Synth CH388 is a six-voice virtual analogue polysynth with the warm, lush character of a mid-80s divide-down poly — in your DAW with zero latency, zero menus, and zero maintenance. A rock-stable oscillator, a creamy four-pole filter, and a two-mode stereo chorus. One slider per job. Every sound in seconds.
Synthwave basslines. Dream-pop pads. House stabs. That glassy PWM shimmer floating over half the records of the last forty years. It all comes from one deceptively simple recipe: a rock-stable oscillator, a creamy four-pole filter, and a two-mode stereo chorus. Synth CH388 is an original DSP engine built around that classic architecture — not a sample library, not a rompler, but a living, breathing synthesizer that models how those circuits behave: how the filter saturates, how the chorus shimmers, how six warm voices sit together in a mix.
Six voices, each with a digitally-stable oscillator delivering saw and variable-width pulse simultaneously, a fat sub-oscillator one octave down, and a noise source. Tiny per-voice component tolerances are modeled too, so chords breathe like hardware instead of stacking like clones.
Saw + PWM + sub + noise · per-voice analogue driftA 24 dB/octave low-pass in the classic four-stage cascade style, with every stage saturating softly the way real analogue stages do. Silky when open, squelchy when pushed — and at full resonance it self-oscillates into a pure, playable whistle, just like the original. Flip the envelope polarity, dial in key-follow, add LFO growl.
24 dB/oct · four-stage cascade · self-oscillating resonanceThe circuit that turned one oscillator into an orchestra. Two bucket-brigade-style stereo modes: I is silk, II is an ocean. It blooms pads, widens basses, and glues everything into that unmistakable end-of-the-credits glow — right down to the faint, charming hiss of vintage bucket-brigade chips. Purists note: I and II are mutually exclusive, true to the era.
Two stereo modes · bucket-brigade character · mutually exclusiveThe four-position high-pass filter keeps its secret weapon: position 0 doesn't cut bass — it boosts it. Round-robin voice assignment works like the vintage assigner chip. A second poly mode protects release tails. And Unison stacks all six voices on one note when you need a lead that flattens everything in its path.
Bass-boost HPF · round-robin assign · poly-protect · 6-voice unisonOrganized by category — basses, string machines, brass stabs, glass pads, acid squelch, self-oscillating drones. Save and recall your own right from the panel; they live as simple files you can back up and share.
No pages. No hidden parameters. Every control on one panel, exactly where your hands expect it — the design philosophy that made this style of synth one of the best-loved instruments ever built, and kept its sound on the charts for forty years. Zero-latency triggering, a hyper-efficient engine that idles at a rounding error of CPU, and 45 factory patches ready to play.
The eighties called. We answered.
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Synth CH388 is an original Dreamlab Digital Media product. It is not affiliated with, endorsed by, or derived from any hardware or software manufacturer. Full licence terms at dreamlabnet.com/daw2/eula.html.