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5

Overview of RAZOR Ensemble

 

This  part  of  the  manual  gives  an  overview  of  RAZORS  interface  and  signal  flow  and  ex­
plains all its controls. RAZOR is an extremely graphic synthesizer as you can see the spec­
trum of oscillator shapes, filter curves and even the frequency depending panning of the 
signal. To learn the instrument it is highly recommended to turn the graphical display to 
'Auto' and switch off '3D'. This will help you to understand what the parameters are actual­
ly doing. This is easier than any written explanation. For more information about the dis­
play see the paragraph 'graphical display' below.
RAZOR was designed to give its user intuitive control over its powerful additive engine. So 

you don’t have to be a synthesizer specialist to edit and create sounds with it. But it might 

be helpful to gain some knowledge about the concept of additive synthesis to fully under­

stand some of RAZORS features. It’s out of the scope of this manual to explain additive 

synthesis. Search on the internet for more information. A search for 'Introduction to addi­

tive synthesis' and 'Fourier series' might be a good start.

5.1

Overview of RAZOR User Interface

 

The Interface is divided horizontally in three main parts.
The main synthesizer is located in the middle. There are two oscillators on the left that are 
mixed together before they get filtered by filter 1 and then by filter 2. The next section to 
the right of the filters is called 'Dissonance', offering effects to make the sound non-har­
monic; followed by the 'Stereo' section with various stereo effects. At the very end of the 
chain you find the 'Dynamics' section with effects to alter the amplitude dynamics of the 
sound like saturators and compressors. The Dynamics section is the only part of the RA­
ZOR not using additive synthesis.
Modulators like envelopes and LFOs are located at the bottom. These can be routed to var­

ious destinations. Envelope 1 is pre-assigned to the amplitude.

At  the  top  you  find  a  multi-functional  display,  some  global  controls  like  Pitch,  'Voice 

Mode', a value display and 'Quality'. At the top right there are two sections offering unique 

features named 'Spectral Clip' and 'Safe Bass'. 'Spectral Clip' takes the filtered signal and 

limits loud spectral peaks. 'Safe Bass' makes sure that there is always some energy at the 

fundamental frequency, which is crucial for bass sounds. After 'Safe Bass' the signal en­

ters the 'Stereo' effect section.

Overview of RAZOR Ensemble

Overview of RAZOR User Interface

 

RAZOR - Manual - 17

Содержание Razor

Страница 1: ...Manual...

Страница 2: ...associated logos are registered trademarks of Native In struments GmbH Mac Mac OS GarageBand Logic iTunes and iPod are registered trademarks of Apple Inc registered in the U S and other countries Win...

Страница 3: ...Germany info native instruments de www native instruments de USA Native Instruments North America Inc 5631 Hollywood Boulevard Los Angeles CA 90028 USA sales native instruments com www native instrum...

Страница 4: ...ding a Snapshot from the Main Bar 16 4 3 Saving a Snapshot 16 5 Overview of RAZOR Ensemble 17 5 1 Overview of RAZOR User Interface 17 5 2 Overview of Signal Flow 20 5 3 Common Controls 22 5 4 Global C...

Страница 5: ...Formant 35 5 10 Filter 1 36 5 10 1 Filter Smoother 37 5 10 2 Lowpass 37 5 10 3 Lowpass Ramps 38 5 10 4 Lowpass Broad 38 5 10 5 Lowpass Phaser 39 5 10 6 Lowpass Dirty 39 5 10 7 Bandpass 40 5 10 8 EQ D...

Страница 6: ...ing Tuned 52 5 12 3 Stiff String 53 5 12 4 Stretcher 53 5 12 5 Frequency Shifter 54 5 12 6 Centroid 55 5 13 Stereo Effects 55 5 13 1 Auto Pan 56 5 13 2 Stereo Spread 56 5 13 3 Chorus 57 5 13 4 Reverb...

Страница 7: ...hain 69 5 15 5 MIDI related modulators 69 5 15 6 Tracking Modulators 70 6 How to get RAZORS Vocoder to work 71 6 1 Using REAKTORS internal sample player 71 6 2 Using the audio input of a soundcard in...

Страница 8: ...owing notes let you see what kind of information is to be expected Whenever this exclamation mark icon appears you should read the corresponding note care fully and follow the instructions and hints g...

Страница 9: ...ne inside the synthesizer itself to give them a new sonic twist Echoes are achieved by echoing envelopes This feature re sults in echoes merged with the dry sound in a unique way Instances of the echo...

