Synth VST Plugins

Designed for versatile dark ambient and cinematic sound design, Wraith is a synthesiser for pads, drones and synthetic textures.

It’s comprised of 230 audio samples grouped into 3 categories: Drones, Tonal and Textures and over 80 playable presets.

It’s housed in our powerful sampler engine Mirage, which is structured around 3 audio layers that can be controlled separately, and an effects rack with distortion, chorus, reverbs and more.

Wraith is an ideal sound design tool for creating atmospheres, backgrounds and tension.

KEY FEATURES

• 83 presets that are ready to use for production
• Wraith is playable, it’s more than just samples – it can be controlled with MIDI CC, velocity and the sustain pedal.
• It includes randomising features allowing for quick trialling of new sounds
• Easy to use – it has a sensible GUI layout which can be resized
• 3 layers can be blended together and controlled with an envelope, filters, EQ, LFO, and sample loop settings including crossfade
• Effects rack with distortion, bit crush, compressor, chorus, reverb, delay and convolution reverb to further shape the sound
• Works in any Windows or Mac DAW that can host a VST or AU, no other requirements
• Sounds with movement and character, both dissonant and harmonic

230 Samples and 80 presets

Wraith contains a huge collection of sounds, each organised into one of three categories.

The Drones and Tonal sets that comprise the largest bulk of this expansion allow for quick prototyping of complex scenes and soundscapes featuring gritty low-end, rich drones full of depth, and granular harmonic content contrasted with smooth and silky Ambient tones perfect for adding a bit of sweetness and emotion to the cold and hopeless vibe of the bleak drones.

The Textures folder acts in turn as a glue between the two main categories, making it possible to either make even more complex sounds through an extra layer of sound or substitute either of the two main layers for further variety and flexibility.

Overall, this is a great collection of sounds to add to your palette if you’re on the lookout for new and fresh modern cinematic tools capable of taking your music to obscure and uncharted places, which, within the Mirage engine conforms a great playground for extremely creative sound design.

Audio crafted by sound designer and composer Carlos Butler

Carlos Butler, who is also known for his sound design project, Temporal Geometry, created the samples of Wraith. For Wraith he has drawn from years of experience as a composer of ambient and cinematic music which he releases under the name Rildrim.

His skill for tonality and for making samples that can be used in a practical, musical way shine through in this library.

Specifications

• 83 presets, saved as separate mirage-phoenix files
• Mirage sample-based synthesis engine included
• Wraith Mirage library (closed format mdata file) which features 230 instruments

What is Mirage?

Mirage is our sample-based synthesis engine. It is a VST/AU synthesiser plugin that features a powerful set of controls for processing our custom sample libraries, such as Phoenix or Wraith (currently libraries can only be made with our internal tools).

Mirage is designed for rapid, flexible sound design and for ease-of-use.

Designed for sound layering

As sound designers and foley artists know well, layering is an excellent way of designing new sounds using existing samples. Mirage allows for up to three different sounds to be controlled separately and layered together.

The layers in Mirage have the following controls unique to them: pitch, volume and pan, filter, volume envelope, LFO, EQ, sample loop settings and MIDI settings. These controls facilitate an incredible amount of manipulation over the original sound source.

A rack of built-in Effects

Another technique that sound designers use to shape the character of sounds is by applying effects. Mirage features a rack of such effects for this purpose. Built-in effects such as distortion, bit-crush, chorus and stereo widener can be used to enhance the sound with extra harmonics or extra simulated width.

The compressor can be used to control dynamics or add punch, and the filter can be used to isolate just the frequencies you need. Mirage also has reverb and delay effects for real space simulation. These are great for sound design too.

One of the reverb effects is a convolution reverb, this is typically used to add a real-sounding reverberation effect to the signal by using samples of real spaces (impulse responses). However, by substituting the sample of a real space with an abstract sample, interesting effects can be produced. Mirage features both realistic impulse responses and abstract ones for creative sound design.

Designed to be Played

For compelling and dynamic performances, you often want to control the parameters of the sound as you play. We naturally do this in real life. For example, when singing a melody, we make some parts louder and vary the tremolo intensity. Mirage helps with enabling this type of modulation too.

The volume at both the layer level and the master level can be controlled with MIDI velocity. Sustain pedal (MIDI CC 64) is also fully supported, enabling you to hold notes using a foot pedal. On top of that, any parameter in Mirage can be controlled by knobs or sliders on your physical MIDI controller. This is simply a matter of right-clicking the parameter, selecting ‘MIDI learn’ and then moving your controller. And of course, Mirage can also be automated by your DAW.

Minimum friction from your mind to your DAW

Mirage is designed to not get in your way. It is fast to load up and is CPU efficient. It has a vector-based GUI that can be resized so that it will work on any size screen. The controls are laid out in an intuitive way, and a full description of what each control does can be viewed by hovering the mouse over it for a moment. Mirage also comes with a PDF user manual with all of the nitty-gritty details covered.

A Synth With A Soul

BA-1 from Baby Audio is a modern re-imagination of an 80’s analog synth that looked like a toy but sounded like a beast. Evolved beyond the point of emulation BA-1 brings you pure and authentic textures that are fast to program and dripping with color.

The Legacy

BA-1 is based on a portable 1980s synth with a toylike appearance and a gritty sound. Despite its small size, it left a big mark on music history, while still flying somewhat under the hype radar. The original has been used as a secret weapon for bubbly synth textures by some of Sweden’s most successful pop producers of the past two decades. It was also a staple of 1990s digital dancehall and beloved by the indietronica scene for its raw lo-fi quality. The ‘CS01’ – as the original is called – has never been properly captured in software form. So for our first ever synth, we started there.

The Sound

In keeping with our motto ”it’s an evolution, not an emulation”, we modeled the hardware with the greatest possible accuracy, before carefully upgrading it with new and useful features. A second analog-modeled oscillator, FM, polyphony, and more, help to vastly expand the sonic palette of the original. All while keeping its signature sound unspoiled. Additionally, BA-1 lets you drain the battery, bend the circuits and use the built-in speaker for an authentic lo-fi aesthetic that you could normally only get with hardware.

The Effects

If you know our company, you’ll know that effects are our specialty. So we’ve treated BA-1 with an FX section worthy of its own plugin. The effects chain is inspired by budget 1980s rack hardware and captures the lo-fi charm of the home studio scene of the era. The overdrive is modeled after a guitar pedal, while the delay, reverb and chorus effects are based on cheap, but amazing, digital rack units.

In BA-1, the effects are not an afterthought but an ingrained part of the sonic signature. So tweak, use, and abuse them.

The Simplicity

BA-1 is simple, but surprisingly tweakable. We’ve put great effort into tuning all parameters to be in the perfect sweet spot. This results in a rewarding programming workflow where tweaking BA-1 is a lot of fun and you’ll create new patches on repeat.

And if a simple interface is not fast enough, you can always use the smart ‘Re-Gen’ feature. Hit Re-Gen and BA-1 will automatically create new and musically tuned patches with every click.

FEATURES

• The first proper analog-modeled emulation of the CS01, a beloved and cultish 1982 monosynth
• Vastly expands the sonic palette of the original – thanks to careful upgrades and new features
• Includes a colorful FX section inspired by budget 1980s hardware
• Fun and easy to program, yet deceptively versatile
• 500+ high quality presets and a Re-Gen function for instantly generating new patches
• If you want authentic, lofi-leaning, synth textures in a plugin, this is it!

Factory Presets:

BA-1 comes loaded with 500+ presets , including special collections made by some of the best sound designers in the industry.

The Name Says It All!

Unique specializes in state-of-the-art vowel sounds and mighty, mighty analogue sounds from the Golden Age of synthesizers. Her assertive sound should not be missing in any VST folder.

MAIN FEATURES

• Sawtooth, Triple Saw, Pulse, Triple FM, Noise with tonal Filter, Sub Sine
• 5 Filters with 5 Modulators each
• Vowel Filter
• Duophone Arpeggiator
• Two Effect Sections
• x/y Pad with Recording
• MIDI Learn & Host Automation
• 300 groovy presets by various artists

Dual-Oscillator with 5 Waveforms

You Won’t run out of Classic Analogue Sounds Anytime Soon

Unique is a well-crafted emulation of synthesisers from the golden age of analogue keyboard sounds. Some of the strings and piano sounds will bring back fond memories, while there’s plenty of depth and power to the basses.

Sound and functionality have been designed together with musicians to cover a wide range of sounds and ease of use. We took a close look at some old techniques to reinvent them for the current age. The user interface is simple but powerful.

And it’s a pretty versatile instrument. Once you’ve built your sound, there’s tons of sound polish in a juicy filter section and two chained multi effect units.

Activate Vowel Mode

The sound of Unique springs to life when it hits the filter section. Needless to say, analogue high-pass, low-pass and band-pass varieties are in place, along with a comb filter. But standards aside, the actual intention behind this project, a Vowel Filter, also became its outstanding feature. The Vowel Filter allows you to string together two or four vowel formants and play them back in a multitude of ways.

The internal controller section will bring in some much-needed dynamics. There’s a recordable XY field, a sequencer and it’s all very easy to manage with just a right-click on any control. User feedback range from “the Controllers section rocks!” to “the Controllers section just blows me away!”

