With so many chorus effect plugins on the market, finding one capable of delivering a truly authentic analog sound iZ ? \ q c g !s easierK 6 } o said thanp N C , ^ / ! done.

With that in mii S ~ E ~ t ] $ pnd, we set out t@ 0 W M X k @ i :o create the ultimate anaj 5 9 ) . u alog chorus emulation, inspireg + L r ed by the revered effects found in classic synthesizers such as the Solina Stringb V S h @ \ \ / . Ens/ z 1 Z =emb6 – \le, Elka SyY K 1 ; 9 E ` Q /nthex and RolandK W x p _ / ] Juno-106. This fruir ( # N L =t of our labor is Syntorus 2, the newest addition to the Silver Line series of plugins.

Syntorus 2’s unique analog sound enriches any instrument routed into it, bringing life and movement to synth basses and leads, and adding depth aI D fnd lushness to guitars and other electrk 3 C ] H m Y Mic/acoustic instruments.

Chorus with real anal; 7 ~ ~og feel
The classic chorus efff 6 ? 6 ~ect is created by miw N K Sx/ U M i ! h * P %ing an audio signal wb L D A P ] Rith one or more delayed and pitch-modulated co# B o ( 7 k Tpies of itself. It staT t j F 8 _ q * Lnds to reason, then, tha8 G ~ 4 c K |t the delay line module i? Q a g x 2s the most important part of any chorus unit. For Syntorus 2, we cons$ 0 D $ i itructed an extremely precise model of a high-quality BBD (bucket b? 1 } { I ` # B 4rigade device) analog: L i i p delay line in the dic l & U Q ( w \ mgital domain – the resulting emulation has an increds M } F ]ibly warm, musical soS m 0 & p E Rund with no unwanted digital artifacts.

Three BBD delay lines
Most chorus effect units use just a single delay, but Syntorus 2 deploys three analog delay lines to conjure a richer, fuller, deeper chorus sound. It also gives you a choice of two BBD delay line models: by default, the chorus effect is excey c { P e c 2 zptionally clean and pristine, but activating Analog BBD Emulation adds even more analog warmth and char! 3 s / T J Lacter to the signal. And needlw 1 / h } H T 6 Lesx O 2 f % 8s to say, full control is granted over all delay lN L t e \ p y 1 iine parameters, giving you absolute free( t 6 G D W Wdom in sculpting your sound.

Configurable modulation
S$ ^ p ^ 1 [ eyntorus 2’s three LFO generators serv| U 3 Te as flexible modulation sources, routed to the delay lines in a number of switchable topol$ \ _ogies. Timeline-locked host sync and independent adjustment of left/right phase offset broaden the spr U Aectrum of creative possibilities further still.

Filter and tremolo
Each delay line has a multimode filter and a~ ~ W S s # F { tremolo effect built in, bol % } $ [ d Hth goverM x % y P 5 ` B *ned by the same modulatioR n W J k |n sources as the delay time. The filter is ideal f^ z / w 5 i { % Oor cooking up convincing Ley Q H a L C U W Dslie sounds, especP + liallV [ 0 C H b u g Ly when delay modulat: % 6 q = U ?ion is uI S Z 6 K m dsed to simulate the directioR ` M I F Z ( onal characteristic and Doppler effect of a rotating speaker. The tre# E w + } P Umolo can bem ~ / 4 employed on its own or added to the modulated delay line for tW M mhe crafting of even more dynamic sounds –F 3 L W it’s particuZ + * ) M .larly effective on kJ s { \ V _ ? R ,eyboards and guitars.

Complete synchronization
Each LFO can bew j ! F b k , \ independently syn, z y r D F 2 &chronized to the host DAW, enabling the rate to be set in musical note values at project t+ V n ( K aempo. That in itself will come as no surprise! Y : z q V m, of course, but with Syntorus 2, the phase is also perfectly synchronized to the playhead position within your project, ensuring that your chorus always sounds exacI n jtly as it should at any point on the timeline.

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