Tone2 Rayblaster synth unveiled

Tone2 Rayblaster: it's going to look sort of like this.
Tone2 Rayblaster: it's going to look sort of like this.

It may be no more than a 3D-rendered screenshot at the moment, but the reveal of Tone2's forthcoming Rayblaster synth is still getting people talking. UPDATE: Tone 2 has now posted full Rayblaster details and sounds on its website. Check out the feature overview list below.

Like so many instruments before it, this Impulse Modelling Synthesizer promises a "completely new and unique approach to synthetic sound generation".

We'll reserve judgement on whether or not that's true, but Tone2 certainly has form in this area - Saurus, Electrax and Gladiator are all synths that have met with our approval - so we're hoping for something special. Price and release date are TBC. UPDATE: We still don't know the price, but Tone2 has confirmed that Rayblaster will be released in early December.

Tone2 Rayblaster features

  • Revolutionary new synthesis method
  • Access completely new sonic territory
  • High-end sound quality
  • Create professional sounds with character and impossible with any other synthesizer
  • Lets your music stand out from the crowd!
  • Professional sound quality that is never muddy and fits well into the mix
  • Sounds more detailed, pleasant, fat and louder than conventional synths
  • Independent control over pitch, timing and timbre
  • Filter import: Mimic filters of other synthesizers or create your own fantasy filters.
  • Resynthesis allows easy import & manipulation of your own sounds
  • Huge sonic range and very flexible
  • Easy to use & fun to play
  • Over 500 ready-to-use sounds by professional designers
  • Psychoacoustic processing
  • Expandability
  • Low CPU
  • Fair price
Ben Rogerson

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.