker clarifies that it wasn’t unlimited in every way.
      • Vocal samples:
        • Using vocal loops in commercial releases may require sharing royalties with the vocalist.
      • Melodic loops:
        • Licensed for non-commercial use only (explicitly affecting real usage).
      • Additional restrictions described:
        • In some cases, using third-party systems (e.g., platforms like Loopcloud) could impact distribution rights.
        • Claims that uploading to YouTube Content ID may be blocked if samples are present (as stated by EULAs from services like DistroKid/TuneCore).

  • Vengeance expands from samples into software

    • Around 2008, Schleis partnered with programmer René Caillouet.
    • Result: Caillouet Audio and the plugin line:
      • Vengeance Production Studio (VPS)
    • Early VPS plugin: 2013
      • Multi-band sidechain plugin (to achieve “electro pumping / French touch” style effects across frequency bands).
    • More production tools followed:
      • Filter, Betrum, Phalanx, Glitch (text fragment in subtitles), compressor, and mastering tools
    • Avenger (major step):
      • Launched 2016
      • Price at the time: 199 euros
      • Described as “maximalist” with:
        • Eight independently routable oscillators
        • Supersaw section
        • Chord generator
        • FFT filter
        • Built-in drum machine with its own sequencer
      • Positioned as generative follow-up to sample-pack convenience.
    • A later version mentioned:
      • Avenger v2 (2023)

  • DRM/piracy drama

    • Presented as a common issue for highly desired tools:
      • Piracy increases pressure.
      • The company responds by making it harder for legitimate users (per the speaker).
    • Copy protection changes described:
      • Added a DRM system called CodeMeter partway through Avenger’s lifecycle.
      • CodeMeter behavior described as:
        • Encrypting application files
        • Hidden behind keys stored in specific locations
        • Consumes background resources and can trigger malware alarms
    • They allegedly considered switching to iLok / dongles (Wibu-Key referenced), framed as desperate.
    • Resulting customer backlash:
      • Forum threads of “furious paying customers”
      • Examples of complaints about workflow instability and added friction.
    • Claimed “no real end,” because even if CodeMeter was dropped, other DRM choices (like iLok) can still be frustrating.
    • Pirates get tools “for free,” while DRM users must manage keys/limitations.

  • Final evaluation: did it help or hinder music?

    • The speaker frames a balanced tension:
      • Helped: lowered the barrier to making tracks that sound good quickly.
      • Hindered (concern): relying exclusively on narrow-genre reproductions and sample-driven templates can become creatively suffocating.
    • Encouragement:
      • Use Vengeance tools broadly (examples given: hyperpop, ambient, dub techno).
      • Let ears/heart guide usage rather than feeling locked into how the samples were originally sold.

  • Call for audience input

    • The host asks viewers:
      • Did sample packs/presets help you, hinder you, or both?
    • Encourages commenting (and reading comments).

  • Non-advertisement disclosure

    • The speaker repeatedly states it is not sponsored or endorsement.

Speaker/Source identification (as featured in subtitles)

  • Arp (also referred to as Jeremy the Great)
  • Jeremy (mentioned as the primary host/other channel personality who will return when he feels better)
  • Manuel Schleis (subject of the history; discussed as the key figure)
  • René Caillouet (co-founder/partner for Caillouet Audio; helped enable VPS/plugins)
  • Red Means Recording (channel/brand name mentioned as the source of the video’s content)
  • Forum/community producers (collective, referenced as sources of claims and discussions—no specific individuals named)
  • DistroKid (referenced via EULA claims)
  • TuneCore (referenced via EULA claims)
  • Loopcloud (referenced in licensing/distribution/content limitations)
  • Splice (referenced as part of the advice to read licenses)

Original video