Best Analog Emulations (Jupiter-8, Juno-106) for Producers

Diva is widely considered the best sounding analog emulation on the market, and it has replaced almost every hardware synth I own for studio work. Its unique "Mix-and-Match" design allows me to route a Moog oscillator through a Roland Juno filter, creating hybrid textures that simply aren't possible on physical gear. I recently used the "Divine" mode on a film score to create a slowly evolving pad, and the zero-delay feedback filters handled the rapid modulation without a single digital artifact or stair-stepping effect.

It is famously CPU-hungry, but that's the price of perfection. I treat it like a real instrument. I record the audio rather than keeping it live as MIDI. The "Trance" envelope model is particularly snappy-I used it to program a rolling bassline that felt indistinguishable from a Minimoog. If I could only take one plugin to a desert island, it would be Diva, simply because it can be any synth I need it to be.

The V Collection is essentially the history of synthesis in a single box, and I consider it the starting point for any serious producer. Arturia has meticulously modeled every classic synth ever made-from the Jupiter-8 to the CS-80-and the latest updates have improved the filter behavior significantly. I used the Prophet-5 V on a recent synth-pop track to create punchy brass stabs, and the ability to now add modern effects like shimmer reverb directly inside the plugin made the sound sit perfectly in the mix instantly.

What I love most is the sheer breadth of inspiration. Whenever I am stuck on a production, I just start browsing the presets of the "CMI V" or "Synclavier V," and I inevitably find a sound that sparks a new idea. It isn't just about emulating the past. Features like the granular engine update in the pigments of these classics allow me to take vintage tones into completely new, futuristic territory.

By focusing strictly on the Juno-106, they nailed every single nuance, including the famous noisy chorus and the specific bass boost of the high-pass filter. I A/B'd this plugin against a real Juno-106 in a friend's studio, and we genuinely couldn't tell them apart once the chorus was engaged. The way the resonance screams when you push the filter is terrifyingly accurate.

I used Model 84 exclusively for the pads on a recent 80s-inspired project. The factory presets are instantly usable, but the real magic is in the simplicity of the interface. I could dial in a lush, swirling pad in ten seconds flat. It captures that "instant nostalgia" sound better than any other emulation I've tried, and it sits in a mix with that specific mid-range warmth that digital synths usually lack, making the whole track feel authentically analog.

Endorsed by Tom Oberheim himself, the OB-E allows you to program each of the 8 voices separately, just like the original hardware. This sounded daunting to me at first, but once I started slightly detuning each voice and panning them across the stereo field, the result was a pad sound so wide it felt like it was wrapping around my head. I used it to recreate the famous "Jump" brass sound for a cover band project, and the sheer rasp and size of the oscillators were undeniable and absolutely massive.

It captures the "bigness" of Oberheim synths better than anything else I have used. While the interface is dense, the "Vintage" control knob is a lifesaver-it instantly introduces subtle pitch drift and envelope variances that make the synth feel alive and old. When I need a pad that is going to be the main emotional carrier of a song, I reach for OB-E every single time.

Inspired by the rare Polymoog, this synth is a dedicated pad machine that brings a completely different flavor to my productions. The Polymoog was known for its "Resonator" section, and Cherry Audio has modeled this perfectly. I used it on a psychedelic rock track to create a swirling, vocal-like string sound that sat behind the guitars. It added a psychedelic texture that a standard Prophet or Jupiter emulation simply couldn't achieve.

It excels at being "weird" and organic. The "Vox Humana" preset is famous for a reason (think Gary Numan), and having that instant access to such a specific cultural touchstone is invaluable. While it isn't a "do-everything" synth, whenever I need a texture that sounds vintage but slightly unsettling or unique, the Polymode is the first plugin I open. It brings obscure history back to life.

The Legend HZ is arguably the most accurate Minimoog emulation ever created, and the addition of polyphony and Hans Zimmer's personal patch library takes it to another level. I used this on a cinematic trailer to create a low, rumbling drone that shook the walls of my studio, feeling physically powerful. The filter drive is incredibly musical. Unlike other plugins that just get harsh when you push them, The Legend gets "creamy" and thick, retaining that expensive analog weight.

The fact that it was developed with Hans Zimmer is evident in the preset design-these are sounds meant to fill a cinema. I particularly love the six-oscillator mode, which allows me to create massive unison detuned leads that cut through absolutely anything. It is a subtractive powerhouse that makes my DAW feel like it's connected to a $50,000 modular wall. It has become my default plugin for bass lines.

TAL-U-NO-LX has found its way into countless hit records (including mine) due to its unbelievably low CPU usage and perfect sound. It captures the 'chunk' and punch of the Juno-60 specifically-which is punchier than the 106-perfectly. I often use this on my laptop when I'm traveling because it is so lightweight, yet it sounds professional enough to make the final mix. The envelope response is snappy and aggressive, making it perfect for tight bass plucks.

The chorus section is, in my opinion, the best emulation of the Juno chorus in the industry. I often use the plugin just as an effects unit to run other audio through it. On a recent indie-pop track, I used TAL-U-NO-LX for every single synth part-bass, keys, and pads-and the track had a cohesive, vintage glue that sounded exactly like a record from 1982. It is the working producer's absolute workhorse.