quadCHO

quadCHO is a zero-latency dual-engine chorus, doubler and stereo movement processor designed to move from subtle width and classic modulation to dense ensembles, diffused spaces and controlled feedback effects.

Its two independent chorus engines can be layered, detuned, tempo-synchronised, panned or used separately. Each engine combines multi-lane modulation with optional QUAD chorus layers, an expandable WEAVE voice cloud and a SWIRL feedback path.

Use it for clean vocal doubling, guitar and bass chorus, moving synths, wider drums, mix-bus depth, vintage ensemble colours, rhythmic modulation or extreme animated textures.

MAIN INTERFACE

CHORUS ONE / CHORUS TWO

CHORUS ONE and CHORUS TWO are two independent chorus engines with identical controls. They can create one focused modulation sound, two contrasting layers, a left/right pair or a wide combination of different rates, spaces and waveforms.

• POWER toggles the individual chorus engine on and off. Turning one engine off removes only that engine from the processed signal, allowing the other engine to continue working.
• PHASE reverses the polarity of the individual chorus engine. Use it to change how CHORUS ONE and CHORUS TWO reinforce or cancel each other, especially when they use similar settings. It can also change the perceived centre, width and movement of the combined effect.
• Hz / BPM selects how RATE is controlled. Hz provides free-running modulation from 0.01 Hz to 50 Hz. BPM synchronises the modulation to the host tempo, offering musical divisions from 1/64 to 2 Bar, including straight, dotted and triplet values. "D" indicates a dotted division and "T" indicates a triplet division.
• WAVEFORM selects the shape of the modulation. Click the waveform button to cycle through the available shapes, or right-click it to select one directly from the menu. SINE gives the smoothest and most traditional chorus movement. TRIANGLE gives more linear, clearly defined movement while remaining musical. SAW creates directional ramping motion with a more obvious reset and a sharper character. SQUARE switches between two modulation positions for abrupt, rhythmic or intentionally mechanical movement. RANDOM creates unpredictable stepped movement for unstable pitch, drifting textures and less repetitive modulation.
• QUAD activates two additional parallel chorus layers inside that engine. It makes the sound thicker, wider and denser, adding extra movement around the main modulated voice. Use it for ensemble-style chorus, richer doubling and larger stereo textures.
• RATE sets the speed of the modulation. Slow settings create gradual drift, widening and tape-like movement, medium settings produce traditional chorus, and faster settings move toward rotary, vibrato, flutter and special-effect territory. The range is 0.01 Hz to 50 Hz in Hz mode.
• DEPTH sets the amount of delay modulation for the individual chorus engine. Lower settings add subtle motion and width, while higher settings create stronger pitch movement, deeper chorus and more obvious wobble.
• DETUNE increases the pitch and timing separation between the internal modulation voices. Low settings gently prevent the layers from moving together, while higher settings create a wider, less stable and more obviously detuned ensemble sound. It also helps CHORUS ONE and CHORUS TWO move in complementary directions when both engines are active.
• WEAVE builds an additional cloud of moving voices and diffuses short reflections around the main chorus sound. Low settings add width and gloss, medium settings create a larger, more dimensional ensemble, and high settings introduce a dense swarm, diffusion, extra motion and light recirculation for pad-like or space-like textures.
• SPACE sets the central delay time and spacing of the individual chorus engine, from 0 ms to 500 ms. Short settings create tight chorus and flanging-style movement, medium settings produce wider doubling and ADT-style separation, and long settings create audible repeats and spacious, echo-like effects, especially when combined with SWIRL.
• SWIRL controls the feedback, stereo circulation and additional delay movement of the individual engine. Low settings add gentle sustain and animation, medium settings create deeper, more liquid modulation, and high settings produce strong feedback, wider pitch movement, saturated repeats and controlled near-runaway textures. SWIRL becomes increasingly dramatic when SPACE is set to longer delay times.
• PAN places the output of the individual chorus engine in the stereo field, from -100% (left) to +100% (right). Pan the two engines in opposite directions for a wider left/right pair, or keep them closer to the centre for a denser, more unified chorus.
• LEVEL sets the output level of the individual chorus engine after its modulation, QUAD and WEAVE processing, from -24 dB to +24 dB. Use the two LEVEL controls to balance the engines before they enter the global section.

GLOBAL SECTION

• LEVEL controls the final output level after the dry/wet mix, from -24 dB to +24 dB. The final limiter, when enabled, is processed after this control.
• MIX controls the global blend between the original signal and the combined processed output of CHORUS ONE and CHORUS TWO. Use lower values for subtle parallel movement, 50% for an equal dry/effect blend, or 100% for a fully processed signal.
• DEPTH controls the low-frequency weight of the processed chorus signal, separate from the modulation DEPTH controls in CHORUS ONE and CHORUS TWO. Positive settings make the wet signal feel deeper and fuller, negative settings remove low-frequency movement for a thinner wet sound. The range is -24 dB to +24 dB.
• TILT changes the overall tonal balance of the processed signal around the midrange: turn it left for a darker, warmer and heavier chorus colour, or right for a brighter, lighter and more present effect. Centre is neutral.
• S (Saturation) controls saturation on the processed signal. Lower settings add subtle harmonic density, while higher settings create stronger midrange colour, compression and drive, helping the chorus feel thicker and more obvious. Automatic level compensation controls the increase in energy as saturation is raised.
• W (Width) controls the stereo width of the processed signal. 0% collapses the wet signal to mono, 100% preserves its natural stereo width, and settings up to 200% exaggerate the side information. W affects only the processed signal, so the dry centre can remain stable when MIX is below 100%. On a mono-in/mono-out instance, W is disabled because no stereo output is available.
• HPF adjusts the high-pass filter applied only to the processed signal, from 10 Hz to 20,000 Hz with an OFF position. Use it to remove low-frequency modulation, protect the centre of a mix or create a lighter parallel chorus.
• LPF adjusts the low-pass filter applied only to the processed signal, from 10 Hz to 20,000 Hz with an OFF position. Use it to soften bright modulation, imitate darker analogue or BBD-style chorus, or place the effect behind the original source.

Note: because HPF and LPF process only the wet path, the original signal remains full-range when MIX is below 100%. This makes it possible to create filtered parallel width without removing frequencies from the dry source.

ADVANCED PANEL

• VINTAGE adds a warmer, darker and denser character to the processed path. It gently increases low-end body, softens the upper frequencies, adds analogue-style saturation and introduces extra ensemble density. Use it when the clean chorus feels too precise or when the source needs a rounder, more aged modulation colour.
• LIMITER MODE (OFF / SAFE / AGGRO) is a lightweight but powerful post-clamp output limiter that prevents final clipping (-0.003 dB final ceiling). Use SAFE for transparent control, AGGRO for fast peak control.