Macros for performanceĪ performance view provides eight macro controls, pre-mapped to filters, oscillators, modulation, and effects in each preset. When you’re creating sounds, this display provides helpful visual feedback and some beautiful 3D graphics. The entire interface is compact and focused, with a straightforward internal modulation framework and a large graphical display. RAZOR has been designed for musicians, not scientists. This combination of new and familiar makes creating sounds surprisingly simple. You’ll recognize the oscillators, filter section, and many other parameters, but the options are new – the formant or the waterbed settings, for example. RAZOR’s interface draws on familiar concepts from ‘traditional’ synthesizers. Vocoder – an exceptional 34-band vocoder.
Complex formants – as filters and oscillators.Partial panning – pan parts of the frequency spectrum separately.Reverb per-partial – the reverb tail follows pitch.Dissonance – from modulating single partials to compressing the whole sound.Creative filters – variable slopes and boosts.Here are some examples of what’s possible in RAZOR:
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This gives RAZOR an up-front, high-resolution sound, unmistakably different to other software synthesizers.Īpart from outstanding sound quality, the level of control in additive synthesis provides a host of new possibilities for shaping sound. Everything you hear – the filters, the stereo imaging, even the reverbs and delays are created by manipulating these individual sine waves. RAZOR’s additive engine consists of up to 320 partials. The resulting sound remains clear and precise at all times, even when heavily modulated. In additive synthesis, the sound is constructed from partials – single sine waves firing in parallel, changing amplitude and even frequency over time. So shake off the virtual analog dust – go additive and sharpen your studio cuts with RAZOR.
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