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Cherry Audio releases ARP Quadra synth plugin: the ‘70s ‘unicorn’ gets its moment in the spotlight, and your DAW

Cherry Audio is continuing its emulative tour through synth history with Quadra, a “super-accurate and immensely improved” plugin reboot of the ARP synth of the same name.

Released in 1978, the Quadra is definitely a rarity, and we haven’t seen it much in software, either. In fact, Cherry Audio says that this is the first time it’s been emulated as a virtual instrument.

The Quadra offered four synth sections - Bass, Poly, Lead and Strings - all of which are recreated here. Each one is assignable to any region of the keyboard, giving you total splitting and layering flexibility, and patch browsing is said to be much easier than on the original.

You can also expect a richer, fatter tone, and the onboard phaser now has a stereo chorus/flanger, a syncable echo and a reverb for company, too. All of these effects are individually routable.

In terms of sounds, the bass section is monophonic, with the Strings Bass option promising to add orchestral richness. The String section emulates the string ensemble instruments from the ‘70s and includes a two-band EQ, while the Poly section builds on the original Quadra’s by including saw, variable pulse, spike, and hollow waveforms, expanded range, and a drift button that recreates the idiosyncrasies of analogue equipment.

Finally, the dual-oscillator Lead section delivers a dual-oscillator synth that includes ramp, pulse, sine, triangle, and noise waves, LFO- or envelope-controlled pulse-width modulation, a two-voice split mode, independent oscillator portamento controls and more.

Find out more on the Cherry Audio website. Quadra is available now in VST/AU/AAX formats for the introductory price of $39 (regular price will be $59). You can also download a demo.

Ben Rogerson

I’m the Group Content Manager for MusicRadar, specialising in all things tech. I previously spent eight years working on our sister magazine, Computer Music. I’ve been playing the piano, gigging in bands and failing to finish tracks at home for more than 30 years, 20 of which I’ve also spent writing about music technology. 

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