It’s a complete dream, and I spent my first hour just soaking it up and experiencing the shaping tools. The first preset I selected was called Ambient Nation, and that, for me, nails the basic functionality of this synth. That’s what all this is about, and I think it’s going to get fascinating really quickly. The focus is wholeheartedly on the shaping of those sine waves. Then above the keyboard is a row of effects and processing. There’s a filter, almost as an afterthought, stuck in the top right, with a suspiciously small Mod Matrix underneath. The layout is relatively straightforward, with a stack of four LFOs followed by four oscillators flowing towards four envelopes. It softens the otherwise rather overwhelming array of knobs that we see before us. It upsets the desire for order and uniformity in a really pleasing and intriguing way. However, those curves are very disarming. I’ve said a few times that Cherry Audio’s synths lack a certain something in regard to their interfaces, and Sines embraces a similar level of half-decent mediocrity. With the Phase Modulation and Ratio controls, you can configure it into a 4-operator FM-style synth. You can slide in a sub-oscillator and a “super”-oscillator which is an octave up for added ballast. As you move each one, a mini oscilloscope shows you exactly what’s going on with the waveform. The tools on offer include Feedback, Phase, Width, Shape, Wavefold and Drive. You have four sine-wave oscillators, and the idea is that through the undulating part of the interface, you can shape, bend and fold those waveforms into a vast range of timbres. But in this mix of ideas, Cherry Audio is putting forward a different way of doing things that it hopes will inspire and capture something interesting.Īs a Sinusoidal Synthesizer, this is all about starting with sine waves.

We’ve become familiar with West Coast meets East Coast, hybrid synthesis and the borrowing of ideas from a range of traditions. It’s difficult to call something unique when you’re simply combining different forms of synthesis in a synthesizer.

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