Omnisphere 2 Attack
Omnisphere 2.6 - Sources PRODUCTS. Logic ES-2: Native Instruments B-4: Waldorf Attack. Omnisphere 2 Reference Guide.
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on Oct 23, 2015 in Synths & Sound Design 0 comments
- The first to second point (or Stage) is the Attack time; the second to third point is the decay time, the third to fourth point reflects the Sustain level. After the note is released, the Sustain level drops away based on the Release time.
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Spectrasonics Omnisphere is known as one of the most powerful and best sounding software synthesizers on the market. It has just received another boost into the audio production stratosphere with its extensive 2.0 update, attracting new users and fans for its sound quality and design. It’s easy to get wrapped up in exploring and playing the thousands of patches available, especially the new additions. And without fault, there are so many usable sounds right of the box that can be used to enhance any production. Producers and composers alike should indulge!
That said, the purpose of this article is to explore the basics of custom synth patch creation using the powerful and easy to use interface in Omnisphere. Not only is the interface design intuitive, but also the complexity of what’s possible can keep the most seasoned music producers busy for months, if not years! If you do a search for custom Omnisphere patches, there are gurus out there selling their wares or offering free downloads of their creations. For those of you starting out with software synth programming, Omnisphere is a worthy investment and a good place to start.
In this article, I will give an overview of how to begin to program synth patches and very quickly find unique and inspiring sounds. I’ll go over types of waveforms, routing and using the modulation sections, where all the magic happens. Along the way, I’ll share some audio clips of my progress. By no means will I be able to cover everything is this short article, but I hope it inspires you to explore Omnisphere or another favorite software synth in your DAW. Come along for the ride as I lead you through my process.
In the Beginning: The Default Patch
When you load up Omnisphere into your DAW, the Default patch is loaded with a ‘SawSquare Fat’ waveform in the Synth window in the Oscillator section. This is the place where we can first select the basic waveform to build from or use a sample instead. For this article, we will be building from the synth generator. There are dozens of different waveforms to choose from including waveforms from Classic hardware synths, analog timbres and digital wavetables. I chose a classic Triangle wave from the top menu.
More Fun in the Oscillator Section
In the expanded oscillator section you have the option to add additional synthesis including FM (Frequency Modulation), Ring Modulation, Waveshaper and choose between Unison, Harmonia and Granular. They all change in the sound in different ways depending on your starting waveform so I would suggest staying in this area for quite a while and explore the options within each section. For my simple triangle wave, I chose to use the Unison section to fatten up the sound a bit. The Unison function makes slightly detuned copies of the original waveform and layers them to create the bigger sound. The spread slider widens the stereo field beautifully. Harmonia is great for creating chords by just pressing one note and Granular, a new synthesis feature in Version 2, is another specialized, but beautiful sound design option.
Omnisphere 2 Attack Game
Synth Design Example 1—‘SawSquare Fat’, ‘Triangle’ and ‘Triangle with Unison’:
Playing with Modulation
Figure 4 – Quickly access Modulation drop down menu by right clicking on any parameter.
Back in the A section overview, I decided to play around with The Shape, Symmetry and Hard Sync sliders in the Oscillator section to bring more character to the sound. I also experimented with modulating each of these parameters through different LFOs operating at slightly different, slow rates. I quickly discovered that I was starting to create an interested Pad sound with evolving character. At this point I also went to my Amp Envelope section and adjusted the attack and release so that it was smooth on both ends when changing between chords. I also turned on the main Filter and modulated the Cutoff through LFO 4. I’ve included both samples with and without the Modulating filter cutoff so you can hear the difference. All these adjustments changed the sound dramatically from the previous ‘Unison’ example, as you’ll hear below.
Synth Design Example 2—Designing a Dynamic Pad Sound with Modulation routing, Filter and Amp Envelopes:
Figure 5 – Modulation Matrix Window in Omnisphere.
The Modulation section matrix window is a great place to try different sources and targets. Anything in the Oscillator section can be modulated with LFOs, envelopes and assigned to controllers like mod wheels. I felt more comfortable navigating this Mod section in particular compared to other software synths I’ve worked with.
Save and Tag your Custom Patch
One of most important steps in Synth patch creation is to save and tag your new sound so you do not loose all your hard work and time. You may find a few different variations of a patch during your synthesis process that warrant saving, naming and tagging for different musical purposes. The First step is to save your sound in the ‘User’ directory, make a Category for (in this case ‘Pad Sounds’) and then name your patch. In the ‘Edit Tags’ Screenshot below, I assigned some adjectives to the various attribute types available. I also added my name to the list as an author of that particular patch. It is important to be as detailed as possible so you can find the patch later when searching for similar sounds.
Figure 6 – Creating Tags for Custom Patches in Omnisphere.
