Omnisphere 2. 5 Add Patches To Favourite List
PATCHES (9,223 Patches) SOUNDSOURCES (5,439 Soundsources) MULTIS (144 Multis) ARP + BPM - 1,757 Patches. Accidental Magic Accompany Me Mr. Casio Accompany Me Mr. SID Acidic Energy Source Afrobeat Duo 1 Afrobeat Duo 2 Age of Clarity Age of Computations Aggravated Pulse Air of Resignation Alejandro BuzzBass Alert the Fleet Alley Pulse Alternate Forces. Dec 27, 2017 Sign in to add this video to a playlist. Best omnisphere presets,omnisphere sounds trap,southside omnisphere,tm88 omnisphere,southside and tm88s favorite omnisphere folders,the best omnisphere. Topics include: Navigating the Omnisphere header and multis. Setting up automation. Managing presets and patches. Using the Orb to manipulate sounds. Exploring the Synth and Sample modes. Using filters, envelopes, and LFOs. Using granular to mangle sounds. Omnisphere 2.6 includes a stunning new “Hardware Library” with over 1,600 new patches created by Eric Persing and the renowned Spectrasonics Sound Development team. Each hardware profile has a corresponding set of sounds in the Hardware Library which were specially designed using that hardware synth as an Omnisphere controller. Apr 20, 2017 Re: Best third party patches for Omnisphere 2 2017/04/18 16:45:59 +1 on The Unfinished, PluginGuru and Hollo Sound. They are by far the best 3 developers of Omnisphere patches out there. Pretty much anything they make is golden. May 03, 2015 Here is a list of my favorite pads in Omnisphere 2. Gorgeous Analogue Pad Dark Mega Pad CS-80 PWM Swell Verb Distant Memories Heaven's Shores Holy of Holys Pad Cream of Emotion 2 CS-80 String Pad.
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You can now use your Moog, DSI, Korg, Roland, Novation or other hardware synth as a fully integrated hands-on controller for Omnisphere, potentially turning one of the most versatile and feature-rich software synths into your dream software-hardware hybrid production solution.Following the initial announcement at Berlin’s Superbooth in May and public beta phase, Omnisphere 2.5 recently officially dropped, so we thought it was the perfect time to take it through it’s paces and check out the latest improvements and additions.Check out Spectrasonics Founder Eric Persing’s Keynote Presentation above, where he unveils Omnisphere 2.5 and takes it through its paces and new features.A Little Background On Omnisphere
Omnisphere was already an excellent and cutting edge synth, especially popular with media composers and sound designers owing to the instruments original emphasis on evolving pads and textures perfect for ambient score elements for film and game soundtracks, but also due to the sheer breadth of the library content and the speed and ease with which you can browse and adapt patches to suit whatever the current project calls for. Omnisphere has also more gradually been gathering an increasing following in the electronic music community, with more preset sounds geared specifically towards EDM production being included since the version 2.0 update.Whichever styles of music you create, Omnisphere features a large enough factory library for several lifetimes worth of sonic exploration, not to mention an integrated rack effects section, flexible arpeggiator, oscillator sections that provide for FM, ring modulation and granular synthesis amongst the plethora of sound-shaping options, and our personal favourite feature, The Orb: a circular controller that modifies multiple synth parameters simultaneously, in a similar way to an X/Y pad with it’s converging axes, but with added momentum/inertia settings so you can “throw” the controller positioning icon and have it spin at varying speeds and angles of motion (either programmed or randomised), imbuing your patches with either a subtle sense of movement or more extreme modulation that you can record and pick out the best bits from.What’s New?
With version 2.5, Spectrasonics have further beefed up the sonic capabilities, doubling the number of available layers for each patch from 2 to 4, adding 1,000 new sounds to the patch library, and making quite a few more subtle but very welcome tweaks and improvements to the GUI and page layouts that overall contribute to a significant streamlining and refining of the workflow.- 4 Layers Per Patch: In previous versions, you could mix and match 2 sources / layers for each patch. In Omnisphere 2.5, each patch now contains up to 4 layers. The number of envelopes, LFOs and Modulation Matrix routings have all also been expanded, providing you with practically more modulation possibilities than you’re frankly ever likely to use in a real project!
- New State Variable Filter Type: The filter menu has additions in the form of the State Variable Filter, which has been specially designed to make use of the OB-6 hardware synth’s unusual filter configuration, which basically provides you with a single knob that you can use to sweep seamlessly between Low-Pass, Notch and High-Pass filter types.
