reFX Rippler review: a modal Synthesizer with Chromaphone-like DNA

Review: reFX Rippler is a new two-layerr physical modeling synth that feels like a supercharged take on AAS Chromaphone 3.

At the beginning of the year, Thiago Ribeiro (Tilr) released the free Rippler modal Synthesizer on GitHub. Shortly afterward, the installers disappeared because he had made a commercial deal with a development studio.

It’s official. It’s reFX Audio from Canada, the creators of the widely used Nexus Synthesizer. After several teasers, the reFX Rippler is now available. 

Thanks to reFX for sending me the plugin a few days before its release so I could do a review for you.

reFX Rippler review Summary

Pro

• flexible hybrid modal synthesis/VA engine 
• powerful modal synthesis with custom exciter impulses, audio input, and more resonators
• filters with a lot of routing flexibility 
• mighty modulation engine 
• multi-FX per layer + global, including granular 
• programmable arpeggiator/sequencer 
• MPE and micro-tuning via MTS client 
• factory presets 
• moderat CPU consumption
• nice-looking and easy-to-use UI

Neutral 

• reFX Cloud: not the friend of dedicated registration but it worked fine 
• no Linux (the GitHub version had support) 

Negative 

• no true bi-timbral: no two separate sounds and no splitting or stacking
• MPE support but no MPE presets 
• refinements (save resonators, MIDI patterns for the arpeggiator…) 
• no MIDI import or export for the arpeggiator patterns 

From An Open-Source Project To A Commercial Synth

Many Synthesizer plugins appear every year. For many, you only know what they can do, but not who is behind the project. Here are more details available that should be highlighted

It all started with Tilr RipplerX as a free, open-source project in February 2025. It was one of Tiago Ribeiro’s first cross-platform plugin projects. RipplerX is a modal Synthesizer heavily inspired by the first two versions of the AAS Chromaphone.

Tiago writes on GitHub: “It started as a research project into physically modeled drums and ended up a synth heavily based on AAS Chromaphone and Saike’s Partials”.

In hardware terms, you’d call it almost a clone; in software terms, too? Good question. It is certain that the modal synthesis and concept behind Chromaphone are not patented. It is a known synthesis type from the physical modeling synthesis family.

A year later, Tilr dropped the big brother, the Rippler (without the X), with a significantly more extensive feature set. As a self-confessed fan of the AAS Chromaphone 3 synth, my hand immediately went to the download button. 

It didn’t take me long to realize: Tiago has built a soft synth here that isn’t called Chromaphone, but could easily be its sibling with superpowers – deeper modal engine, more modulation, and more

The fun didn’t last long. After a few weeks, Tilr withdrew the installers from GitHub after an agreement with a development studio. Btw: no need to look for the last installers. The alpha version has a built-in timeout that removes patch saving, etc.

The cat is now out of the bag. reFX released Rippler on July 30th, 2026. 

Bi-Timbral Hybrid 

Installation is simple. Download the reFX Cloud app and install the Rippler synth with the factory content. Online registration via the tool is mandatory. Unfortunately, there is no offline option. There is also an option to launch a 30-day trial version. 

After installation, which reduces your precious disk space by approximately 51 MB, you’ll have three versions on your system: VST3, AU, and AAX. No standalone. These are compatible with both Mac and Windows. Unfortunately, the Linux version of the GitHub release didn’t get a successor.

A first look at the UI reveals that much of the original Tilr synth design remains, including the layout and visual language. Modal engine on the left and modulation engine on the right.

The reFX designers, however, took this foundation, upscaled it, and made it larger and more beautiful. A polish that has greatly benefited the UI. It’s beautiful, easy to use, and incomparable to the many boring, generic AI-built UIs of recent months.

Rippler is back. Yes! But not in its original form. Both developers have massively revamped the former GitHub project in every area. It’s now a hybrid Synthesizer with two layers: A (turquoise) and B (orange).

Important to know: unlike in Chromaphone 3, a layer is not a standalone sound or patch. Stacking or splitting is not possible with it. It’s more about layering here.

