The user interface of Razor builds on familiar concepts of subtractive synthesizers, providing especially efficient and intuitive control for the underlying highly sophisticated synthesis engine. Razor even integrates a high-performance 34-band vocoder that can also be used to process external audio signals of any type. A further section provides an arsenal of unique "Dissonance Effects" that further contribute to the unmistakable, charismatic sonic footprint of the instrument. The two filter sections offers 20 different filter types including innovative formant, vowel and waterbed models. The dual oscillator section provides a wide arsenal of timbres, ranging from typical analog-style waveforms to unconventional models like "Primes", "Sick Pitchbend" and "Hoover Sync". Razor utilizes up to 320 partials for its sophisticated sound shaping algorithms. The pristine and extremely dynamic sonic character of additive synthesis allows Razor to generate a wide and very distinctive array of energetic, hypermodern sounds, ranging from expressive basses and leads to complex, futuristic soundscapes. Razor realizes this credo through the additive synthesis capabilities of the latest Reaktor 5.5 generation, which were used to develop a high-resolution synthesis engine with unconventional sound shaping features and a unique real-time 3D spectrum display.
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For use in Reaktor 5 and in the free Reaktor Player, Razor uses powerful additive synthesis to create intense and profoundly modern sounds for contemporary electronic music production.īerlin-based producer and renowned Reaktor instrument designer Errorsmith is dedicated to the "expansion of the sonic horizon through digital sound synthesis".
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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.Press Release: Native Instruments today introduced Razor, an innovative and highly distinctive software synthesizer designed together with forward-thinking electronic artist Errorsmith. 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.
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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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