Страница 10: ...pecially if set to 3D mode You might find yourself creating nice 3D animations with RAZOR for hours and totally forget about music making Don t miss the hidden tricks for the 3D mode described in the...

Страница 11: ...R When installation is finished start the Service Center application which was installed with RAZOR It will connect your computer to the Internet and activate your RAZOR installa tion In order to acti...

Страница 12: ...all available updates for your installed products Please make sure that you always use the latest version of your Na tive Instruments products to ensure they function correctly Downloading updates is...

Страница 13: ...AZOR generates up to 320 oscillators per voice and needs more CPU power than other REAKTOR instruments 4 1 How to Open RAZOR This is how to open RAZOR in REAKTOR or REAKTOR PLAYER 1 Start REAKTOR or R...

Страница 14: ...Then let s change the sound completely by loading a different Snap shot A Snapshot is REAKTOR s notion for a sound preset or patch RAZOR can hold banks of Snapshots and loading any of these Snapshots...

Страница 15: ...If not already visible after startup you need to open the Sidepane The Sidepane holds a full overview of REAKTOR s Snapshot Banks and Snapshots from the currently selected Snapshot Bank 1 Click the S...

Страница 16: ...ment 2 Click an entry to select it 4 3 Saving a Snapshot Snapshots can only be saved when using the full version of REAKTOR however all your settings will be recalled perfectly in a host if you are us...

Страница 17: ...er Interface The Interface is divided horizontally in three main parts The main synthesizer is located in the middle There are two oscillators on the left that are mixed together before they get filte...

Страница 18: ...al pitch and the phase of the oscillators 4 SPECTRAL CLIP A tool to limit loud spectral peaks in the output of the filter stage 5 SAFE BASS A tool to assure that there is always some energy at the fun...

Страница 19: ...ffers effects to make the sound dissonant 11 STEREO EFFECTS Offers effects to make the sound stereo like panning effects chorus and reverb 12 DYNAMIC EFFECTS Offers effects to change the dynamics of t...

Страница 20: ...the Additive Engine which is one big oscillator A sine bank a new module in Reaktor 5 5 that is set up to generate up to 320 sinus oscillators called Partials and mix them together for one synthesize...

Страница 21: ...e for the right and left stereo channel independently They do not process an audio signal Some like auto pan set the partials panning chorus simulates differently tuned comb filters for each channel R...

Страница 22: ...icker page will pop up on the display Click on an entry to select it or click on the selector again to cancel In fact the click area of the selector includes the name field and its icon 2 On Off Butto...

Страница 23: ...w 5 4 Global Controls This area contains controls which affects the whole instrument Fig 5 4 Global Controls MONO POLY MONO activates the monophonic voice mode Only one voice is generated by the instr...

Страница 24: ...lect it Then press the arrow up button on your computer keyboard once That set the knob to its next position Now press the arrow down button to undo the change the initial value is shown QUALITY Selec...

Страница 25: ...attack of envelope 1 Which is the amplitude envelope Watching the wave on the Scope is helpful to set the phase RANDOM Amount of randomization of the partial phase at note on This results in a more b...

Страница 26: ...case SPECTRAL CLIP is active grey otherwise STEREO Shows the partial panning resulting from the stereo effects OUTPUT Shows the spectrum of the output of the additive engine That is after the Ster eo...

Страница 27: ...limits loud spectral peaks in the output signal of the filter stage It has a spectral curve similar to a lowpass filter that acts as an upper limit to the partial ampli tudes When you turn on Clip in...

Страница 28: ...cts It adds a saw shaped signal to the bottom of the frequency range AMOUNT Defines how much amplitude of the lower partials are taken over by the Safe Bass signal If set to 1 the amplitude of the fir...

Страница 29: ...ayers For crossfades the same modulator has to be connected to the Amp of oscillator 1 and 2 but using inversed modulation amount one is positive the other negative so while one oscillator is faded in...

Страница 30: ...Saw Simulates the mix of two sawtooth waves with a settable frequency ratio and beating Fig 5 11 Duo Saw Oscillator RATIO 2 Frequency ratio of the additional sawtooth oscillator BEATINGS Amount of bea...

Страница 31: ...t that it disappears and no sound is heard 5 9 5 Hoover A special pulse width waveform that needs CHORUS as stereo effect to sound similar to the classic Hoover sound Fig 5 13 Hoover Oscillator PW Pul...

Страница 32: ...llator signal that contains all prime or non prime numbered partials Fig 5 16 Primes Oscillator RATIO Frequency ratio of the oscillator AMOUNT Blends between non prime and prime numbered partials In t...