Two layers and hybrid. Modal synthesis is one part of Rippler; the other is subtractive VA. Indeed, a mixture that can’t be found in the AAS Chromaphone 3. But stacking or splitting these layers is not possible.

Modal Synthesis: Exciters, More Flexible Than Ever Before

There are two layers (A and B), each with the same structure: two exciters, two resonators, two traditional oscillators, two filters, and a multi-FX processor at the end of the layer chain. 

The first part of reFX Rippler is based on the concept of modal synthesis (physical modeling domain) that features an “exciter-resonator” structure. To make the resonators sound, you need exciters. There are three types in this synth.

Firstly, you can use an impulse-based exciter. reFX delivers the synth with a variety of impulse files, ranging from classic clicks and percussion to more unusual sounds. You can fine-tune them with various controls.

A highlight and a new feature in an object synth is the ability to import your own impulses as samples. This massively expands the sonic spectrum, as all sorts of sounds (max 3 secs) can be sent through the resonators.

Everything that crackles creates beautiful glassy, shimmering textures. I imported voices and piano sounds, which is a lot of fun too. There are no limits to what you can use here. Drop your sample folder and let the resonators surprise you.

In addition, you also have a more traditional noise generator with adjustable density, frequency, and more. This can be used independently or in combination with the first exciter. 

Late but just in time, I discovered another exciter option. Via the side-chain input, you can also feed any audio stream into the engine and excite the resonators. Better: with no time limit. This turns Rippler into a resonator effects processor.

Modal Synthesis: 12 Colorful Resonators Await You

There are two resonators with up to 64 partials, based on a series of resonant bandpass filters tuned to match the resonant frequencies of a particular acoustic object.

You can route them in parallel (1+2) or in series (1>2) with bi-directional energy transfer. This yields different results, especially in the second, which leads to more metallic sounds.

There are 12 different object types, four more than in the Chromaphone 3: Djembe, Squared, Vibraphone, and a dedicated Bell resonator, plus the eight known resonators like string or beam.

Four more resonator types make it more fun and also expand the range of possible sounds. The character and behavior of each of these resonators is fully customizable with various parameters such as decay and release, pitch, tone, and inharmonicity.

A real treat is the manual mode, which allows you to design your own resonators. It’s made to really delve into the details. This breaks down the “object” premise, allowing you to craft resonators that aren’t perfectly tuned to an object.

Depending on the configuration, this can lead to unusual results with chaotic frequencies. But you have to be careful with the levels of your settings. If you overdo it, you’ll likely encounter a wall of feedback.

The engine is certainly a playground for resonator enthusiasts. One downer is the interface, which could be improved with smoother operation and a save function for the custom types.

Alongside these, it also has a vibrato per layer that modulates the tuning pitch of the resonators with a repeated low-frequency pattern. 

The “Analog” Part

The Rippler synth’s main strength is its modal synthesis engine, which, as is well known, is heavily inspired by the Chromaphone synth. However, the subtractive virtual analog section in each layer is where Rippler goes its own unique hybrid way.

Each layer features two independent multi-wave oscillators with pitch and phase control. Additional harmonic content can be infused into the waveforms via two shaping slots, featuring various wave and phase-shaping algorithms.

Anyone who uses Arturia Pigments, Xfer Serum, or one of the many other major synths will know these perfectly. This is where one speaks of a hybrid synth, because you can mix the “analog” with the modal synthesis part.

This addition opens the door to fat basses, punchy leads, juicy pads, etc. And by adding the resonator component, you can give your traditional subtractive sound an organic, acoustic touch.

Some people were confused by the official demo, which didn’t sound like a physical modeling synth. This is due to the selected sounds, which use the VA engine, which instantly adds weight and richness.

Don’t worry, Rippler can also sound like an object synth; my demo demonstrates this. It’s good that they decided on this configuration; on the one hand, they give Rippler a more standalone standing, and on the other, it shows a hybrid concept.

Mixing & Filters

Let’s stay with traditional, subtractive synthesis. Each layer in reFX Rippler has not one, but two multimode filters, meaning there are a total of four filters you can work with. Both parallel and serial operations are possible.

Each filter has a built-in signal router that is active on both units during parallel operation. It gives you total freedom about routing your sources: resonators, oscillators, exciter, and noises. 