It’s not a Software, it’s a Mindset!

Thanks to the unusual architecture, Unique always remained special down to the present day. The duo-phonic arpeggiator, polyphonic auto-panning per oscillator and the complex filter have what it takes to let your mix shine.

The modulators can be triggered in many different and “unique” ways: for example with the lowest note played, the first note played or even with the sequencer clock or the arpeggiator.

Yet another stunning feature: The internal LFOs have fade algorithms for rate and intensity; and we implemented a proper polyphonic portamento, too.

The Massive Poly Sound Machine

Polymode is inspired by the groundbreaking Moog Polymoog synthesizer. One of the world’s first polyphonic synthesizers, its unique multiple parallel filter implementation and mod routings give it a sound like no other synth. And though the original Polymoog sounded incredible, it could be challenging to operate and was prone to breakdowns.

Cherry Audio’s Polymode sidesteps all of the drawbacks of the original instrument and massively expands its capabilities.

With a streamlined user interface and immense modulation capabilities, Polymode sets a new standard for animated, sonically evolving string, pad, and choral tones.

Polymode Synthesizer Features:

• Precisely recreates the unusual paraphonic architecture of the original instrument
• Over 150 presets
• 32-voice polyphony
• Extensive modulation routings for almost all synthesis parameters
• Numerous modulation sources including velocity, pressure, white and pink noise and more
• Simultaneously available saw and pulse waves for both oscillator ranks
• Super accurately recreated “mode” filters
• Expanded resonators section with additional LFO, 12db/24db slopes, and notch mode
• Classic 24db ladder-style filter
• Integrated ensemble, phaser, tempo-synced echo, and reverb effects
• Classic Solina-style tri-chorus mode
• Two bonus LFOs with five waveforms and tempo sync
• Full MIDI control
• Full DAW automation for all controls

String Studio VS-3 is a multitimbral synthesizer in which a collection of unique string oscillators replaces the traditional VCOs, DCOs, and operators as the main sound source.

Consisting of picks, bows, and hammers interacting with a modelled string, these oscillators offer a special blend of modern and creative synthesis. Augmented with a soundboard, classic filters, an enveloppe generator, a LFO, and studio-quality effects, String Studio VS-3 proposes a brand-new path in the quest for tone.

What’s New

We have streamlined String Studio and brought it to a whole new level – it will change your perspective on what a synthesizer can be.

• NEW Two-Voice Multitimbral: String Studio VS-3 combines two independent timbres—either stacked or split—to create performance-friendly, texture-full, and spacious sounds that are sure to make a good impression.
• NEW Modulators: String Studio VS-3 now boats two performance modulators per layer that respond to user-defined MIDI controls. Each and every sound features effect and morphing assignments that can be played in real time for enhanced expressivity and sonic dimension.
• PEPPED Factory Library : A long and fastidious process of fine-tuning went down in the AAS quarters. Each and every sounds went under the eyes of all team members to exit with a consistent gain-stage, unity-gain effects, better dynamics, and compelling real-time sound transformation assignments. This is our most perfected sound library to date.
• NEW Signature Sound Packs: String Studio VS-3 ships with four brand-new signature sound packs created by the industry’s top sound designers. Richard Devine, Christian Laffitte, Thiago Pinheiro, and Daniel Stawczyk form an incredible team that made the most of the latest String Studio VS-3 features It’s with great pride that we present these 227 new sounds.
• NEW Browser: String Studio VS-3’s improved sound browser presents a simple way to find the sound you’re after. String Studio VS-3 sorts sounds by category to present an overview of a pack’s content. Additionally, shortcuts to categories and tone qualities provide a quick way to jump right where you need to be.
• IMPROVED Filter’s Musicality: String Studio VS-3’s filters can now put up with extreme modulation while remanding totally musical.
• NEAT Compatible with String Studio VS-2 sounds: Simply copy String Studio VS-2 banks in String Studio VS-3’s packs folder to convert them.
• IMPROVED Microtonal tunings via Scala scale files: String Studio VS-3 now supports the Scala scale file format as well as reference note frequency tuning for microtonal music making.
• EXPANDED Multi-Effects Module: String Studio VS-3’s multi-effects module now sports reverb, equalizer, compressor, and guitar amplifier processors for even more

One-of-a-kind String Oscillator Synthesizer

String Studio VS-3 provides a truly distinctive sonic signature thanks to a collection of unique string oscillators.

Two-Voice Multitimbral

String Studio VS-3 combines two independent timbres—either stacked or split—to create performance-friendly, texture-full, and spacious sounds that are sure to make a good impression.

String Oscillators

Consisting of picks, bows, hammers, fingers, frets, and dampers, the string oscillators offer a unique blend of modern and creative synthesis.

Classic Architecture

Augmented with classic filters, enveloppe, LFO, soundboard, and studio-quality effects, String Studio VS-3 offers a terrific balance between innovation and familiarity.

Multi-Effect Galore

String Studio VS-3 holds an abondance of effects in three independent racks. Reverb, delay, distortion, phaser, chorus, flanger, filters, equalizer, compressor, guitar amplifier, tremolo—all assist in putting the final touch on a sound.

Per Sound MIDI Controlled Variations

String Studio VS-3 now boasts two performance modulators per layer that respond to user-defined MIDI controls. Each and every library sound features effect and morphing assignments that can be played in real time for enhanced expressivity and sonic dimension.

Everything you need from Start to Finish

With 800+ professionally crafted presets covering all the synthesizer sound categories, String Studio VS-3 packs everything you need to create all the parts of your productions.

800+ Professionally crafted presets

The 800+ sounds of String Studio VS-3 form a coherent whole with consistent gain-staging, unity-gain effects, better dynamics, and compelling per sound MIDI controlled variations. This is our most perfected sound library to date.

Four Signature sound packs

String Studio VS-3 ships with four pristine signature sound packs created by unrivalled sound dwellers. Richard Devine, Christian Laffitte, Thiago Pinheiro, and Daniel Stawczyk set forth a collection of unheard sounds that makes the most of the latest String Studio VS-3 features.

22 Top sound designers

Only a team can assemble a fine factory library—let’s introduce the 22 contributors: Ben Crosland, Benoit Charland, Carsten Schmid, Christian Halten, Christian Laffitte, Daniel Stawczyk, Deadbeat, Eric Thibeault, Erik Putrycz, Gautam, Glen Darcey, Harm Visser, JDG, Jean-Christophe Utz, Martin Walker, Paul Haslinger, Philippe Derogis, Richard Devine, Sean Divine, Simeon Amburgey, Thiago Pinheiro, and Vincent Gagnon.

22 Synthesizer sound categories

String Studio VS-3 shows high proficiency by covering 22 sound categories—basses, percussions, effects, impacts, noises, sweeps, clavinets, keys, organs, bells, mallets, guitars, plucks, strings, leads, pads, arpeggios, layers, rhythmics, sequences, splits, and textures.

With String Theory, Adam Pietruszko takes meticulous advantage of String Studio VS-3’s two-voice multitimbrality and MIDI-controlled sound variations features to deliver rich, complex, and refined sounds. From strings to a wide selection of basses, leads, plucks, pads, and keys, with tonal qualities ranging from acoustic, through electric, up to far-out synthetic, String Theory forms a sweeping collection that will tackle any musical genres with ease.

And with presets notes, Adam Pietruszko shares a tremendous amount of insight about synthesis as well as expert information to take full advantage of String Studio VS-3’s capabilities.

discoDSP’s Discovery was one of the company’s first and finest efforts. Heavily inspired by Clavia’s Nord Lead series, Discovery earned a place on many a hard drive with its dual-oscillator architecture, resonant filter and built-in effects.

Borrowing the layers and morph abilities from the instrument that inspired it, Discovery was – and still is – a synth capable of blistering basses, lush pads and scorching solo sounds.

Discovery Pro ups the ante considerably – with more filter types, more oscillators and advanced features such as sample import – without exacting a prohibitive price.

Yes, it costs twice as much as its sibling, but it’s still hardly expensive and, as you’ll see, it offers a much wider palette than the initial version.

Discovery Pro is a 12 oscillator Virtual Analog Synthesizer featuring 4 layers, WAV and SoundFont (SF2) support, PADSynth, 2X oversampling / undersampling, built-in arpeggiator, sync, FM, 12 filter types, panning modulation, stereo delay and gate effects, graphic envelope modulation. Imports and exports Clavia Nord Lead 2 SysEx data.

