AIR Music introduces The Riser "transition designer"

Transitions are supremely important in many contemporary electronic music styles, so why not create an instrument that's dedicated to helping you create better ones?

That's what AIR Music Technology reckons it's produced with The Riser, which features three editable sound generators - sweep, noise and chord - that enable you to "manipulate the movement, timbre, and tonality of the transition".

There are also three LFOS that can be used to modulate the 300 presets (you can also create your own transitions from scratch) plus a Pumper effect that modifies the dynamics.

"We understand the science behind the suspense and emotion that a great transition delivers," claims Ben Wendelstein, AIR Music Tech Product Manager, "Until now, recreating the transition in your head has been a convoluted, manual process. The Riser puts intuitive sound­shaping tools right where you need them so you can design effects that keep the listener on the edge of their seat."

A 15-day trial version of The Riser is currently available from the Air Music Technology website, though this will be removed tomorrow. The full version will be available to buy on 1 September priced at $79.99.

The Riser highlights

  • Transition designer optimized for electronic music production
  • 3 editable oscillators; sweep, noise, and chord
  • 3 LFOs; free­running, tempo­synced, and Pumper
  • Pumper effect creates pulsating movement based on native DAW tempo
  • Configurable delay and reverb with wet/dry processing
  • Adjustable panning movements and master stereo width control
  • AU, VST, AAX; 32­ and 64­bit; Mac or Windows
Get over 70 FREE plugin instruments and effects… image
Get over 70 FREE plugin instruments and effects…
…with the latest issue of Computer Music magazine
Ben Rogerson
Deputy Editor

I’m the Deputy Editor of MusicRadar, having worked on the site since its launch in 2007. I previously spent eight years working on our sister magazine, Computer Music. I’ve been playing the piano, gigging in bands and failing to finish tracks at home for more than 30 years, 24 of which I’ve also spent writing about music and the ever-changing technology used to make it.