Start building your sound in Parsec’s generators—there is one per Sound Engine. Each generator boasts up to 512 oscillators, or partials, per voice. The more partials, the richer and more detailed the sound. The generator produce their sound according to any of 12 built-in algorithms: from simple waveforms like sawtooth or square to algorithms modeling the spectral content of vibrating strings and complex overtone series.
Sculpt your sound further with Parsec’s modifiers. Each sound engine has two modifiers and each of them can be set to any of 22 algorithms. Pick and choose from emulations of low pass and high pass filters, to more exotic offerings such as modifiers that mimics the effect of pulse width modulation, brick wall band pass filters and many more.
You are never out of options when it comes to controlling all the parameters in Parsec. It has three Envelopes, one of which can be set to loop mode. It’s got a comprehensive modulation bus where you effortlessly connect modulation sources and targets. If you’re the adventurous kind, flip to the back of the rack to explore the multitude of CV and gate connections made possible there.
Additive Synthesis used to be somewhat difficult to use in music production. The synthesis method has been known to be taxing on the computer, meaning that you would have to resort to less detailed sounds, bouncing tracks or freezing your tracks in order to not choke your computer under the load. Not with Parsec though. With break-through processing, Parsec will let you use up to 1024 oscillators in your sounds without killing your computer.
With the level of automation that Reason users have come to expect and plenty of Control Voltage options round the back, Parsec will play nice with the rest of your Reason Rack.
Parsec also has an audio input that will let you feed any audio from the rack into Parsec, turning it into an additive vocoder that sounds great on voice, drums or just about anything!
Parsec uses additive synthesis to generate sounds. Additive synthesis is based on a large number of sinewave oscillators that can be introduced in the sound—at various times, levels and durations. The big difference, compared to subtractive synthesis, is that overtones are added to a basic sinewave signal to form complex signals—instead of subtracted by filters from complex signals. In practice this means that you can tailor-make the frequency content in your sounds a lot more precisely with additive synthesis than with subtractive synthesis. The sonic results of additive synthesis can vary dramatically; from standard “analog” type of sounds to extremely complex and animated timbres.