Main features:

• Multi-sized GUI (400p, 600p, 800p) including Retina.
• 32 / 64-bit VST2 / VST3 / Audio Units / Standalone / AAX
• 128 voice polyphony.
• 128 Patch Memories per bank.
• Parameter Morphing using Modulation Wheel or MIDI velocity.
• 2x oversampling.
• 2x oversampled distortions.
• Nord Lead 2 modeled Unison.
• Nord Lead 2 modeled Zero Delay Feedback filters.
• Dual / Quad octave key split.
• Bank browser (by clicking arrows in display led and bank name).
• More than 5.000 presets in 60 banks (including a percussion one).
• Nord Lead 2 and 2X patch import and export.
• 4 Layers per Patch, each with:
  • 2 Oscillators (Sine, Saw, Triangle, PWM, Square, Parabolic, White and Pink Noise) with Ring modulation, Sync and Frequency Modulation.
  • 1 Wave Oscillator. Can load mono, stereo WAV and SoundFont 2 (SF2) files using high quality resampling interpolation.
  • PADsynth re-synthesis. User banks are easily added.
  • Resonant Filters (LowPass, HighPass, BandPass, BandReject, Formant, 8 taps phaser, X 12/24 dB and Y 12/24 dB are Moog modeled).
  • ADSR for Amp & Filter. Amplitude envelope can switch between linear and exponential curves.
  • 2 LFOs.
  • Modulation Envelope.
  • Graphical Modulation Envelope.
  • Arpeggiator.
  • Built-in Chorus, Phaser, Panning Delay and Gate effects.
  • Symmetric, Asymmetric and Asymmetric 2 Distortions.
  • Limiter.
  • Portamento.
  • Poly / Mono / Legato modes.
• MIDI CC control.

The Soundyan’s Interstellar Waterphone 1.2 is an extraordinary virtual instrument plugin.

Three different physical waterphones were recorded to make an audio source for this plugin.

Control over sound by multiple parameters

The Interstellar Waterphone plugin has many diferent parameters for sound control

• Attack, Decay, Sustain, Release envelope
• Sample start offset
• Low-pass and high-pass filters

Virtual Bow

Interstellar Waterphone has a “Virtual Bow” knob, that can play sounds and generate midi data, that will go out of your plugin and can be recorded by a DAW software.

• Steps
• Offset
• Bow velocity
• Velocity randomness

The recordings were made with high quality equipment such as the Sanken 100kHz, Shoeps MS pair and specialized contact microphones. Ultra fine preamplifiers were necessary to capture the loud transients and beautiful, subtle reverberations.

Sounds are arranged in six sound sets.

Now it is compatible with MTS-ESP, the new product of cooperation between ODDSound and Aphex Twin.

Get ready for extreme pitch shifting and scale morphing on the fly! This system is a perfect match for the Interstellar Waterphone.

If you wish to create awesome soundscapes and sonic textures it is very likely that you will go for the Interstellar Waterphone.

The instrument also provides very interesting melodic possibilities and crazy percussive sounds in the “Dark Chimes” sound set.

• The UI is very intuitive and handy.
• CC learning with two clicks in standalone version.
• The “Virtual Bow” feature – generate MIDI with CC.
• Control over the bow noises and transients with the use of Offset and Attack parameters.

Pitch bend in the given range – from a micro tone up to 12 semitones (an octave). Full support for MTS-ESP, a microtonal tuning system tool from ODDSound and Aphex Twin.

New in 1.2.2:

• Added tune knob that can tweak the sound pretty hard if needed.
• Now it is easy to move the sound files anywhere you like and setup the Interstellar Waterphone plugin to use them.

Unique sounds recorded on professional equipment suited for cinematic recordings.

The sounds of the waterphone are very complex. They have sharp transients and long reverberating sustain which is very subtle and rich with harmonics. These sounds are singing and enchanting but also thunder-striking and whispering in the next moment.

AIR Solina – Strings Evolved

The AIR Solina Plugin is based on the Iconic classic 6-timbre polyphonic keyboard instrument featuring Contrabass, Cello, Viola, Violin, Trumpet and Horn selections with independent volume, pan and pitch control. Combine them for a massive sonic experience to liven up even the most thrilling music production.

Solina produces highly realistic recreations of classic sounds with superior fidelity and dynamic response using proprietary dynamic modelling, a unique combination of optimised sampling and modelling techniques. Developed with over 20 years of expertise in this field.

AIR Solina also includes the new Flavor section for added texture and color to its sound. Also built-in is a wide array of effects including Delay, Reverb, and Chorus. With 75 built-in presets and endless tweakability, AIR Solina is the sound designers dream with no shortage of knobs to twist and turn for incredibly unique keyboard tones.

AWARD-WINNING EFFECTS BY AIR TECHNOLOGY

AIR Solina has world-class audio effects processing built-in to enhance your sounds as you create quickly. Choose from Compressor, Four Band EQ, Spring Reverb, Delay and the new Flavour, each with a dedicated section to dial-in any adjustments.

New AIR Flavor – distort and transform your patches into lo-fi heaven all inside a single multi-effect. Apply eq simulations of radios, phones, and tape machines to dramatically change the timbre of a patch, distort, add noise, and tape flutter to access a range of lo-fi treatments.

The AIR Creative FX collection has been included as part of Pro Tools® since Version 8 and is considered the reference FX suite by some of the world’s most respected audio professionals. AIR FX has been featured in many of the last decade’s top film, game and music projects. Each plugin has been expertly designed with ease of use and will ensure professional results each time.

DESKTOP APP

Included with your Plugin purchase is our Desktop Player application. Fire up the Desktop Version of Solina and connect your favourite Midi Controller either by USB or Bluetooth, and you are ready to perform live. Our interface has been designed with ease of use and live performance for maximum playability.

CROSS COMPATIBILITY

Purchasing Solina in Plugin format brings you cross-compatibility with Akai Professionals renowned Standalone music production systems, including the MPC and FORCE series products. Now you can get your favourite MPC instruments to any DAW.

Features

• Split, layer, pan and balance sampled versions of the original contrabass, cello, violin, viola, trumpet, horn layers more flexibly than on the original classic instrument.
• LFO for Vibrato effects
• Change the Formant, Filter and Age parameters to further shape the sound
• 75 factory presets

New in V1.1

Desktop Software
The desktop software is compatible with:

• macOS Big Sur and Monterey, Intel and Apple Silicon
• Windows 10 and Windows 11
• Plug-in versions are provided in VST, VST3, AU and AAX formats

New Features

• GUI can now be resized to scales between 50% and 200%
• Plugin presets can now be saved and loaded directly from the plugin toolbar including when using the standalone app

Bug Fixes

• When opening a DAW project containing Solina in addition to a newer AIR plugin, you will no longer get signed out of your inMusic account.
• Text now displays correctly when running in macOS 13 Ventura

WayOutWare Odyssey – Take a Journey Into Sound

Developed by WayOutWare creators of the Legendary timeWARP2600 and Kick Axe instruments.

WayOutWare prides its self on creating the highest quality emulations. In fact, TimeWARP was the only ARP 2600 emulation product endorsed by its creator, Alan R. Pearlman.

WayOutWare building on this legacy of ARP Emulation excellence has created a truly, faithful recreation of this legendary synth. Not only is it accurate sonically, but with their experienced circuit modelling and signal processing, WayOutWare captured the behaviour, character and charm of the original ARP Odyssey. With Expression pedal modulation, velocity and channel pressure support built-in every attention to detail and realism has been made.

Shape your perfect sound leveraging the powerful Dual oscillators, LFO, Sample and Hold, Ring-mod, high-pass and low pass filters. Take inspiration from the built-in library and start your own sonic odyssey of discovery with endless tweakability. You can use Odyssey as mono, duophonic or as a polyphonic synth with up to 4 simultaneous voices to take your project to the next level.

PACKED WITH PRESETS

WayOutWare Odyssey comes with over 150 presets including synth leads, ambient pads, drum percussion sounds and more. With its extensive control layout, tweak and automate parameters for unique sound design to make music productions one of a kind.

DESKTOP APP

Included with your Plugin purchase is our Desktop Player application. Fire up the Desktop Version of Odyssey and connect your favourite Midi Controller either by USB or Bluetooth, and you are ready to perform live. Our interface has been designed with ease of use and live performance for maximum playability.

CROSS COMPATIBILITY

Purchasing in Odyssey Plugin format brings you cross-compatibility with Akai Professionals renowned Standalone music production systems, including the MPC and FORCE series products. Now you can get your favourite MPC instruments to any DAW.

Features

• Dual oscillator, LFO, Sample and Hold, Ring-mod, high-pass and low pass filters.
• Circuit modelled oscillators and filter
• Gorgeous touch interface
• Expression pedal modulation, velocity and channel pressure support.
• Use the Odyssey mono, duophonic or as a polyphonic synth with up to 4 simultaneous voices
• A faithful reproduction of the classic 1970s movable head tape delay
• 150 factory presets

New in V1.1

Desktop Software
The desktop software is compatible with:

• macOS Big Sur and Monterey, Intel and Apple Silicon
• Windows 10 and Windows 11
• Plug-in versions are provided in VST, VST3, AU and AAX formats

New Features

• GUI can now be resized to scales between 50% and 200%
• Plugin presets can now be saved and loaded directly from the plugin toolbar including when using the standalone app

Bug Fixes

• When opening a DAW project containing Odyssey in addition to a newer AIR plugin, you will no longer get signed out of your inMusic account.
• Text now displays correctly when running in macOS 13 Ventura

SynthMaster 2 is a two-layer ‘all-around’ semi-modular software synthesizer and effect plug-in that comes with 2000 factory presets right out of the box.

It features many different synthesis methods including VA, Additive, Wavetable, Wavescanning, Phase Modulation, Frequency Modulation, Pulse Width Modulation, Ring Modulation, Amplitude Modulation, Physical Modeling and SFZ Sample Playback synthesis.