Страница 33: ...order of the entries reflects the perceived dissonance although the harmon ic tuning of the partials isn t altered OCT Octave steps EVEN Even numbered partials ALL All partials ODD Odd numbered parti...

Страница 34: ...a waveform that contains only partials at octave intervals of the fundamental fre quency Fig 5 20 Octaves to Saw Oscillator OCT SAW Morphs between octaves waveform and sawtooth 5 9 13 Pitched Noise O...

Страница 35: ...Fig 5 22 Synced Noise Oscillator DYNAMIC Blends between frozen noise and synced noise SEED Sets a different set of random numbers for the frozen noise 5 9 15 Formant Offers several wave shape presets...

Страница 36: ...n RAZOR Fig 5 23 Formant Oscillator FORMANT Amount of formant shift semitones to the spectral curve of the waves To get the original wave shape set this parameter to 0 mid and modulate it with the pit...

Страница 37: ...rising DEC Decay time of the smoother Defines the amount of smoothness if the partial am plitude is falling DAMP High frequency damping It reduces the decay time of the smoother for higher frequency p...

Страница 38: ...pe dB Oct in the cut band If set to maximum this filter acts as a peak EQ 5 10 4 Lowpass Broad Lowpass filter with an extra broad resonance Fig 5 27 Lowpass Broad Filter CUTOFF Cutoff frequency semito...

Страница 39: ...t BARBER Turns on Barberpole mode resulting in ever falling phaser ripples The move ment is hardwired to LFO 2 5 10 6 Lowpass Dirty Lowpass filter with a distorted filter shape Fig 5 29 Lowpass Dirty...

Страница 40: ...ighpass filter SLOPE Filter slope dB Oct of both filters in the cut band BOOST BW Bandwidth of the resonance boosts 5 10 8 EQ Decay Five band graphic equalizer with a unique decaying feature At note o...

Страница 41: ...ts don t rise to unpleas ant levels 5 10 9 Vowel Vowel filter for simulating human vowel sounds Fig 5 32 Vowel Filter FORMANT Amount of formant shift semitones of the filter Can be used to get a micke...

Страница 42: ...ng effect Fig 5 33 Vocoder Filter FORMANT Amount of formant shift semitones of the filter Can be used to get a mickey mouse effect if a voice is used as modulator STRETCH Stretches the filter curve of...

Страница 43: ...27 notch 28 32 harmonic 5 10 12 Formant Decay Similar to Formant filter but with a unique Decay feature Filter curve affects the decay rising time of the partial amplitude This effect is similar to a...

Страница 44: ...11 1 Filter Smoother On the left hand side of the filter the 3 controls of the Filter Smoother are located It s active for all filter types It smooths fast amplitude changes caused by the filter for e...

Страница 45: ...ass filter with extended features to the classic highpass design Fig 5 38 Highpass Filter CUTOFF Cutoff frequency semitones of the filter BOOST Boost at the cutoff frequency Negative values create not...

Страница 46: ...resonance boosts 5 11 5 Bandreject Bandreject filter consisting of a resonant lowpass and resonant highpass filter in parallel Fig 5 40 Bandreject Filter CUTOFF Mid cutoff frequency semitones between...

Страница 47: ...stance of the second peak to the first peak which is tuned to the first partial BOOST Boost at the comb peaks PHASE Phase offset to the recurring comb peaks STRETCH Stretches the filter curve from fla...

Страница 48: ...like TUNED If on the first peak of the comb is tuned to the first partial when PHASE set to 0 5 11 8 Phaser Special filter for phaser effects Modulating the PHASE parameter with a saw shaped LFO resu...

Страница 49: ...moving waves to prevent unpleasant loud am plitudes LO Low Reflection It sets the reflection type of the lower boundary of the water sur face results in a positive reflection keeping the sign of the w...

Страница 50: ...Affects the bandwidth of the comb teeth 5 11 11 Gaps Special comb filter that cuts hard edged gaps into the signal This filter can create fast on off like amplitude changes to the partial amps Use the...

Страница 51: ...cts alter the tuning of the partials to each other to create unique dissonant sounds If off the partials have a harmonic tuning That means that frequency of a partial is a multiple of the fundamental...

Страница 52: ...be detuned 5 12 2 Beating Tuned Takes every xth partial shift its frequency down to the previous partial and detunes it Fig 5 49 Beating Tuned Dissonance Effect AMOUNT Amount of detuning PARTIAL Sele...

