A tracker that grew a mixer.
Razor Studio starts where trackers start — a grid, a keyboard, and no distance between the idea and the note. Everything a modern record needs is bolted to that, not the other way round.
ms at 128 samples, 44.1 kHz
polyphony ceiling per project
mixer channels with full strips
kHz maximum, 32-bit float
Notes go in as fast as you can type them.
A tracker grid, not a piano roll. Your hands stay on the keyboard, the pattern scrolls under the cursor, and nothing opens a dialog between the idea and the note.
Sixty columns per pattern, ten tracks on screen
Per-column effects and per-row automation
Copy, transpose and humanise across any selection
Timeline underneath, so the arrangement never leaves your sight
Every channel is already a channel strip.
Filters, gate, compressor and a four-band parametric on each strip, with the curve drawn exactly where you are looking. Nothing to instantiate, nothing to go hunting for.
High-pass and low-pass with the response drawn live
Gate and compressor with the transfer curve visible
Groups, sends and a master chain with limiter
Meters that read the bus they claim to read
Drop a sample in, play it across the keyboard.
Slice on transients or on bars, map to keyzones, and modulate anything with the envelopes and LFOs. The two-oscillator synth sits in the same list, so switching between them costs one click.
Transient and bar slicing, with pitch-locked or chromatic playback
Keyzones, round-robin and velocity layers
Amp envelope, filter, LFO with assignable destinations
Beat-sliced pads for drums, sixteen per instrument
It suggests. You decide. It never writes the track.
Everything here runs on your own machine. No account, no upload, no per-use fee, and nothing leaves the computer — which is also why it keeps working on a plane.
Groove extract
Pull the timing feel out of any audio and apply it to a pattern you already wrote.
Chord suggestions
In the key you set, with the voicings you have been using — offered, never inserted.
Stem separation
Split a mixdown into drums, bass, vocals and the rest, on device.
Sound search
Find a sample by describing it, or by pointing at one that is nearly right.
Mix analysis
Where the low-mids are crowded, where two tracks are fighting, in plain language.
Pattern variation
Four alternatives to the bar you have, built from what you already played.
Sixty days is enough to know.
Nothing is switched off in the trial. If it does not fit how you work, you will know long before it runs out — and your projects stay openable either way.