2000 Factory Presets: SynthMaster 2 comes with 2000 factory presets from a world-class team of sound designers: Arksun, Aelyx Design, Aiyn Zahev, Bluffmunkey, BigTone, Frank ‘Xenox’ Neumann, Kevin Schroeder, Nori Ubukata, Rob Lee, Vandalism, Vorpal Sound, Gercek Dorman, Michael Kastrup, Umit Uy, Ufuk Kevser, Teoman Pasinlioglu & Brian ‘Xenos’ Lee.

Oscillators: Stereo Oscillators with Unison/Voice Stacking: Oscillators in SynthMaster 2 have stereo output. Using the “voices”, “voices mix”, “detune curve”, “detune spread”, “pan spread”, “tone spread” and “phase spread” parameters, each basic/wavetable oscillator can generate a rich “supersaw” type sound.

Basic Oscillators: Basic oscillators in SynthMaster 2 are capable of synthesizing many different types of waveforms: Sine, Square, Triangle, Sawtooth, Pulse, Noise, single cycle waveforms and multi-sampled WAV/AIFFs defined in SFZ files. Each oscillator comes with 17 different algorithms in the following categories: Spectral (LP, HP, LS, HS, BP, BS), Bend (Bend+, Bend-, Bend+/-), Sync (Rect Window, Half Cos Window, Cos Window, Tri Window, Saw Window), Pulse (Pulse1, Pulse2) and Quantize.

• Sine, Square, Triangle, Sawtooth, Pulse, Noise.
• Single-cycle waveforms.
• Multi sampled WAV/AIFFs defined in SFZ files.

Wavetable Oscillators: A ‘Wavetable’ oscillator is similar to a basic oscillator, except that the waveform can be scanned (interpolated) through up to 256 different waveforms shapes. The position of the waveform can be adjusted using the ‘wave index’ parameter. Starting with version 2.9, SynthMaster now supports loading wavetables from wave files!

• Contains many wavetables
• You can import your own wavetables by drag and drop

Additive and Vector Oscillators: An ‘Additive’ oscillator is actually 8 ‘basic’ oscillators running together. Each ‘basic’ oscillator has its own detune, tone, phase/pulse width/algorithm parameter, frequency, waveform type and algorithm parameters.

A ‘Vector’ oscillator consists of 4 ‘basic’ oscillators, mixed at different ratios. The mix ratios are determined by 2 orthogonal parameters in 2 dimensions: ‘X Index’ and ‘Y index’.

Semi-Modular Architecture: For each SynthMaster instance, there are 2 layers followed by 2 global effect send busses. The modulators can modulate frequency, phase, amplitude or pulse width of the oscillators or any other modulators at audio rate, or they can be used as regular oscillators. Each layer has its own:

• Arpeggiator
• 2 Oscillators
• 4 Modulators
• 2 Filters
• 4 ADSR Envelopes
• 2 Multistage Envelopes
• 2 2D Envelopes
• 2 LFOs
• 4 Keyscalers

Massive Modulation Architecture: SynthMaster has more hundreds of modulation targets and 48 modulation sources including ADSR Envelopes, 2D Envelopes, Multistage Envelopes, LFOs, KeyScalers, Easy Parameters, Vocoder Bands, MIDI Velocity, Aftertouch, Pitch Bend and MIDI CC. The modulation matrix, which has 64 available slots, has visual filtering as well so that targets for a specific source or sources for a specific target can be filtered and shown on the user interface.

Filters: Zero Delay Feedback Filters: All of the 4 new filter categories in SynthMaster are developed using the zero delay feedback filter technology. With advanced filter parameters like input gain, drive and acid, you can get that “analog” sound from the filters!

• VAnalog Filters – The ‘VAnalog’ filters are modelled after the famous ladder filter, so they self oscillate when the filter resonance is maxed out. They have a continuously variable slope, which is unique to SynthMaster. They have 3 different CPU settings: “Basic”, “Normal” and “High”. The Basic setting sounds similar to the other algorithms in most cases and consumes at least 50% less CPU.
• Multimode Filters – With the new ‘multimode’ filter type, it is possible to switch from Lowpass to Bandpass to Highpass filter types continuously. For analog multimode filters, it is also possible to change the slope of the filter continuously from 0 dB/oct to 24 dB/oct.
• Dual Filters – With the new ‘dual’ filter type, two multimode filters can be run simultaneously, either in parallel or in series. The mix ratios between the filters and the topology (parallel/series) between them can be changed continuously, as well as the modes and cutoff frequencies of the filters.
• Comb Filters – Comb filters are digital filters used in physical modeling synthesis.

Effects: Rich set of Effects: SynthMaster features 11 different effect types: Distortion, LoFi, Ensemble, Phaser, 6 Band EQ, Compressor, Vocoder, Delay, Chorus, Tremolo, Reverb.

THE OB-E – AN OBERHEIM OCTAPHONIC SONIC ADVENTURE

The Oberheim OB-E is our take on the legendary Oberheim® 8-Voice and the first software instrument ever to receive Tom Oberheim’s personal endorsement. More than just an emulation, the OB-E offers a unique musical experience. Sounding HUGE, it takes the iconic Synthesizer Expander Module (SEM®) based 8-Voice (a.k.a the EVS) into new sonic territory via a raft of enhancements and additions.

The concept of the 8-Voice is actually very simple; based around a single SEM containing two VCOs with Pulse and Sawtooth waveforms, two ADS Envelope Generators, one LFO, and a magical Multi-Mode Filter. In isolation each SEM is monophonic, but in the 8-Voice, because there are eight SEMs triggered by a polyphonic keyboard, you have a superb eight note polyphonic synthesizer.

This unique Octaphonic architecture offers fresh and exciting creative possibilities to music producers, composers and sound designers for the first time in the digital realm.

AN AUGMENTED YET AUTHENTIC INSTRUMENT

We’ve painstakingly emulated every section of the synth to ensure sonic authenticity while adding the convenience of software control over those eight SEMs. Mono, Mono Legato, Poly, Unison and Split keyboard modes are all available. Add to this the new VCO3, doubling as an audio rate LFO for each SEM, and a stack of additional performance controls via velocity, polyphonic after-touch and MPE control then you’ll begin to understand the depth of musical possibilities OB-E provides.

A COLLABORATION WITH OBERHEIM AND NEW ‘VINTAGE’ CONTROL

As we neared the release of OB-E®, we were contacted by Tom Oberheim and Marcus Ryle (an Oberheim engineer in the 1980s) who were impressed enough to suggest a collaboration offering support to refine OB-E and to release the v2 update carrying their full endorsement. Despite receiving several Best Soft Synth 2021 awards, working under the guidance of Tom and Marcus, we further enhanced the already incredible sounding OB-E. Refining the Detune feature and adding a new Vintage control, dials in more realistic musical inaccuracies in line with the original instrument for a truly authentic 8-Voice experience.

NEW IN OB-E v2 (Now macOS & Windows)

The enhanced OB-E v2 is a pin sharp emulation of the Oberheim® 8-Voice thanks to the new Vintage control and a highly refined Detune parameter. In addition, it’s now available for both macOS and Windows. OB-E v2 features a new reverb, 100+ new Patches (bringing the total to over 700), a new Zoom function for the sequencer along with a crazy new Drum Mode enabling each SEM to be triggered by a dedicated key. We’ve also added 10 drum kit Presets to get you started. If you are looking for a new analog drum machine, give it a go, it might surprise you.

CREATIVE SEQUENCER, STEREO DELAY & REVERB

And that’s not all! With the original MS-1 sequencer as a starting reference point, we’ve integrated an extremely comprehensive and creative 8-step Sequencer providing a flexibility and fun-factor unavailable via the original hardware. In keyboard Split mode with the Sequencer routed to SEM 8, the OB-E provides the ability to create a complete three part soundscape within a single Patch. An all-new routable Stereo Delay and lush Reverb provides sonically complimentary effects.

MORE THAN EIGHT VOICES PUT TOGETHER

The 8-Voice is not simply eight identical SEMs put together. The interaction of those 8 independent, and slightly different Synthesizer Expander Modules, plays a major role in making the 8-Voice’s sound so incredibly beautiful. The injection of these authentic inaccuracies into each of the eight SEMs in OB-E takes it to another level, one that blurs the lines between the hardware, and makes OB-E the most authentic emulation of the Oberheim SEM sound and 8-Voice instrument.

Finally, we’ve complemented our instrument with 700+ factory Patches designed by Dave Spiers and a roster of brilliant sound designers. Even better, each Patch has been tagged, categorised and is quickly accessible from the OB-E’s librarian (arrow navigation friendly).

Oberheim OB-E v2 – key features

• [New] 100+ New presets
• [New] Vintage knob & Refined Detune parameter
• [New] Matrix Reverb
• [New] Drum Mode and 10 drum kits presets
• [New] PC support, VST3 and Apple Silicon Native
• [New] Sequencer Zoom
• [New] Flexible scaling UI
• A sonically authentic emulation of the Oberheim® 8-Voice
• 700+ factory Patches designed to fit in a mix, all tagged and categorised
• Librarian for easy access to the presets (Arrow Keys Navigation)
• ZOOM to enlarge an individual SEM filling the UI with front & rear panels side by side
• Group and Offset modes to edit all SEMs at once
• Individual SEM Copy/Paste/Save
• Upper/Lower SEMs can be Split across the keyboard
• Multi-faceted analogue style sequencer
• Extensive Velocity & Aftertouch modulation, Pan and Volume per SEM
• Polyphonic aftertouch and MPE

LittleOne is a faithful software emulation of one of the most legendary and appreciated hardware analog synthesizers, compact in design but also extremely powerful and expressive.

