Nu-Trix The Synth Guy Unleashes the Cherry Audio Crumar DS2: Retro Rave Weapon or Just Odd?

Cherry Audio’s Crumar DS2 is not your average softsynth. Nu-Trix The Synth Guy kicks things off by celebrating Cherry Audio’s knack for reviving synths you’ve never heard of—or could never afford. The DS2 is a digital resurrection of a vintage Italian oddball, and it’s clear from the start that this isn’t just another retro cash-in.

What’s immediately obvious is the blend of old-school charm and new-school control. The interface mirrors the original hardware closely, but with a healthy injection of features that never existed on the crusty original. If you’re after something that feels both familiar and refreshingly weird, this synth might just be your new sonic street weapon.

Nu-Trix dives into the DS2’s dual-engine setup—one classic synth, one polyphonic beast. You can run them solo, layer them, or split them across the keyboard, making for a playground of sound design options. The synth section brings the usual suspects: two oscillators, three LFOs, a filter, and envelopes. The poly section, meanwhile, is a simpler affair but can be stacked or split for creative layering.

What’s clever is how these engines interact. You can blend, split, or stack them, and the routing is dead simple. This isn’t just a gimmick; it’s a genuine expansion of what the original could do. If you want to go from glassy pads to punchy basslines without breaking a sweat, the DS2’s got your back.

Here’s where things get spicy. The DS2’s modulation options are deep but not overwhelming—think three LFOs that can double as envelopes, plus a modulation matrix that lets you twist things up fast. Nu-Trix demonstrates pulse width tricks, oscillator sync, and how to stack envelopes for evolving textures. You can get classic or go off the rails with rhythmic modulation that’s anything but polite.

The arpeggiator is no afterthought either. It’s flexible, letting you target synth, poly, or both, with modes for random, leap, and more. Add in multi-voice and unison modes, and you’re suddenly in toaster-fight territory—voices panning, detuning, and generally causing a ruckus. If you’re after static presets, look elsewhere; this is built for movement and mischief.