Native instruments razor review

Paired with powerful fine-tuning features — did somebody say Safe Bass? Partly this is down to that ultra-clean additive synthesis; in particular, he credits the Spectral Clip module for giving him finer control over harmonic balance. Mostly playing a supporting role in the full-spectrum pop arrangement, native instruments razor review, the bass leaps into the foreground in the verses for a series of lithe, precise pitch bends which steal the show.

Press Release: Native Instruments today introduced Razor, an innovative and highly distinctive software synthesizer designed together with forward-thinking electronic artist Errorsmith. 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. Berlin-based producer and renowned Reaktor instrument designer Errorsmith is dedicated to the "expansion of the sonic horizon through digital sound synthesis". Razor realizes this credo through the additive synthesis capabilities of the latest Reaktor 5. 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 utilizes up to partials for its sophisticated sound shaping algorithms.

Native instruments razor review

As refreshing as it is phat, Razor makes additive synthesis not just palatable but downright desirable. Amazing sonic capabilities. Easy but powerful modulation system. Simple to use. Unique waveform and filter shapes. Useful visualisation of partials. MusicRadar's got your back Our team of expert musicians and producers spends hours testing products to help you choose the best music-making gear for you. Find out more about how we test. It's based on additive synthesis, with up to partials individual sine waves. While additive synthesis has a reputation for being a tad 'scientific', Razor is very friendly, presented in the guise of a typical modern synth, with two oscillators, twin filters, and three effects sections: Dissonance, Stereo and Dynamics. Under the hood, everything in Razor bar the dynamics effects is done by manipulating the frequency, amplitude and phase of its partials. For example, the filters don't process an audio signal; instead, they adjust the partials directly.

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A lot of VST synths are trying to recreate and preserve the past. This made a lot of sense until the big analogue synth revival started about eight years or so ago. Now, in , we're practically tripping over new, affordable analogue synths from Korg, Arturia, the modular manufacturers and so on. Part of me has always thought that really, computers should be used to do things that are still impossible in the physical domain. Razor is such a synth.

Today, its unapologetically digital signature can be heard on tracks by boundary-pushing experimentalists like Mark Fell and Jlin as well as mainstream hits by the likes of Kendrick Lamar and Dua Lipa — even Jean-Michel Jarre has found a place for it in his collection. Additive synthesis is, in short, the process of creating complex new sounds by stacking up partials — simple sine waves with precisely controlled frequencies and amplitudes. Additive synthesis, by comparison, is like a playground in that respect. A little over a decade before starting work on RAZOR, Erik was butting up against the limitations of hardware synthesizers of the time — sometimes going so far as to crack them open and modify them to better suit his needs. When I started with Reaktor there was no need to modify my analog synths anymore; I could take something from the Library, learn from it and modify it — or develop my own stuff from scratch. It was in , having been asked for ideas for a forthcoming update, that Erik submitted the first draft of his additive masterpiece: a stripped-back, lime-green ensemble that already bore the RAZOR name and an early version of its trademark visualisations. This proof-of-concept — an additive simulation of a saw wave running through a resonant low-pass filter present in the synth today as Lowpass Ramps — was a simple, but unique idea.

Native instruments razor review

Childs IV on Jan 15, in Review 0 comments. If, either, you own Native Instruments' Razor, or you're thinking about purchasing it, now would be the time. Native Instruments recently updated the very popular Reaktor-based, additive synth to 1. And, with this update, there are some wonderful new additions on many fronts.

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New forum posts Re: Baffled by studio wiring. Spectral Clip limits the levels of individual partials, while Safe Bass ensures that there's always a certain level of bass content in the signal, regardless of the filter shape in use. The coolest thing about all of this is that it allows for many novel oscillator, filter and effects types that don't exist elsewhere. Featured March 1, Another feature worth noting is the Safe Bass generator which is used to add more spectral content to the fundamental frequency. Production February 22, And for the non-tweakers among us, the included professionally designed presets will provide more than plenty of high quality music-making material. Roles: Music Producer. He is also the founder and editor-in-chief at Bedroom Producers Blog. Just so with this DJ Dahi-produced track. Manage cookies Essential cookies.

Paired with powerful fine-tuning features — did somebody say Safe Bass? Partly this is down to that ultra-clean additive synthesis; in particular, he credits the Spectral Clip module for giving him finer control over harmonic balance.

The oscillator section features two oscillators and offers a selection of 14 unique oscillator types. Reviews 23 Artists 40 Videos 1. This made a lot of sense until the big analogue synth revival started about eight years or so ago. Razor was created as a joint effort between Native Instruments and Errorsmith , a Berlin-based music producer and a well-known Reaktor instrument designer. Stuttering and hypnotic, the track gives Razor a serious workout, showing both the cleanliness of its articulation and its potential expressive range. The rest is made up of oddities like 'waterbed', 'unisono noise' and 'gaps'; the latter brutally masks out certain partials, like an extreme phaser. Razor is firmly in their toolbox, having appeared, in some form or other, on most of their tracks. When it came out it seemed to be marketed as a 'dubstep' synth, which is a shame, as dubstep isn't the 'latest thing' any more. Mark Fell — Materialisation epic razor chord and LatelyBass version with found voice. Of course, the display is not there just for the OMG double rainbow! Discover what polyphonic aftertouch is, how it works,….