In addition to an accurate re-creation of the original signal path, every single component inside LittleOne (oscillators, filter, envelopes, etc.) prove the same original architecture, frequency response and operative range of its analogue hardware counterpart, producing a deep, rich and warm sound.

Add to the equation a full rack with a 16-step analogue sequencer, a 16-step trancegate effect, two insert/master effects slots and the result is a complete, true-analogue-sounding setup within the comfort of a modern digital studio.

Main Features

• Physical modeling simulation of real analogue hardware, achieved by the adoption of the Advanced Component Simulation (ACS) approach – oscillators, filters, envelopes (,…) are built preserving their original architecture, featuring all the micro-instabilities and imperfections of the analogue technology.
• A legendary 4-pole resonant low pass ladder filter provides all the original non-linearities, frequency responses (also at extreme modulation scenarios), self-oscillation, soft-clipping and overload control.
• Two 4-stage (ADSR) envelope generators proving the same capacitors’ charging/discharging responses as found on the original analogue circuits.
• Extended modulation possibilities, including a white noise generator, a sample-and-hold source and a multi-waveform low-frequency-oscillator (LFO) featuring the original frequency range (from 0.2 Hz up to 500 Hz), allowing for advanced frequency modulation designs.
• True analogue polyphony. In addition to a classic monophonic mode, polyphony (4-voices) is achieved by simulating four fully-independent synthesis systems (devices) separately, as expected in the original hardware specification extension.
• Including XSQ16A unit (rack), a monophonic 16-step sequencer.
• Including GAT3D unit (rack), a 16-step trancegate effect.
• Two insert / master effects slots : X-TREME (tube distortion), FLANG-R (flanger), CHOR-S (chorus), D-LAY (tempo-synced delay), REEVERB (resonator-based reverb)
• 400+ ready-to-use factory presets collection covering many different styles
• MIDI automation, with CC# mapping

Taming A Classic Beast

Our most ambitious instrument to date, Cherry Audio’s Eight Voice polyphonic synthesizer meticulously emulates the immense sound of the Oberheim Eight Voice, one of the world’s rarest and most desirable vintage instruments. Predating modern microprocessor control, its eight independent dual-oscillator voice modules could be challenging to program.

Cherry Audio Eight Voice’s unique Voice Link controls allow simple and powerful grouping of voice module controls, eliminating individually setting each module’s controls when homogenous poly sounds are desired.

Focus buttons allow instant enlargement of any section of the user interface, making sound programming a breeze, and massively flexible keyboard assign modes enable endless mono and poly keyboard zoning and layering options. All in all, we’ve transformed the original’s daunting user interface into a fun and inviting mondo poly synth experience.

Above all, Eight Voice knocks it out of the park with an incredibly accurate and huge sound, courtesy of award-winning synth designer, Mark Barton’s (MRB) circuit-correct recreation of the magnificent Oberheim state-variable filter.

Eight Voice also includes a feature-packed eight-step “mini” sequencer, and high quality modulation delay and reverb effects.

Cherry Audio’s Eight Voice is truly bursting with unique sound possibilities at an unbelievably affordable price!

Eight Voice Synthesizer Features:

• Eight fully independent dual-oscillator voice modules
• Oberheim multi-mode filter emulation by award-winning synth designer Mark Barton (MRB).
• Over 330 presets
• Massively configurable mono and poly keyboard assignment modes
• Independent key range settings for endless layering and zoning options
• Super flexible Voice Linking for powerful voice control grouping
• Focus buttons for instant enlargement of all areas of the user interface
• Two separate poly assign buses for stacked poly patch creation
• Additional LFO with six waveforms and tempo sync
• Eight-Step Mini Sequencer with 1/2-step quantizer and tempo sync
• Studio-quality reverb and mod delay with tempo sync
• Full MIDI control and DAW automation for all controls

Eight Voice Synthesizer is available in AU, VST, VST3, AAX, and Standalone formats.

MELOX PRO. THE FIRST STUDIO-GRADE MELODICA

Melodica never was taken seriously until today. You won’t find a professionally sampled one out there. This is why we made the first Studio-Grade Melodica.

Adding a layer of scripting we recreated the expressiveness of a real instrument, including release velocities, noises, key clicks, air sound, and mechanics.

Also we made it Binaural for increasing realism. Check out the video to see what Melox Pro is able to do.

FEATURES

Melox Pro is perfect for soloing and also for chord playing.

We fine-tuned it until it sounds like no other one. Perfect tuning, fast attack, expressive releases and no chasis vibration.

• Native 64 bits.
• Binaural option.
• Small footprint (~250mb installed)
• VST/AU/Standalone versions included
• PC (64bits and 32bits) and MAC
• No 3rd. party activation or extra software needed
• Vibrato controlable via CC
• Stage reverb
• Noises/air/releses on-off switch

REAL ARTICULATIONS FROM REAL PLAYING

We’ve captured everything from a melodica. Even the key noises and air sounds. And we captured articulations from real playing. Meaning we play a song along (Autumn Leaves in fact) and we stop playing on every note we want to capture as a new articulation. This technique makes MELOX Pro Melodica sound like a real one.

The Oberheim SEM – A simple monophonic synth with a huge sound

When Tom Oberheim created the first Oberheim® Synthesizer Expander Module (model SEM-1) in 1974, he had one goal – to make a synth that sounded great, whilst being extremely simple to use. In the decades since the release of this iconic synth, it’s been used by countless legendary musicians, making the SEM one of the most revered synthesizers of all time.

As well as painstakingly recreating the huge, unmistakable sound of the SEM, the GForce Oberheim SEM also recreates the ethos of the original – a simple monophonic synth that allows you to shape incredible sounds in an instant. And with Tom Oberheim’s seal of approval, you can be confident in its authenticity. Add to this more than 400+ categorised presets, and inspiration is just moments away.

Made in collaboration with Oberheim

We first worked with Tom Oberheim and Marcus Ryle (an Oberheim engineer during the 80s) when creating the GForce Oberheim OB-E® v2. During this time, Tom and Marcus revealed that they felt there were no software emulations of the SEM that accurately recreated the sound and the ethos of the original monophonic SEM. We decided to change that, and under the close guidance of Tom and Marcus, we developed the GForce Oberheim SEM to ensure an experience that is truly authentic to the original instrument.

The Authentic SEM Sound

Centered around two VCOs with Pulse and Sawtooth waveforms, two ADS Envelope Generators, one LFO, and a magical, legendary Multi-Mode Filter, the SEM sound is more than the sum of its parts. In the GForce Oberheim SEM, every section of the synth has been painstakingly emulated to ensure sonic authenticity. We’ve even modelled the authentic analog inaccuracies of the original SEM, blurring the lines between analog character and digital precision. All this makes the GForce Oberheim SEM the most authentic emulation of the SEM sound available.

Simple never sounded so good

The beauty of the SEM truly lies in its simplicity. With a refined design and feature set, you can easily create warm basses, soaring leads and sweeping arps in an instant. This allows you to spend less time shaping your sounds, and more time making music.

Enhanced where it matters

While staying true to the original SEM, we also added a number of enhancements to make the GForce Oberheim SEM even more useful for modern music production. Alongside a new VCO3, which doubles as an audio rate LFO for additional modulation and FM possibilities, the SEM now has tempo-syncable LFOs and a host of performance controls via velocity and aftertouch. We’ve also integrated a fun, fast arpeggiator & sequencer, and added a stereo delay and a beautifully lush reverb to sonically compliment your sounds.

Finally, we’ve included 400+ factory presets designed by Dave Spiers, Graeme Rawson and Tom Wolfe, each created to demonstrate the incredible sonic character of the SEM. Every preset has been tagged, categorised and is quickly accessible from the preset browser. The SEM even integrates with the GForce Oberheim OB-E, allowing you to load your SEM presets in either device. This enables you to quickly sketch out your sounds in the SEM, and then make them polyphonic in an instant.

Features

• Most authentic monophonic SEM experience and sound – small package, big sound!
• The most playable SEM, full of character, and augmented with a 3rd VCO
• 400+ factory Patches designed to fit in a mix, all tagged and categorised
• Librarian for easy access to the presets (Arrow Keys Navigation)
• Sequencer, Arpegiator, Stereo Delay, Reverb
• Undo/Redo, Extend and Flip mode
• SEM presets can be exported to and imported from OB-E
• Extensive Velocity & Aftertouch modulation

Important Note: Voltage Modular is required in order to use this product.

Cherry Audio Year Three Collection for Voltage Modular assembles all of Cherry Audio’s killer “high-end” Cherry Audio/MRB brand modules from Voltage Modular’s third year including VM900 Collection, VM2500 Collection and Synthesizer Expander Module Bundle, at huge savings over the individual purchase prices.