These routers are also signal splitters. For example, you can shape the resonators differently than the VA oscillators and noises. Alternatively, you can achieve a traditional VA synth setting without the resonators.

Bypassing the filters and going instantly into the amp and FXs is also possible. I wouldn’t ignore the filters, as the table is colorful and extensive. 

Rippler offers 27 different filters, including variations up to -48dB, comb filters, ladder, vintage, and a lovely vowel. Thanks, reFX, for incorporating comb filters, another element from physical modeling synthesis, into it.

Perfect for adding hollow, metallic, or phasing character. Combined with modulation, it unleashes a true beast. High resonance with modulation, and the filter becomes a resonator body. Love it. 

My favorite, though, is the vowel filter, which is a “miniature version” of the Monk synth. Not quite, but you can get sounds that are reminiscent of the plugin. 

Each filter has cutoff and resonance controls, plus drive for extra spice. Key follower is not in the filter but as a separate modulator available in the modulation engine.

The filter list can’t compete with Pigments, for example, but it offers a rich selection of different types, covering everything from classic to unusual.

Modulation

Yes, there is a modulation engine, and it’s a very comprehensive one. It surpasses the options offered by the Chromaphone 3. 

On the menu are four envelopes, four LFOs, four randomizers, and other modulators like velocity, aftertouch, MPE, key follower, and four macros. They are color-coded and can be operated via drag and drop.

Simply take a modulator and drop it on a parameter. It’s that simple. Once assigned, they appear in the modulation matrix, which has its own UI page.

It gives control over the source; the map lets you customize the curve of the mod; pow controls the power curve, plus you have polarity, mod amount, and the option to reassign the destination.

Up to four envelopes can be active in a patch. Each of these can be either an ADSR or an AHD, DADSR (an ADSR with a delay), or a DAHDSR (an envelope with a delay and hold stage). Something for every task, plus a beautiful visualization.

The five LFOs go even deeper. They can be LFOs with familiar waveforms or function generator-like modulators with drawable shapes. Rate, delay, rise, and smooth give you full control over them. Here too, everything should be available to introduce complex and varied motion.

For extra unpredictability and wilder tasks, there are four simple random generators based either on Perlin noise or S&H. Also great to bring organic movement to a patch.

Along with velocity, aftertouch…, you also have four macro controls with multiple destinations with custom mod ranges. They become particularly apparent when browsing the sounds in the preset browser, allowing you to edit these four without delving into the engine.

You can map almost an infinite number of assignments, so a macro can have a subtle but also a dramatic impact on your sounds. It’s your decision how powerful they will be. They also serve well as a performance tool.

Effects

Since MPE wasn’t a big deal in the preset design, it’s easy to forget that it’s also available as a modulation source. However, you have to activate it in the global settings. I hope some more content will be added here in future updates.

The effects engine, however, was used extensively in preset design, and rightly so. Three of them are in reFX Rippler, one per layer and one globally. Each one has the same scope and features 12 effects. Global also has a limiter on top.

Effects are ordered from top to bottom and are freely reorderable, as is known from many other synths or the new Tilr free synth TetraOP.

Everything the everyday sound designer needs is onboard: chorus, delay, distortion, phaser, EQ, tremolo, stereoizer, and reverb. They are customizable with dedicated parameters that are also modulatable.

reFX has also given the synth some sparkling goodies which differ from the known tools. Magnetic, for example, is a tape emulation that makes your sounds sound worn out, crooked, and wobbly. Perfect in combination with the second extra, the bucket delay.

This BBD delay emulation brings a warm, gritty character to the sound. The higher you set the delay rate and the more feedback and age you increase, the more authentically noisy the delay lines will become. I love it with purely modal synthesis sounds.

Then, Rippler also comes with a granular processor called Particle that envelopes the sounds with a shimmering, glitchy texture. At medium settings, the sounds rise into the cloud but still get through, and at 100% wet it’s just a fluffy grain texture.

The last in the series is reverb. Yes, reverb is basically a bread-and-butter effect. Not necessarily here.