Страница 53: ...nt of dissonance 5 12 4 Stretcher Stretches the frequency distance between partials If a sawtooth is detuned by this effect an amount of 12 results in a pulse like wave 12 re sults in a sawtooth wave...

Страница 54: ...stretching semitones 5 12 5 Frequency Shifter Shifts the frequency of all partials by the same amount Fig 5 52 Frequency Shifter Dissonance Effect AMOUNT Amount of frequency shift semitones Overview...

Страница 55: ...el They do not process an audio signal They are polyphon ic That means every voice of RAZOR has its own copy of the set stereo effect This allows the stereo effect parameters to be modulated by polyph...

Страница 56: ...MOUNT Amount of stereo RAMP Sets the increase of stereo amount from low partials to higher ones Can be used to prevent the low partials to be stereo as they usually have an high amplitude and would do...

Страница 57: ...partials to be stereo as they usually have an high amplitude and would dominate the stereo field Partials in the bass range are never stereo regardless of the RAMP setting RATE Rate of the barberpole...

Страница 58: ...ic mode as every voice has its own copy of the stereo effect In polyphonic mode the reverb is polyphonic too That means with a new note the reverb tails in the oth er synth voices continue to decay wi...

Страница 59: ...cts the amplitude of the partials So one specialty is that the reverb signal is pitched It follows the pitch of the voice RAZORs reverb effects sound quite different in monophonic and polyphonic mode...

Страница 60: ...Decay time of the reverb tail SMEAR Smooths fast amplitude changes in the reverb tail HI DAMP Damping of the high frequencies resulting in a shorter decay time in this fre quency band 5 13 6 Unisono N...

Страница 61: ...rtials in the bass range are nev er stereo regardless of the RAMP setting SPEED Speed of beating A slow speed sounds like unisono played instruments which have almost the same pitch With increasing sp...

Страница 62: ...t section of RAZOR as these effect process the audio output of the synthesizer Disso nance and Stereo effects are part of the additive synthesizer engine The meter at the bottom of the section shows t...

Страница 63: ...ng it to exceed the fixed threshold of the compressor RELEASE Sets the recovery time of the compressor if the signal s amplitude falls under the threshold 5 14 2 Dirty Limiter Distorting Limiter Fig 5...

Страница 64: ...haper like distortion 5 14 3 Clipped Compressor Compressor followed by a soft clipper Fig 5 61 Clipped Compressor Dynamic Effect DRIVE Increases the level dB of the incoming signal forcing it to excee...

Страница 65: ...more distortion in this frequency band DRIVE HI Sets the drive dB for hi frequencies More drive results in more distortion in this frequency band 5 14 5 Clipper Clipper with foldover feature for nasty...

Страница 66: ...e envelope The delay time and feedback amount is set with the ECHO STEPS controls Having echoes on envelopes can result in unusual effects as echoes are still dependent on the synthesizer settings The...

Страница 67: ...choed envelopes Fig 5 65 Echo Steps Illustration Fig 5 66 Echo Steps Controls DELAY Delay time 16th notes The marks around the knob represent 16th notes FB Amount of feedback Influences the step heigh...

Страница 68: ...ase offset to LFO 1 in LFO1 mode SHAPE LFO shape Available shapes are sine triangle saw down saw up pulse ran dom smooth random Mode Toggle In HERZ mode the LFO speed is set in Hz LFO isn t restarted...

Страница 69: ...unt knob must be midi learned to that controller Fig 5 69 Sidechain Upper Modulator Selector Selects a modulator that scales the lower modulator Lower Modulator Selector Selects a modulator that is sc...

Страница 70: ...e modulated parameter KEY TRACK Tracks the keys of the incoming MIDI notes Including the glide and the manual set pitch PITCH TRACK Like KEY TRACK but inclusive pitch modulation The main reason to hav...

Страница 71: ...and side of the Player Recorder bar located below the Instrument panel In case it is hidden View Show Player Recorder needs to be checked For more info on the sample player please refer to the REAKTOR...

Страница 72: ...support and information specific to your scenario on the Native Instruments REAKTOR website forum Logic In Logic first insert the plug in as an audio instrument from the track sub menu called AU MIDI...

Страница 73: ...mentation provided with FL Studio for more information on setting up MIDI for virtual instruments and effects You may also find more support and information spe cific to your scenario on the Native In...

Страница 74: ...Sound Design Robert Linke Adam Hanley Julian Laping Tobias Menguser Matt Jackson Tasmodia Summa Andre Goc Ema Jolly Jeremiah Savage Peter Prestel Uwe G H nig Andrew Hyde Colin Fraser Klaus Baetz Simon...

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