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14-day money back guarantee included if product is not activated
You can purchase from Gear4music with complete confidence and peace of mind. All of our digital products come with a 14-day money-back guarantee as standard.
If you decide you don't want your order, you can return it within 14 days of receiving it. Provided your product hasn't been activated in that time, you can exchange it for a different product, or get a refund.
We will only issue a new product or refund if the supplier confirms that your product has not been activated. At the same time, we will ask them to invalidate it so that it cannot be used in the future.
This does not affect your statutory rights.
For more information, please refer to our Returns and Refunds Information.
If you decide your order isn't suitable for any reason you can return it - just let us know within 30 days of receiving it. Please keep hold of all the original packaging until you're sure you want to keep the order.
Eligibility for Money Back Guarantee
For hygiene and software licensing reasons, some items are only eligible for our Money Back Guarantee if they are returned to us unused and sealed in the original packaging with all software still "unregistered."
Details of exclusions are shown within the product descriptions.
Products include:
- Monitors and Headphones
- Earplugs and Ear Protection
- Reeds and mouthpieces for woodwind and brass instruments
- Mouth and Lip-Care Products
- CDs, DVDs and Software
We can collect your return for a small fee, or you can send it back to us yourself. The collection fee can be found in the returns information on each product's page on Gear4music.
In the unlikely event that any item in this order is faulty, damaged or incorrect on receipt, notify us within 14 days and we'll arrange a free collection.
When returning an order please ensure products are appropriately packaged and protected, to prevent them from getting damaged.
This table provides an overview of your statutory consumer rights, compared with our standard returns policy and optional extended money back guarantee and warranty.
| UK & Europe | EU Standard | Gear4music Standard | Gear4music Optional |
|---|---|---|---|
| Return Period | 14 days | 30 days | up to 180 days |
| Standard delivery charges refunded? | Yes | Yes | Yes, up to 30 days |
| Upgraded delivery charges refunded? | Standard costs only | Standard costs only | Standard costs only |
| Free collection on cancellation | No | No | Yes, up to 30 days |
| Free collection if defective, delivered damaged or incorrect item | Yes, within 14 days | Yes, within 14 days | Yes, within 30 days |
We are unable to accept returns of any custom made items designed to work together as a unique package and some items are only eligible for money back guarantee if they are returned to us unused and sealed in the original packaging. For full information on our returns policy, please refer to our returns and refunds information guide.
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Key Features
The Cherry Audio SH-MAX is a virtual synth for producers chasing classic SH tone with modern flexibility. Built as a blend of the SH-5, SH-7, and SH-3A the SH-MAX combines the best parameters of each and mixes them into a single, coherent instrument. Dual oscillators, parallel filters, ring modulation, and sample & hold deliver the direct, assertive sound these synths are known for, while added duophony, syncable VCOs, and additional waveforms open more complex patches. Polyphony, unison layering, and stereo signal paths push it well beyond the limits of the original hardware. Performance tools like polyphonic aftertouch, Touch Effects, and a multi-lane step sequencer make it feel at home in a modern DAW. With over 300 presets and flexible routing throughout, SH-MAX is built to slot quickly into real-world production workflows.
Product Ref: 367163
SH-MAX isn’t a straight recreation of a single vintage synth. Instead, it draws together the defining elements of three SH-series instruments and reshapes them into one focused plugin. The weighty core tone of the SH-5 forms the foundation, while the SH-7 contributes performance-oriented features like duophony and oscillator sync. The additive-style oscillator from the SH-3A expands the palette further, making it easier to build harmonically rich sounds. Rather than switching between separate models, everything is integrated into one signal path, so sound design stays fast and intuitive while still reflecting the character of the original instruments.
At its core, SH-MAX models the key components that gave the original synths their identity. Dual oscillators, two LFOs, ring modulation, and sample & hold recreate the raw movement and instability that defined early SH designs. Autobend, filter FM, and additional oscillator waveforms add extra modulation options without straying from the original design language. These elements aren’t bolted on as extras; they’re part of the synthesis engine, so patches respond naturally as you shape them. The result is a sound that feels direct and playable, whether you’re programming basses, leads, or evolving textures.
Much of SH-MAX’s character comes from its parallel filter structure. A multimode filter and dedicated bandpass filter can be driven independently, allowing tones to move easily between rounded warmth and aggressive edge. This makes it simple to carve sounds that sit forward in a mix without heavy processing. Optional drift and slop controls introduce subtle movement across oscillators, filters, envelopes, and amp stages, adding a familiar analogue-style looseness when you want it. These controls are fully adjustable, so you can keep things tight and precise or deliberately imperfect, depending on the track.
Software removes many of the practical limits of the original machines, and SH-MAX takes full advantage. The mixer operates in stereo and supports modular-style routing, with each sound source assignable to filters, amp stages, and its own effects chain. Twenty built-in effects can be reordered and reused across four chains, keeping complex patches contained within the instrument. Polyphony scales up to 16 voices, while Touch Effects, polyphonic aftertouch support, and a four-lane step sequencer add expressive control that simply wasn’t possible on the hardware. It’s a clear evolution of the SH concept, built for today’s production environments.
