Razor v1.7.0.4 HYBRiD Team R2R | 07 November 2019 | 20 MB PLATFORM: WiN/OSX – REAKTORĭiscover the new cutting edge of synthesis with RAZOR – a refreshing, truly new instrument based on additive synthesis. Created by maverick Berlin producer Errorsmith in partnership with NATIVE INSTRUMENTS, RAZOR has a characteristically dynamic and precise sound suited to tense basses, bristling leads and shifting, sci-fi soundscapes. RAZOR’s approach to additive synthesis is pragmatic and musical, providing detailed control without sacrificing usability. So shake off the virtual analog dust – go additive and carve a new path with RAZOR. In additive synthesis, the sound is constructed from partials – single sine waves firing in parallel, changing amplitude and even frequency over time. The resulting sound remains clear and precise at all times, even when heavily modulated. RAZOR’s additive engine consists of up to 320 partials. Everything you hear – the filters, the stereo imaging, even the reverbs and delays are created by manipulating these individual sine waves. This gives RAZOR an up-front, high-resolution sound, unmistakably different to other software synthesizers. The Library contains over 350 carefully designed and instantly usable presets. Apart from outstanding sound quality, the level of control in additive synthesis provides a host of new possibilities for shaping sound. Additive filters and effects compliment the work already done with RAZOR’s oscillators in this final video, providing us with even more ways to manipulate the sound from within the synth.Here are some examples of what’s possible in RAZOR: Creative filters – variable slopes and boosts.Dissonance – from modulating single partials to compressing the whole sound.Reverb per-partial – the reverb tail follows pitch.Partial panning – pan parts of the frequency spectrum separately.Complex formants – as filters and oscillators.Vocoder – an exceptional 34-band vocoder.RAZOR’s interface draws on familiar concepts from more ‘traditional’ synthesizers. Hopefully for the better! The brilliant thing about using the Razor vocoder in this way is that you can choose whether or not the trigger is audible.You’ll recognize the oscillators, filter section, and many other parameters, but the options are new – the formant or the waterbed settings, for example. Now when you play your sound while the audio trigger is playing the Razor vocoder kicks into action, drastically changing your sound. Once you have the audio signal in place you need to bring it into Razor via the Sidechain feature. In this example a drum loop is used to trigger the vocoder. Then you need to decide what you’d like to use as a trigger, as this will be run through a sidechain set up. This sound will need to have the Vocoder unit loaded in it. Let’s take a quick look at how it’s done.įirst, you need to have a sound you like running in Razor. It’s actually a lot easier than most people assume, and can be used in just about any kind of modern music production you can imagine. This video does a great job of showing it all off, as well as explaining the necessary routing technique to make it all work. One of the most effective ways to use this feature is not with vocals or vocal triggers, but with the various instruments in your project. The NI Razor vocoder effect is a an amazing tool and one that can instantly change your music in a number of different ways. This tutorial is great! It has a bunch of great ideas that you can begin using in your projects right away. This video tutorial is full of great tips for all users! We continually get a lot of requests for lessons in using the Razor vocoder, as it is often overlooked or misunderstood.
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