Orra Collider
Press a button for professional sound design, with full control to make it your own.
Collider rolls complete synth patches from a single press of GENERATE, expensive-sounding sound design, instantly. Nudge a handful of dials to steer the next roll, and when you want to go further, every drawer opens: two sources collided inside a spectral chamber, eight collision modes, a full modulation system, an arpeggiator, and MPE. As deep as you want to go.
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How it works
Roll a patch, collide two sources, then dial it in by hand
Generate
The console across the top is a patch generator. Pick an IDEA for the kind of sound you want, press GENERATE, and Collider writes a complete patch from scratch: sources, collision, filter, effects, envelopes, modulation, voicing. Play it. Not feeling it? Press again.
Each press is a fresh roll. It is the fastest way to a professional-sounding starting point, and it is designed to be pressed fifty times a session, not five.
Expensive sound design, one click away
Lock, Then Drift
Found a collision you love but want to change the filter? Close a padlock to freeze the parts that already work. Then turn DRIFT down, and GENERATE stops starting over and starts varying, nudging only what is unlocked toward something new.
This is how you learn the instrument. Roll for a starting point, lock the keeper, drift the rest, and walk a sound exactly where you want it. Every press teaches you what one more change does.
A random generator becomes a directed search
Full Control, Underneath
Nothing is hidden. Open the drawers and every part of the rolled patch is yours to edit: twelve oscillator types, a wavetable engine with its own editor, a nine-order arpeggiator, and eighteen modulation sources you drag straight onto any knob.
Open a drawer when you are curious, or never at all. It is the same instrument either way, meeting you wherever you are.
As deep as you want to go
Generate, then steer
This is where most of the magic happens, and it is the workflow you will actually live in. Press GENERATE for a starting point, then lean on a handful of dials to steer what the next roll becomes. No drawers, no menus. Darker, harder, longer, busier, wetter. You aim, and the generator rolls in your direction.
Before you steer, you decide how far each press moves. At 100%, GENERATE is a clean sheet, a brand new patch every time. Pull it down and each roll becomes a variation instead of a stranger: 40 to 70% is a relative, 10 to 30% is a nudge of the patch you already have. Lock what you love, drop DRIFT, and walk a sound exactly where you want it.
How much reverb and delay a roll arrives with. At 0%, every patch comes out dry, perfect when your track already has its own reverb bus. Turn it up for sounds that bring their own room.
The overall tone. Low is open and bright; high pulls filter cutoffs down, tilts the spectrum lower, and damps the tails so a patch sits back in the mix.
How hard the patch is pushed. High opens up collision depth, filter drive, the wavefolder and distortion, and reaches for grittier sources. Low keeps rolls clean and polite.
The length of everything at once, every decay and release window in the patch. Low is short and percussive whatever you rolled; high rings on and sustains.
How much the patch moves on its own. High fills the modulation with more routes and faster LFOs; low leaves a still, static sound that does exactly what you play.
Learn these five, plus DRIFT, and you can hone almost any sound without opening a single drawer. The full instrument is still under there when you want it, but this is all most people ever need.
One sound, reshaped by another
At the center of Collider is the part that is not a normal synth. Two sources are broken into their individual frequency components and collided bin-for-bin, so source B is not added to source A, it is used as a map of what to do to it, frequency by frequency.
A rich source A gives the collision something to work on; a simple source B gives it a clean instruction. Change B’s waveform and you change the shape of the operation, not just the tone underneath it. The GAIN balance between the two is itself a collision control, it changes what the mode does, not just how loud it is.
The chamber’s display is the honest picture: source A in red, source B in cyan, the collided output over the top. Hold a legend chip and it solos that layer, so in three seconds you can hear source A alone, source B alone, or the collision on its own, and know exactly what each part is bringing.
Any source can be a 256-frame wavetable: play one of 26 factory tables, drag in your own WAV, AIFF or FLAC, or draw one by hand. Then collide two completely different tables against each other. The built-in editor lets you morph, normalize, re-slice and draw frames, or paint harmonics directly in the spectrum.
Eighteen modulation sources, four envelopes, four LFOs with drawable curves, a 32-step sequencer, macros, velocity, aftertouch, and MPE, and one gesture to use them all: drag the source’s chip onto the knob you want it to move. No matrix to fill in first. It works on every control, including the ones inside the drawers.
A real arpeggiator, and full MPE
The arpeggiator plays the keys you hold as actual notes, with nine orders, from Up and Down to Converge, Chord and a Custom pattern you paint yourself, plus swing, ratchet, rest and accent. It starts the instant you press a key, so an offline bounce matches exactly what you auditioned.
Collider is fully MPE-capable, with per-note pitch bend, pressure and slide, so on a controller like a Seaboard or LinnStrument every finger moves the collision independently. And every patch the generator rolls plays identically on an ordinary keyboard, MPE only ever adds.
Make your first sound
Press a button and get expensive-sounding sound design in seconds, then open every drawer and make it your own. The fastest way to a great starting point, and the best way to learn the sound by shaping it.
Pairs well with
Orra EQ
16 bands of parametric EQ with per-band dynamic saturation and 17 saturation algorithms. Carve and color your Collider patches so they sit in the mix.
Explore Orra EQOrra Space
Five reverb spaces and a tape delay, cross-pollinated. Give a rolled pad or pluck a room to live in, or send it somewhere unreal.
Explore Orra Space