VM900 Collection (for Voltage Modular)

With the sound, look, and feel that started it all, the Cherry Audio/MRB VM900 Collection delivers the audio and visual experience of the legendary 1960s and 1970s-era Moog 900-series modules with spine-tingling impact and accuracy. Every detail has been expertly reproduced, for a virtual window into the halcyon days of early analog synthesis. Award-winning synth designer Mark Barton’s (MRB) proprietary DSP coding reproduces each and every sonic nuance with unprecedented accuracy.

The VM900-series designs remain true to the originals and have not been altered or updated to reflect modern trends. Panel layouts and operation have been preserved in order to present a one-to-one early analog experience like no other. From oscillator drift to warm mixer overdrive to painstakingly reproduced panel art, it’s all there. And with 27 modules, the Cherry Audio/MRB VM900 Collection represents all of the commonly produced 900-series modules, including the early 901-style and later 921-style oscillators, both in single and “ABBB” grouped module versions.

The coveted 904 ladder filter is also included in lowpass and highpass versions as well as an “ABC” combo version with the 904C Coupler module for endless filter curve flavours. The famous CP3 Mixer includes both early and later circuit styles for vintage-correct overdrive or purer tones. Cherry Audio also included a unique Keyboard/VCO Interface module that allows three-voice chordal “paraphonic” operation and three highly-adjustable independent glides.A classic modular system couldn’t possibly be complete without the 960-series sequencer. Originally used by Klaus Schulze, Tangerine Dream, and Kraftwerk, this is the eight-stage step sequencer that set the standard, and Cherry Audio replicated it exactly (along with the accompanying 962 Sequential Switch module). Actually, Cherry Audio added one extra feature – a 1/12 V quantized output for each sequence row, which greatly simplifies the creation of chromatic melodies.

Perhaps the star of the show is the VM1630 Frequency Shifter. Notoriously difficult to properly emulate in software and hardware, Mark Barton’s advanced DSP replicates every nuance of this incredible-sounding module. From subtle vibrato, to wild phaser-like tones, to ring modulation-style alien swoops and metallic clangs, the VM1630 absolutely nails the jaw-dropping sound of this rare and desirable classic.

The Cherry Audio/MRB VM900 Collection is simply a “must-have” module set for all purveyors of vintage analog synthesis. It’s a no-brainer for existing Voltage Modular users, with no operational limitations. The Cherry Audio/MRB VM900 Collection for Voltage Modular includes all 27 modules, plus hundreds of presets and variations.

VM2500 Collection (for Voltage Modular)

Cherry Audio and MRB are thrilled to announce the release of the VM2500 Collection, an incredible set of 21 modules for the Voltage Modular virtual modular synthesizer platform that painstakingly recreate the coveted, and incredibly rare, vintage ARP 2500 modular synthesizer.

Tonus Systems was founded in 1968 by engineer and businessman Alan R. Pearlman, with the “ARP” brand taken from his initials. At the time, Moog was the only other company producing voltage-controller analog synthesizers. Using cutting-edge space-race technology, Pearlman set out to improve upon existing Moog designs with the release of the massive 2500 series modular synths in 1970.

Because of their inherent temperature sensitivity, the tuning stability of early Moog oscillators wasn’t especially good. ARP was able to greatly increase tuning stability by encasing the oscillator modules in blocks of epoxy (with the added bonus of concealing the design from competitors and making servicing next to impossible). ARP also sought to eliminate the maze of panel-concealing patch cables inherent to Moog modulars. They accomplished this via a “matrix-patching” system – all module control and audio connections were internally connected to numerous twenty-position (!) slide switches above and below the single row of modules. Though the matrix switch system succeeded in eliminating cable-clutter, it was subject to crosstalk issues as the number of interconnected module signals increased, as well as additional issues as the switch contact surfaces wore out.

In its day, 2500 was conceived as an innovative, price-is-no-object technological tour-de-force. Its designers used the very best components available to them, including high-fidelity op-amps for superior sound quality, cutting-edge logic chips for the sequencer modules, and more. As a result, 2500 remains one of the fattest, punchiest analog synths ever made, but as a result of its sky-high price, only about 100 were produced during its roughly ten-year production run.

A Rarity Lives On

Cherry Audio and MRB have collaborated to deliver the 2500’s unique module features, stunning sound quality, and overall user experience to the Voltage Modular platform. All 18 modules originally produced for the ARP 2500 system have been recreated in perfect detail, plus a couple that were planned but never produced (including a full-function oscilloscope and a spring reverb) and a mixer module that never existed, but should have! Cherry Audio eliminated the matrix-switch I/O scheme and replaced all connections with standard CV jacks, and added bi-polar CV attenuators to all modulation inputs for full compatibility with all Voltage Modular modules. But most importantly, the tremendous analog sound and unique features of the original modules have been retained in their entirety, with a few small tweaks to improve the practicality of these 50-year-old designs.

The recreation of the 2500 modules was a team effort, combining Cherry Audio’s extensive design experience with award-winning synth designer Mark Barton’s (MRB) DSP coding sorcery. The result is a virtual time machine of fat, impactful early electronic music history for the ears!

An Incredibly Affordable Legend

It has been estimated that there are roughly 50 functional ARP 2500 instruments remaining in the world, and these currently trade in the six-figure area (if you can ever find one for sale). The Cherry Audio/MRB VM2500 Collection for Voltage Modular includes all 21 modules, plus hundreds of presets and variations.

Synthesizer Expander Module Bundle (for Voltage Modular)

Cherry Audio is thrilled to announce the release of the Synthesizer Expander Module Bundle for Voltage Modular, which includes both the Synthesizer Expander Module and the Poly Synthesizer Expander Module, along with 50 presets.

These modules meticulously emulate the immense sound of the classic Oberheim Synthesizer Expander Module, aka the “SEM.” Originally released in 1974, the keyboardless, monophonic SEM module was intended as a companion to the Oberheim DS-2, one of the earliest digital sequencers. Soon thereafter, Oberheim realized they could interface a digitally scanned keyboard, mount the whole mess in a big box, and create polyphonic synthesizers, beginning with the Two Voice, followed by the Four Voice, and finally the beastly Eight Voice.

Though it was a relatively simple monosynth, the SEM sounded fantastic, and had a tone quality very different than the common fuzzy, fat Moog sound, thanks to its 12 dB/oct state-variable filter. With lowpass, bandpass, highpass, and notch modes, this flexible filter was the star of the show. 

Cherry Audio has carefully modeled every detail of the original SEM module, while adding new features, including a noise source and a square-wave LFO option. Cherry Audio precisely recreated the SEM’s unique filter experience, courtesy of a detailed emulation created by award-winning synth designer Mark Barton (MRB). Cherry Audio also added an extensive complement of patch points for full Voltage Modular integration. Finally, the Poly Synthesizer Expander Module makes analog rock-and-roll dreams come true with a full sixteen voices of vintage polysynth madness!

A pad synthesizer with soul

Pads is a thriving and organic pad synthesizer. It consists of a wavetable synth with a noise/grain generator and a high cut filter. With a carefully developed ”wobbler” that detunes the waveforms and makes very small inconsistencies to several internal parameters and a nice sounding chorus, this synthesizer is able to create some really interesting and non-statical pad sounds.

• 1. Wave selector – Select two waveforms, and morph between them by dragging the slider.
• 2. Wobble – Adds some analog character with de-tune/filter inaccuracy.
• 3. Grain / Noise – Drag horizontally to add white noise and upwards to add some more irrational noise/grain.
• 4. Filter / Envelope / Chorus – Various toys in the toolbox for shaping the sound further.

Features

• Filter, Attack, and Volume can be modulated by velocity
• Controllable grit/grain level, sampled from a real Hammond organ with a broken tone wheel
• Controllable wobble factor that adds analogue unpredictability
• 30 handcrafted presets created by professional musicians

The Sleeper Has Awakened

Mercury-6 is a meticulous recreation of the Jupiter-6 analog polyphonic synthesizer, initially released in 1983. Sandwiched between the earlier Jupiter-4 and Jupiter-8 models in name only, the sophisticated Jupiter-6 has sometimes been considered a sleeper release. These days, it has persevered to become one of Roland’s most notable and coveted classic synthesizers due to its distinctive dark and complex character. If you’ve long yearned to explore the Jupiter-6, you’ll love Mercury-6!

The Year Everything Changed

Released in 1983 as a more affordable alternative to the flagship eight-voice Jupiter-8, the six-voice Jupiter-6 nevertheless staked out an essential position in the history of analog polysynths. Though similar in appearance and feature set, the Jupiter-6 sounded considerably different from the Jupiter-8.

The Jupiter-6’s versatile filter design lent a more aggressive sound than previous Jupiters, making it a natural for cutting-edge techno and electro styles. The Jupiter-6 VCOs supported multiple simultaneous waveforms, and its two LFOs and oscillator cross mod capabilities provided extensive modulation possibilities. Its earthshaking solo and poly unison modes enabled massive lead and bass sounds, and it was one of the first synthesizers to include the then-new MIDI protocol.