Fun with Effects and Arpeggiation
Having completed one pad sound, I used it as a starting point to design another usable sound. I didn’t touch on the FX or Arpeggiator sections in the previous example, so I experimented with those to come up with another synth sound. I was interested in doing something more rhythmic and staccato. First, I made adjustments to my Amp envelope so I had a shorter Attack and Release. Then, I tried out some Arpeggiator presets, selected something close to what I was looking for, and then edited the timing and velocity. In the FX section, there are tons of directions to go with the sound. In this patch, I settled on using one of my favorite new FX in Omnisphere called Innerspace, an Envelope filter and Stereo Imager. My new result is featured below:
Synth Design Example 3—with Arpeggiation and FX:
Figure 8 – FX Section Rack with Innerspace, Envelope Filter and Stereo Imager.
A World of Possibilities… Guided by You!
The world of synth programming is open to all producers and musicians regardless of experience. Software synths in particular are becoming so accessible that anyone can start to create unique sounds quickly. As I discovered on my journey, my custom patches started with a simple triangle wave and become so much more with just a few adjustments to various parameters. Whether you use Omnisphere or another synthesizer, I hope you feel encouraged to spend time exploring what’s possible.
Related Videos
316 Patches and over 170 new SoundSources for Omnisphere 2.1+ (a separate version of this library exists for Kontkat 5 HERE).
This is a special library of totally new SAMPLES & Patches for Omnisphere featuring Bell & ethnic Wind instrument presented with both Dry and MegaMagic processed! A library that sounds like nothing else on the planet! PLUS, included are a bunch of amazing woodwind Samples/PERFORMANCES by LA Session ace Steve Tavaglion to round out this library!
Listen to the audio demos, watch the patch walkthru video (and other support videos) and you will be impressed with what YOU can do after adding this amazing library to your arsenal!
GENRES:
About the Programmer: John Lehmkuhl
Library Specifics:
After the great success of MegaMagic Dreams and MegaMagic Pads, I wanted to think a little bigger and make sure the library was more flexible. I really loved how the guitars turned out in MegaMagic Dreams, so I produced a sampling session with a dear friend and excellent guitar player named Erick Hailstone (you will know more about Erick after the NEXT library comes out). We did 4 hours of him playing single boring notes with a BUNCH of different guitars – I wanted more variety and more notes so I could use Multi-Mode to make them a little more realistic sounding. At the end of the session, I pulled out my box of bell and wind instruments that I had built up to record (see the photo below) and for about 15 min, I picked up and played each of my handbells, finger cymbals, 3-bar Bells, Flutes, Pan Flutes and even my EchoHarp harmonica that I’ve owned since I was probably 8 years old! That 15 min of recording time turned out to be AMAZING. I was shocked how nicely everything played – even the flutes (which I am not an expert at playing!)
The Automix AI is truly awesome. Introducing Automix AIPowered by machine learning and trained using real sets from human DJs, Automix lets you take a short break in between sets or enjoy your playlists with remarkably smooth transitions.This isn’t your regular auto-mixing mode that simply identifies major beats.What Automix does is intelligently detect actual rhythmic patterns and the best intro/outro song sections in order to calculate optimal fade durations and automatically apply a bunch of parameter changes to equalizers and filters for a seamless transition. Automix ai djay pro 2. Beats and tempos are matched using the Morph effect to ensure a song’s BPM is maintained during a transition.
Over 25 acoustic bells and wind instruments performed by John Lehmkuhl available in:
- MegaMagic – Processed with LUSH multi-effect reverb and other effect processing chains I designed for this library and recorded into the sample.
- Dry – The source that was fed into the DSP effect chain.
- LOOPED – Almost everything is looped and the Looped patch is set with a slow attack for awesome PAD sounds!
This makes up 150 patches of the library.
There are then 150 signature patches created by Airwave, ExoSun, Kid Anthem, Jason Schoepfer, myself and a few other guest programmers that created really exciting BONUS patches. These take the library to all sorts of new and excitng places!
AND THEN – Just as I was about to release the library, I was offered samples by L.A. based session woodwind GURU – Steve Tavaglione – who has performed on so many films (using my sounds I might add) including Finding Dory, Bridge of Spies, Underworld: Awakening, Supernatural, Wall-E and so many more!
So there are 14 AMAZING sound sources from Steve including Flute Harmonics, Flute Taps, Bass Bansuri, Waterphone + Flute and more. These are 5 – 12 second long PERFORMANCES in many cases and give this library some really special sounds that have been used in some of the TV shows and movies that Steve has worked on! These performance were also run thru the MegaMagic process so double the number of patches!
This is MegaMagic: Bells/Winds!
Requires Omnisphere 2.1 or Later
Download: 480MB zip file (566.8MB uncompressed)
Omnisphere 2 Attack Download
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