With so many chorus effect plugins on the market, finding one capable of delivering a truly authentic analog sound is easier said than done.
With that in mind, we set out to create the ultimate analog chorus emulation, inspired by the revered effects found in classic synthesizers such as the Solina String Ensemble, Elka Synthex and Roland Juno-106. This fruit 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 and lushness to guitars and other electric/acoustic instruments.
Download the demo and try Syntorus 2 for yourself. No matter what kind of music you make, this is the analog chorus plugin you’ve been looking for! Now for the science…

Adam Monroe's Beats Drum VST, AU, and AAX sample library was created by sampling 3 drum kits + 14 different snares using different combinations of drum heads and tunings, in an acoustically dead environment. The end result is a large drum sample library with interchangeable parts that sounds great no matter the combination. The various kits and drums were sampled via the Glyn Johns method. Drum overheads were a pair of Shure SM81's, bass drums were recorded through an Audix D6, and snare drums were captured with a Shure SM 57, with various spot mics used to beef up the sound of the toms when needed.

Adam Monroe's Electric Bass was sampled from a Yamaha BB424x electric bass guitar. The bass was modified so that individual pickups were wired to independent jacks, thus allowing for independent sampling of the bridge and neck pickups. Volume and tone pots were bypassed, so resistors were wired in their place to minimize the "ice pick" sound of an electric bass without pots. The pickups were then run into individual Radial 48 active direct boxes and Grace 101 preamps, which provided additional gain.

Adam Monroe's Upright bass was sampled from the pluckings of a gigging upright bass player. The bass itself was an inherited instrument from the musician's grandfather. The exact age of the bass is not known, but it had seen some action, and although a little beat-up, still sounded great!

The result of decades of dedicated research, analysis, and modelling, these 15 superb effects will totally transform the way you record and mix your music. Combining history’s finest outboard effects, console components, and pedals with fresh, contemporary features and abilities, FX Collection is an essential tool for the modern producer.

BIAS AMP 2 is the ultimate virtual amp designer, authentically recreating the tone and feel of real tube amplifiers, while allowing you to mix and match components to create your ideal amp. You can use Amp Match to clone the tone of real hardware or a guitar track, or connect to the ToneCloud® to gain access to thousands of custom amps from artists and recording studios, or upload your own custom tones to the cloud. BIAS AMP 2 represents a revolution in virtual amplifier design, providing the tools to take your ultimate guitar tone with you anywhere, from the studio to the stage and back again.

Over the last several years, a range of high-powered digital guitar programs and mobile apps have changed the way millions of guitarists play and record. While most of these apps are variations on the same theme, we felt the world of guitar needed something new.

The result is BIAS FX, designed from the ground up with a no-compromise mindset on sound quality and ultimate flexibility. It comes with all of the latest and greatest algorithms from our extensive audio signal processing research, providing significantly detailed and authentic emulations of analog pedals, studio rack gear and tube amplifiers. It also features dual signal paths and full integration with BIAS Amp, allowing you to utilize two custom Amp Match amplifier models in the same setup.

Acon Digital Mastering Suite consists of five plug-ins for audio mastering that were designed for ultimate signal transparency.
Dynamics is a combined compressor, expander or gate. The look-ahead can be set anywhere from 0 to 30 milliseconds and the intelligent algorithm ensures a band-limited gain signal which reduces potential distortion to a minimum even with minimal attack and release times. You can use up to 4 times oversampling to further reduce distortion. The side chain signal can be either internal or external and there’s a full blown side chain equalizer integrated with low cut, low shelf, peak, high shelf and high cut filters. The complexity of algorithms is not reflected in the intuitive user interface which provides graphical visualizations of all aspects of the processing.

First released in 2005 BLUE already reflected Rob Papen’s cutting-edge, creative, and - most importantly - musical approach towards developing virtual instruments by first delivering FM and subtractive synthesis, then duly adding Phase Distortion and wave shaping synthesis into the highly creative mix to create one seriously creative combination. Rob Papen himself called it ‘Cross-fusion synthesis’ since it covered so much musical ground so effectively.

In the Rob Papen world of synthesis there was one type of synthesizer missing… A synthesizer that has all of the controls and features available visually all at once. The current Rob Papen collection holds synthesizers which contain many features and types of synthesis which sometimes can be daunting to the average user. But there is always something tempting and fun in something that is so simple!

Look at the 1980's, in which we had top synthesizers like the Roland Jupiter-8, but also at the other end of the spectrum the simpler but fantastic synths like the SH-101. And yes, both became classic synthesizers.
Compare it also whilst making music, very often less is more and this is also can be applied whilst using synthesizers. Sure, with a heavily featured synthesizer, you can also be less complex in a patch. But this often still takes more time to achieve.