Time Razor
Much More Than A Dual Delay. A Massive Powerhouse With More effects And A Modulation Engine To Shape Your Sound
Overview of Time Razor
Has 3 different delay modes: Single, Dual Serial and Dual Parallel. Each delay line appear as showed on picture.
Processing in stereo with independent left/right delay time and feedback for each delay line. Possibility to sync delay times to the host tempo.
Makes stutter, tape, panning, rhythmic, granulated, ducked, filtered, Mid/Side etc.
sounds a breeze to create
Hear It In Action
In parallel mode, Time Razor has separate ducking controls. In this case, the first delay line (1/8 notes) has no ducking applied, while the second delay line (dotted 1/8 notes) has ducking applied and will fade up after the first delay line. We also make use of the powerful option of adding ping pong only to the second delay line, resulting in a cool sound that blends the delay lines while also playing with the stereo field
The first delay line (1/8 notes) is used in serial mode (serial level 60%) with the second delay line (1/16 notes) and ducking is added. The left/right feedback in delay line 2 is modulated, creating a panning effect. You can use the envelope follower to fade/duck the reverb up and down. This demonstrates that although ducking is only applied to delayed feedback, you can achieve ducking using the envelope follower.
While Time Razor doesn't have a conventional pitch shifter effect, you can use an LFO to modulate delay time in repitch mode and create pitch shifts. Pitch-shifted delays aren't time-synced but have a small delay in milliseconds. To achieve a more time-synced delay, combine both delays in serial mode. In this example, delay line 1 is set to 1/4 notes, and delay line 2 is pitch-shifted a fifth up from the original pitch. By keeping the serial level at 50%, we can still hear the 1/4 notes without the pitch. Time Razor includes several presets that provide harmonic pitch shift effects.
This beautiful dynamic changing shimmering effect is created by modulating the multimode filter's cutoff with LFO1 (sin 1/4 triplet notes), then using an envelope follower to modulate LFO1 rate. We use only delay line 1 (dotted 1/8 notes) with long feedback. Finally, we add a bit of chorus and reverb. The "All→FX" setting is selected, which means that both dry and wet audio is colored by the multimode filter, chorus, and reverb.
​In repitch mode, you can create amazing, jumping pitch modulation effects by using an envelope follower to modulate delay time. For stereo effects, you can set the left/right delay time of the first delay line to 1/8 dotted and triple delay time. Only one delay line is needed in this case. Adding a bitcrusher effect gives a nice lo-fi sound.
When using repitch mode, you can control the speed of pitch shifting when changing the delay time. This can be used to create pitch slide effects – kind of guitar slide. In this example, we use the envelope follower to modulate the delay time of delay line 1 and remove unwanted artifacts using the shaper. Delay line 2 is then used to add some time ticks to the sound effect. In repitch mode, you can experiment and create many other creative pitch effects.
Deconstruct and mess up any source in real-time! Modulate with LFO, envelope follower or manually tweak the delay
time - the "fade" mode keeps the pitch stable while changing delay time. Using "sync to DAW" mode makes timing easier, but working with delay times in milliseconds can create a massive granulated sound. In this example we use LFO to change the delay time. We manually changed the modulation amount and the fade parameter when recording this. Small fade values avoids artifacts, but pushing it high add artifacts, which is sometimes what you want. We only use wet audio.
Fade mode is a powerful feature that allows you to change delay time without producing audible artifacts, unless you intentionally want to. The fade setting can make cross-fades between delay times sound soft, harder, or even destructive (especially in ms time mode). In this example, we play a synth through Time Razor and modulate the delay time using our new MIDI triggered envelope. We add chorus and reverb to create this amazing cosmonaut sound.
We love the fade mode, so here is some more crazy stuff.
This beautiful-sounding effect demonstrates how modulation of the multi-mode filter (cutoff) can create a smoothly filtered fading transition between echoes in the feedback path. We set different left/right delay times to create stereo, then narrow the stereo width a bit, and finally, we add chorus to the feedback path.
Small delay times can create resonance, which, when used effectively, can yield useful effects. In this sound, we use Time Razor in parallel mode. The first delay line produces resonance, and we modulate the delay time with an LFO to create slight variations in the sound. We set the fade mode to avoid pitch artifacts. The second delay adds rhythm to the sound using dotted 1/8 notes. The multimode filter (BPF) adds color to the sound.
We modulate the reverb wet parameter with both LFOs to create a cool stutter pattern perfectly synced to your DAW. We use the multimode filter and shaper to color the sound. To avoid a clean stuttering sound without a continuous tail, we use both delay lines in series (with a level balance of 60%) to add a continuous feedback tail.
Another way to create fantastic stutter is by modulating the wet (echo) parameter. We use LFO1 to modulate the wet parameter, and LFO2 to modulate the rate parameter of LFO1. We also add a bit of chorus and phaser to the feedback path to enhance the effect.