However, the cost-cutting in the Jupiter-6 design resulted in some disadvantages. Audio output was mono only, and it was limited to six-voice polyphony, hampering the potential of its split keyboard feature. And its timing was ill-fated with the release of Yamaha’s revolutionary DX7 the same year. But in a testament to the Jupiter-6’s staying power over the decades, its popularity grew in genres such as big beat, house, and techno. As a result, the original hardware is still in demand today.

Mercury-6: Twice As Nice at a Fraction of the Price

Cherry Audio’s Mercury-6 captures all that is exceptional in this classic and boosts the extraordinary feature set and functionality for today’s DAW production and workflow. We’ve added velocity sensitivity, improved the split mode, and added a layer mode capable of stacking two different sounds simultaneously with per-layer stereo panning, detuning, and sustain. A panel control lets users easily select and navigate between these layers and includes a utility function for exchanging settings between the lower and upper layers, or even between presets. And with polyphony extended to 16 notes, Mercury-6 won’t easily run out of voices.

We’ve reproduced the arpeggiator, including the hidden Up/Down modes of the original, and augmented it by adding a Random mode and MIDI tempo sync. A chord memory mode enables multiple notes to be stored and played back with a single key. We’ve improved the functionality of the LFOs with a retrigger for LFO-1 and an always-on option for LFO-2, both syncable to MIDI tempo.

We’ve also introduced an integrated studio-quality effects panel with brilliant-sounding distortion, phaser, flanger/chorus, delay, and reverb. With additional touches such as per-layer drift control, over 500 expertly designed presets, and flexible MIDI mapping, Cherry Audio’s Mercury-6 brings the authentic Jupiter-6 experience 40 years into the future.

Mercury-6 Features

• Highly optimized, massive dual-layer voicing architecture with 16 polyphonic voices per layer. Keyboard split or stacked layer modes allow two simultaneously playable layers, with separate per-layer controls for all parameters, including effects
• Two VCOs per voice with combined waveform capabilities: triangle, ramp sawtooth, noise, and square or variable pulse
• Multimode filter with a 24 dB/oct lowpass, 24 dB/oct highpass, or 12 dB/oct bandpass modes
• Accurate reproduction of the original’s advanced VCO-2 to VCO-1 FM cross-modulation for searing tones
• Precisely implemented portamento and glissando modes
• Exactingly replicated arpeggio section with MIDI tempo sync, the hidden Up/Down modes of the original, and the addition of a
• Random mode
• Powerful solo and polyphonic unison modes for fat, stacked sounds
• Two tempo-syncable LFOs with extended retrigger functionality
• Per-layer drift control for oscillators and filter frequencies for authentic analog character
• Single-key chord memory mode
• Over 500 presets, created by a talented team of sound design veterans, easily accessible in a convenient preset browser
• Panel Control for selecting layer controls, including extensive utility functions for duplicating and exchanging synthesis and effects parameters between layers and presets.
• Studio-quality integrated effects: distortion, 4/8/12 stage phaser, flanger/chorus, three types of delay with sync, and four types of reverb, with easy-to-access global or layer settings
• Complete MIDI control and DAW automation for all controls, with easy-to-use MIDI learn and mapping (Preset and Global)
• Cherry Audio’s popular Focus zoom-in feature, as well as standard UI zoom and resize via drag
• Complete documentation available directly online from the instrument or in downloadable PDF format
• Highly optimized coding for optimal performance with ultra-low CPU load, and multithreaded processing for presets using Split and Layer modes
• User-adjustable oversampling control

Keyboard Anthology

Create, produce, perform. Analog Lab V is a plugin that combines thousands of world-class presets spanning dozens of timeless instruments, instant-access controls, and flawless integration – in one place.

Immediate Creativity

Analog Lab V gives you instant access to the most iconic synth and keyboard sounds of all time, fresh from Arturia’s award-winning V Collection.

Choose from a massive selection of best vintage & modern presets using intuitive smart-filter browsing, and breathe new life into your mix with the much-loved sounds of faithfully emulated classics. Whether you’re a producer, performer, sound designer, or vintage synth fan, you’ll find inspiration at every turn.

Legendary Sound At your fingertips

Soulful organs, razor-sharp synth bass, warm analogue pads – why should you have to choose?

With Analog Lab V, and you’ll get all of the above, and more. Open up one this easy-to-use plugin and unlock sounds from every instrument emulation included in V Collection, as well as Arturia’s state-of-the-art softsynth Pigments. A synth for every genre, an icon from every era, a solution for every creative style.

Easy to Use

Analog Lab V is geared up to inspire, not confuse. Arturia is keen on keeping their plugins simple and intuitive, so you can focus on what really matters. There’s no guesswork – Arturia analyzed the way people actually use software instruments and created Analog Lab V to inspire your creativity, not get in its way.

Parameter Mapping

The sound shaping parameters of each instrument are distilled into a simple selection of controls that let you tweak quickly, intelligently, and creatively. The latest presets feature 4 macro controls for when you want to stretch, twist, or taper your sound on the fly.

Intuitive Browsing

Effortlessly navigate through thousands of sounds with an easy-to-use browser interface

Controller Integration

Enjoy seamless integration with Arturia’s Lab range of controllers, as well as easy connection with most MIDI controllers – tap into your sound like never before.

Choose Your View

Sometimes a change of perspective is all you need – when you change your creative approach, you change your creative results. Analog Lab V has a solution for every situation; choose a workflow and interface to suit your needs, and the musical magic will follow.

• Library View: Your sound-searching platform. Browse your entire library of presets, with smart filtering and search options. Load a preset and immediately try it out, with an array of controls available in the same interface.
• Studio View: Step into the studio and colour your sound. You can continue to tweak the integral controls of your preset, while getting more hands-on with mixing, FX, and the order of your signal chain.
• Stage View: Notes, controls, and setlist features combined to ensure that you’re fully prepped for your performance. Stage View offers an all-in-one interface so that you can enjoy your stage time without a hitch.

Ultimate Preset Selection

With Analog Lab V, you’re spoilt for sonic choice. Its library of 2000 presets and patches has been curated to cover every musical style in the book – and a few that aren’t. Behind this incredible collection are some of the world’s most renowned sound designers, with decades of experience and creative expertise under their collective belt. Your sound is in safe hands.

Whether you’re playing hits from yesteryear or creating tomorrow’s music, Analog Lab V brings you all the sounds you need in one elegant package.

Smart Browsing

Analog Lab V has got you covered, whatever angle you’re coming from. Search by instruments, sound banks, sound designers, instrument types, and styles – truly zone in a sound to suit your needs.

Customize your Library

Once you’ve found the perfect preset, tag it as a favourite so you can instantly recall it next time. Visit your Liked presets in the library tab to revisit the sounds that you need in an instant.

Create Playlists

Create personalized playlists so you can get back into the creative zone quicker than ever. Organize your sounds into songs for easy performance or practice recall, and leave notes for quick reference.

Expand Your Collection

Looking for that creative spark? Perhaps you want to give your sound a new edge, or you’re after a new musical springboard. Analog Lab V also gives you access to the Sound Store, updated monthly with exclusive sounds and preset expansions, letting you take your sound in whatever direction you feel like.

What Else?

TAE® and Phi® Powered

Proprietary technology allows us to model these iconic instruments on a deeper level for new levels of immersive realism. TAE® offers unmatched analogue emulation down to component-level detail, while Phi’s state-of-the-art physical modelling brings material acoustic resonance into the virtual instrument world like never before. Next-level engineering means next-level sound.

In-App Tutorials

Integrated in-app tutorials guide you through every aspect of the instrument, from individual parameters to tips from Arturia’s sound designers, so you can focus on the creative stuff. It shouldn’t be this easy, but it is!

DAW Ready

Arturia’s virtual instruments and plugins are designed to fit right into your setup without hassle. Whatever your style, you can explore sound while enjoying full compatibility with major DAWS, on both Windows and MacOS.

ASC

Arturia Software Center lets you download, organize, and update all of your Arturia software titles in one place, as well as manage all of your licenses across multiple devices. Keep it simple.

Preset Browser

Instantly find the sound that’s in your head with intelligent & streamlined preset browsing. Search with keywords, explore by instrument type, musical style, and more – you can even save your favourites to quickly recall later.

Resizable GUI

Whether you want the full visual immersion of Arturia’s classic instrument emulations, or to save precious screen real estate, the interfaces for all of your Arturia virtual instruments can be resized to a scale that suits you.

Perfect Integration

V Collection instruments come seamlessly mapped for the Arturia KeyLab range – but they’ll play nice with other MIDI controllers too. Instant sound tweaking macros, easy DAW integration, and standalone operation – adding V Collection to your setup is effortless.

Features

• Over 2000 curated sounds from all the acclaimed V Collection Instruments.
• Presets are carefully selected from Arturia’s V Collection (ARP 2600 V, B-3 V, CS-80 V, CZ V, Farfisa V, Jun-6 V, Jup-8 V, Matrix-12 V, Mellotron V, Mini V, Modular V, Prophet V, Prophet VS, SEM V, Solina V, Stage-73 V, Synclavier V, Synthi V, Piano V, Vox Continental V, Wurli V, Buchla Easel V, Clavinet V, DX7 V and CMI V).
• Updated browser to find sounds quickly: by Type (Bass, Pads, Leads…), by Style (bright, dark…), by Genre (Ambient, Disco, Techno, …)
• New Studio view to add effects and combine 2 instruments (Multis).
• Layer Multi sounds or Split 2 Presets across the keyboard.
• 4 new Macro controls on all the sounds for instant sound edition.
• Automatic mapping of parameters for Arturia keyboards.
• Parameters can be mapped easily to other MIDI controllers.
• Stage view allows performing on a prepared Playlist, using an Arturia keyboard or sending Program Changes from any MIDI Controller.
• V Collection and Pigments instruments owners can open the full instrument within Analog Lab.