You have the choice between an algorithmic reverb (RutaVerb) with five distinctly colored modes, each with a shimmer option, and a lighter ambient reverb called MiniVerb.   

RutaVerb vs. MiniVerb: Which is the winner? Both, because they’re used differently. RutaVerb is great for creating ambient sounds and large atmospheres. MiniVerb, on the other hand, is ideal for refining the sound and adding space without being too dominant.

The multi-FX engine covers a lot of ground. All the classic but also more creative fields. Shame that there is no dedicated RipplerFX to load the effects on other plugins or sounds.

Arpeggiator With Sequencer DNA

Part of the Rippler synth is also a fully programmable arpeggiator. Straight out of the box, you can fire off all the familiar arpeggios with up to 32 steps, familiar directions (up, down, alter, random…), octave, gate, and swing control.

You can delve deeper using the editor, which allows you to completely customize arpeggio patterns like in a sequencer. The upper section sets the notes while the lower sets the velocity offsets. Play the pattern with one note to create a pseudo-sequencer behavior.

The patterns can also be triggered with the keyboard in seven slots, making the arp very performative. The key mapping is freely assignable. Patterns are also storable and recallable at any time.

A little downer: the arpeggiator triggers both layers simultaneously. It’s not possible to route the arpeggiator to only one layer. Okay, each layer is not a complete, independent synth, as it lacks its own layer modulation.

Chromaphone 3, on the other hand, can do that. It can even split and stack. With creative patching, however, you can achieve this in Rippler. Given this background, it would be nice if one could route the arpeggiator, adding even more fun and complexity to the patch S

Sound Design

First things first: Rippler can make all the sounds that Chromaphone 3 can, and you’ve loved for many years. Since the modal engine is almost identical with a few additions, it’s on the same track and at the same level.

The “analog” part is, however, where Rippler deviates from the CH track and dives into its own waters.  This addition enables powerful basses, juicy leads, and even pads reminiscent of classic polysynths. In combination, it’s like an analog-style synth with an organic touch.

Furthermore, the significantly more comprehensive engine, with multiple filters, a deeper modulation engine, and more creative effects, elevates the whole sound design to another level. CH3 is somewhat more traditional in that respect.

Rippler does have one limitation. A patch can hold only one standalone sound, while CH3 can play two completely different timbres simultaneously in layer or stacked mode, which is a significant advantage. Especially for performers.

reFX delivers the plugin with over 400 professionally designed and versatile presets in an easy-to-use color-coded browser with sonic tags, preview function, and instantly mapped macros.

They cover all your modal synthesis sound needs, including realistic, acoustic-like percussion (kicks, snares, rims, marimbas…), mallets and keys like vibraphones and bells, as well as glassy, sparkling pads and textures. 

Analog-style sounds and hybrids are also part of it. Sounds that initially confused people somewhat in the demos.

I had the same experience the first time I started Rippler. The first patches, like 3 Note Trance or A New Energy 130 BPM, are more reminiscent of Nexus 5 than a physical modeling/modal synth.

Continue browsing, and you will find the more modal synthesis-oriented patches that cover the fields we love and enjoy from Chromaphone 3. In my linked sound demo, I focused more on that.

reFX Rippler Review Conclusion

Tiago Ribeiro(Tilr)’s project was once a synth (RipplerX) that could almost be considered a clone of Chromaphone for the open-source community. The second version was even closer to that.

With the help of reFX, Rippler has now been transformed into a more independent Synthesizer with its own distinct identity. Yes, the Chromaphone DNA is still clearly present.

The developers have even taken it to a new level with more customization options, more resonators, and so on. But the subtractive and modulation engines, for me, transform Rippler into a different beast.

For those who love the AAS plugin but have been longing for a boost in its capabilities, reFX Rippler is a kind of spiritual successor that delivers on that promise and even ventures into new directions.

Rippler is a great-sounding object-modal Synthesizer that, like CH3, will have a prominent place in my arsenal. The reFX response isn’t perfect either, and so they complement each other very well.

reFX Rippler is available now for an introductory price of 99€ instead of 129€. It runs as a VST3, AU, and AAX plugin on macOS (native Apple Silicon + Intel) and Windows.

More information here: reFX 

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