When repitch are set to 0, sound gets more distorted and glitchy when time is modulated. First delay line are set to straight 1/4 notes(L/R) and small feedback. Second delay line has 259 ms(L/R), small feedback and repitch set to 0. We use envelope follower to modulate second delay line. We use dual parallel mode and set level balance of delay line 2. This sound is stored as a preset (Bite Me). Give it a try yourself.
Mid-side mode is another way to manipulate the stereo image, enabling you to create intricate M/S effects by utilizing both delay lines. In this example we use the first delay line to produce an effect where the sides fade out more quickly than the mid adding a bit width. In Mid-Side mode reverb is added to Mid audio only. And setting reverb width to 0 creates this cool centered reverb sound.
The serial and parallel delay modes, and the level control that mixes the two delay lines, are very powerful ways to add dynamic delay to your sound. In this case, we manually change the delay mode and level while playing the instrument. It starts in serial mode with the level at 0%, then moves to 50%, 100%, and then shifts to parallel mode with the level at 50% and then back to serial mode with the level at 50%. We also add a bit of chorus (ALL FX).
You can easily create dynamic drum beats. Similar to the synth arp demo above, we also play with the serial and parallel delay mode here. Both delay lines have different left/right delay time settings. To avoid a totally chaotic stereo image, we modulate stereo width using an LFO. To get this swoosh sound, we modulate the multimode cutoff parameter. Finally, we add a bit of reverb.
You don't need to add reverb to get this cool spaced-out sound. We use the parallel mode. The first delay line adds 120 ms delay, then the second delay line adds 85ms and then long feedback. Both lines use the offset parameter to create stereo. Finally, we add chorus (All→FX).
Use shaper to set the frequency range, create a grooving mid-frequency delay using both delay lines, and add chorus, phaser, and reverb to the feedback path.
To emulate a side-chained effect, we use one delay line set to a 1/4T note delay time synced to the DAW. Then, we modulate it with an LFO (down ramp shape) that ducks the delay every 1/4 note, creating a massive, groovy synth sound. We have also added a separate, unprocessed drum kick track in the mix.
Utilize the powerful modulation routing to create delays that are synchronized to your DAW, occurring only at specific times in the bar. For example, in this 4/4 bar, first half has delay on and last half off.
It's easy to pan your feedback path. Simply use different left/right feedback settings or delay times. In this case, we set the left/right time to triplet and dotted 1/4 note sync, perfectly synced to your DAW. Then we add a bit of phaser, and finally, we modulate the multimode filter's cutoff with an LFO, which is added to the feedback path.
Main Features
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2 delay lines that can be combined in different delay modes: single, dual serial and dual parallel.
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Each delay line has 2 controllable time transition modes: Repitch and Fade.
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Each delay line has optional Ping Pong mode.
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Control the level of the delay lines in Parallel or Serial delay mode.
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Option to add Chorus, Phaser, Bit Crusher, and Reverb to the feedback path, or to both dry/wet audio.
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1 multi-mode filter in the feedback path, or to both dry/wet audio, for further enhancing the sonic character.
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Processing in stereo with independent left/right repeat time and feedback for each delay line.
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Possibility to sync delay times to the host tempo.
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Stereo tools to control spatial width.
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Processing in M/S stereo mode.
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Shape the delay lines with lowpass, highpass filters in the feedback path. In Parallel mode, each delay line has separate filters, while in Dual Serial mode, both delay lines share the same filters.
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Ducking for the delay lines with separate ducking settings in Parallel mode.
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Envelope follower for dynamic modulation with multiple dual destinations (select between 32 targets).
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2 LFOs with multiple dual destinations and the possibility to sync LFO rates to the host tempo (select between 32 targets).
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Modulation sources can modulate each other.
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Comes loaded with 200 presets for quickly adding magic to your sound. Easily edit and save presets. More free presets will be added in future updates.
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Control audio input and output, changing the sonic harmonics.
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Clear Audio button (top-right "Time Razor" text in the UI) for working with massive feedback.
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Integrated help-text displayed when hovering over UI elements with the mouse.
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(New) Resizable GUI - drag and resize option.
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(New) Can receive MIDI input(note on/off).
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(New) 2 ADSR MIDI triggered envelopes, for dynamic modulation with multiple dual destinations (select between 32 targets).
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(New) MIDI retrigger LFO’s (note on)
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(New) 2 magic dice that speed up creating new presets
System Requirements
Windows
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Win 10+ (64bit)
Supported Formats
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VST3
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Supported DAW
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It should run on any 64 bit DAW that supports the formats listed above. If you run into any issues let us know. Please note that in Logic Pro, Time Razor does not work in dual-mono mode. It's stereo only. Time Razor is designed to be used as a stereo plugin, having Mid Side and more stereo related features.
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To use MIDI input DAW must support sending MIDI to FX.
Mac
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Mac OS X 10.13+ Intel or Silicon CPU.
Supported Formats
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VST3 and Audio Units
VST is a registered trademark of Steinberg Media Technologies GmbH
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