Arturia Analog Lab V – Features, Functions & Sound Design A Deep Dive into Arturia Analog Lab V Discover the full potential of Arturia’s Analog Lab V. Pro producer and educator, Paul Nolan leads this in-depth course that dives from the basics of the browser straight into sound design. With the right skills, Analog Lab V is a formidable tool for creating infinite orchestras of unique sounds. Don’t miss the chance to discover new, endless possibilities for your music with Analog Lab V and ADSR. Read more about the course by visiting https://www.adsrsounds.com/product/courses/arturia-analog-lab-v-features-functions-sound-design/

This Bundle Features Vacuum Pro, Loom 2, and The Riser!

►Vacuum Pro

Analog Just Got Warmer

Vacuum Pro is a virtual polyphonic analog synthesizer with vacuum tube circuit modeling that perfectly captures the crunchy, warm sound of the analog era.

With four analog oscillators, multiple filters and envelopes, and built-in audio effects, Vacuum Pro lets you dive deep into subtractive synthesis to recreate those sought-after analog sounds from the 70s and 80s.

Tweak the switches, knobs, and dials to program anything from basses, leads, pads, or unique sound effects.

For even more warmth, Vacuum Pro has six virtual vacuum tube circuits that add crunch and grit at every stage of the signal path. Analog just got a whole lot warmer.

Important Note: Vacuum Pro is a VST/AU plugin, It is not a hardware synth.

Features:

• A four-oscillator polyphonic analog synthesizer with vacuum tube circuit modeling
• Super-wide, fat, and organic analog sound captures the character of classic synthesizers
• Two individual synthesizer parts for huge, stacked sounds
• 350+ tweakable patches programmed by legendary sound designers
• Smart Sound Randomizer dials in settings to user-defined parameters
• 8 Smart Knobs for easy programming and macro control over key parameters
• Economy mode reduces the load on the host processor with minimal impact on the sound
• 64-bit plugin: VST, AU, RTAS, and AAX formats
• This is an Audio Plugin – It REQUIRES a HOST Software

Vintage Vibes

Vacuum Pro is a powerful combination of two separate synthesizer parts that can be stacked, split, and layered to produce big, wide, and fat analog sounds.

Each Vacuum Pro part starts with two wide-range, vacuum tube oscillators that can be synched, detuned, and set to various octave levels. Plus, Quad Detune controls per oscillator make it easy to quickly dial in lush sounds.

For an even bigger sound, the built-in Doubling effect instantly widens and thickens up your patch. Shape your sound with two vacuum tube filters that include a traditional low-pass filter and a selectable high-pass/band-pass filter. Vacuum Pro also has four envelope generators, matrix-assignable modulation, and a tempo sync’d LFO. The mixer offers a drive circuit and a tone-warping ring modulator.

For authentic analog behavior, the Age controls let you manipulate the drift of and add dust to your sounds. 

Programming Powerhouse

Vacuum Pro comes complete with 350+ tweakable patches created by acclaimed sound designers Richard Devine and Mark Ovenden. You can load these patches separately into each Vacuum Pro part to combine and experiment with multi-timbral sounds. For instant sound inspiration, Vacuum Pro features Smart Sound Randomization, which randomly generates new settings for either part or both.

Define which modules you want to lock at their current settings, which will be randomized, and then let Smart Sound dial in a patch for you.

Global Control

Vacuum Pro’s Smart page condenses all the individual parameter controls into eight macro knobs that enable you to quickly shape the sound of your patch without extensive tweaking. Macro knobs such as Punch, Emphasis, and Complexity add an intuitive workflow for perfecting your programming.

Switch back and forth between the micro and macro modes to quickly edit or create your own custom sounds.

Extra Effects

In addition to its authentic analog sound, Vacuum Pro includes a host of creative tools that are characteristic of classic analog synthesizers.

An onboard arpeggiator, which can be tempo sync’d to your DAW, offers a quick way to build melodic runs and short sequences.

A built-in chorus/phaser and delay effects give life and motion to your Vacuum Pro patches. Onscreen pitch bend and modulation wheels add extra expression to any performance, and all parameters are MIDI-mappable for performance ease and automated control.

►Loom II – Modular Additive Synthesizer

Explore Additive Synthesis

Loom II is a major upgrade to the original, pushing the boundaries of additive synthesis. Loom II is ideal for all skill levels.

Mix & Match Modules

Loom II delivers up to 512 harmonic partials per patch and uses an intuitive modular design to create complex sounds quickly and easily.

Each of the 34 editable modules performs a specific sonic task—Octaver, Second Tone, Moving Filter, Noise, Linear Lowpass, Modulator, etc.

The Loom II framework provides a series of cells, where up to 10 of these modules can interact combine to generate an additive synthesis patch. Each module includes task-specific parameters for detailed, individual control of the patch.

For real-time visual feedback of your sound, each module includes a spectrum window, offering a visual indication of how that module is affecting the individual harmonics of the sound.

In Loom II we have added four new powerful modules:

• 5-Sines – An easy-to-use module enabling you to produce a range of organ or sine style sounds.
• Discrete Adder – Similar to Loom 1’s popular adder, but adding a discrete spectrum ideal for creating percussion-based synth instruments.
• Hype – adding Hi and Low Hype with dedicated easy-to-use controls for instant results.
• Double Wave – for our more advanced users: Use dual waves to create complex synth patterns. We have also added a dedicated control for this in the Morph pad.

Make Your Music Move

Loom II’s Morph Pad is a powerful tool that adds dynamics and movement to your patches. Using a condensed set of control knobs, Loom II enables you to quickly create up to four variations of your sound, and assign each one to different quadrant of the Morph Pad. Point, click, and drag anywhere on the Morph Pad to create a morph path.

As the sound moves along this patch, you will hear it morph in real time between your four variations. This morphing can be free-form, or set to sync up to a particular musical unit—1 bar, 4 bars, etc.

Plus, each segment of the morph path can be synced individually. In Loom II, we have expanded our highly-acclaimed morph pad by allowing Points/Paths to be stored and restored separately. We have also added a new X-Axis mode enabling it to perform like an envelope, which is ideal for rhythmical morph patterns.

For this new mode Snap/Grid is also available. Additionally, for expanded creativity you can now use parameters not linked to the Morph.

►The Riser – Synth-based Transition Designer

Stops Hearts. Tops Charts.
The Riser is an all-new instrument for designing musical transitions of epic proportions. A powerful, synth-based instrument, The Riser features all of the tools you need to compose heart-stopping transitions in one intuitive user-interface. In seconds, you can construct rises, falls, swells, fades, and more, based on our coveted sound synthesis technology.

For instant inspiration, The Riser includes 300 pro-grade presets that you can edit, deconstruct, copy, mangle, and implement into your tracks.

Transitions add suspense, hype, drama, and movement to your music. Cymbal swells and reversed instruments were go-to transitions for years, until the DAW pioneered fast and flexible audio editing, paving the way for complex sound effects.

When combined with synths and other audio shaping tools, transitions completed their metamorphosis from science to art. Until now, this process has convoluted and time-intensive, taking attention away from the overall project itself. The composer spent more time trying to get plugins, virtual sample players, hardware effects, sound modules, and other gear to play nice with each other – and that was before hitting “record”.

Features:

• Transition designer optimized for electronic music production, scoring, and remix work
• 3 editable oscillators; sweep, noise, and chord
• 3 LFOs; free-running, tempo-synced, and Pumper
• 23 filter types including multi-pole and phase shift
• 300 professionally designed, editable presets
• Randomizer generates patches at the click of a button
• Invert mode creates complementary patches by instantly changing transition direction
• Easy MIDI-Learn Mode; just click and twist to assign parameters to your favorite MIDI controller hardware
• Pumper effect creates pulsating movement
• Configurable delay and reverb with wet/dry processing; 4 reverb types
• Adjustable panning movements and master stereo width control
• 64-bit AU; 32- and 64-bit VST/AAX; Mac or Windows

A 3-for-All
Featuring the most powerful and musical virtual synthesis available, The Riser can be used to create classic transitions or effects never-before-heard by human ears. The core of The Riser’s mojo are three continuously variable oscillators; sweep, noise and chord. Each oscillator features a dedicated Filter send and graphical parameter depiction. 

Sweep – featuring volume, frequency and oscillator shape – dictates the direction and progression of the transition. Create rises, falls, stops, and swells with audible and visible feedback.

Providing volume, shape, and pitch controls, the Noise oscillator infuses texture into your transition. Start shaping to add grit, bite, hiss, punch, and more to the effect.

The Riser’s Chord oscillator introduces you to an uncharted creative continent. Use it to match The Riser’s sonic structure to your song’s key (or a contrasting one) and blend it to taste; it can be as musical as you want.