- New Hardware Sound Library: Eric Persing and the Spectrasonics team used the Hardware Synth Integration feature to create over 1,000 new patches that form the Hardware Library section of the Omnisphere patch library. A cool aspect of this is that even if you don’t own any of the hardware synths supported for integration, all Omnisphere users have access to the Hardware Library – possibly a good way to audition some of the best hardware synths ever made to determine which you want to buy and access the original synth engine, if you’re in the market for a hardware synth…
- New High Res Interface: Scalable, support for Retina displays and 4k monitors. Slightly cleaner and tidier, more modern GUI; larger controls. Live Mode page redesigned to show much more relevant info if you want to use Omnisphere in a live/ performance context.
- New Granular Layout: The Granular page now shows displays a full waveform of the sound you’re messing with, making it much clearer, easier to understand what is going on when you’re manipulating grains and tearing sounds apart.
- Support for Windows X Multitouch computers and tablets: “This means that the new Live Mode page can function as a fully functional stage interface when used fullscreen on a Windows computer.” While the support doesn’t extend to Mac/iPad devices, there are plenty of apps e.g. TouchOSC, MIDI Designer and Lemur, that you can use to control Omnisphere parameters on an iPad.
Ghost In The Shell: Hardware Synth Integration
Going far beyond what most users would expect from an established software synth in terms of integration with third-party hardware, this is not just an advanced MIDI Learn template, as Omnisphere is tailored slightly differently to the specific control layout and character of each of the hardware synths it can integrate with. The two templates that we have tested, for the Moog Sub 37 and DSI OB-6, demonstrate how thoughtfully and subtly the Spectrasonics team have aligned Omnisphere’s parameters with the character and idiosyncratic limitations of each synth.Not only do the hardware controls map to the equivalent parameters in Omnisphere, but Omnisphere also adjusts itself with the new Hardware Library preset patches to better accommodate the physical architecture and control layout of the particular hardware you’re using. What we found this means in practice is that, when using the Sub 37 to control Omnisphere, for example, you’re likely to end up with different sonic results than if you’re using the OB-6, because the controls at your fingertips are arranged slightly differently and make certain parameters more available and more likely to be reached for when you’re jamming out and shaping your sound.After a while, you’re not really sure where Omnisphere ends and the hardware synth begins – but what’s really amazing is that you forget which of them is actually doing the work of generating the sounds, since the integration is so seamless and the sonic results such high-quality (after all, if any software synth can go toe-to-toe with hardware in terms of sheer sonic depth and detail, it would be this one).One question that people have brought up about Hardware Synth Integration is, “If I already own one of the many high-end hardware instruments that can be integrated, why wouldn’t I just use it’s own sound generation capabilities as well, rather than relying on a software-based recreation of sounds and samples?”The compelling argument for owning a hardware synth that integrates perfectly with a software instrument is simple: flexibility. Of course it makes sense to use the real analogue sound of your hardware for simple patches or where absolute analogue signal integrity is paramount to you, but the potential magic lies in connecting the same synth to Omnisphere and vastly expanding both the range of raw sonic material and preset patches you have available under your fingertips using the same familiar hands-on controls. Yes, you could use your Sub 37 to control “Sub 37” sound patches in Omnisphere — which are loaded by default as a starter patch for the hardware you connect — but the fun really begins when you start switching to patches from a Jupiter-8 or an FM bell sound or any number of other sounds you’d never expect to create using a Sub 37, but all while maintaining the same hands-on control on the Sub 37’s keys, knobs and buttons.You can add any other combination of waveforms into Omnisphere’s 4 slots, sticking to the Sub 37 configuration of two main oscillators plus a sub oscillator and noise, or building your own quad-osc monstrosity. All the while, you’re using the Sub 37’s front panel controls to tweak the Osc levels, Filter and Amp Envelopes, Filter Cutoff and Sub 37-specific controls like the Filter Multidrive knob, which is of course pre-mapped in Omnisphere, in this case not to a Filter section control per se but to a couple of controls on a pre-configured Vox speaker cab emulator in the Effects section that pleasingly recreates the additional bite the Multidrive knob applies to the sound on the hardware Moog.Below is a list of the currently supported hardware synths:• Sequential Prophet X• Sequential Prophet 6• Dave Smith Prophet 12• Dave Smith OB-6• Dave Smith REV2• Moog Sub 37• Moog Subsequent 37• Moog Voyager• Moog Sub Phatty• Moog Little Phatty• Moog Slim Phatty• Korg Minilogue• Korg Monologue• Korg Prologue• Roland System-1• Roland System-1m• Roland System-8• Roland SE-02• Roland SH-01A• Roland JP-08• Roland JU-06• Roland JX-03• Roland VP-03• Novation Peak• Novation Bass Station II• Novation Circuit Mono Station• Access Virus A• Access Virus B• Clavia Nord Lead 1• Clavia Nord Lead 2• Studiologic SledgeSpectrasonics are promising to add many more over time, so if your synth isn’t listed yet, don’t despair – it might be coming soon.If, on the other hand, you don’t already have a compatible synth but are now in the market for one of these synths and wondering which will play the most nicely with Omnisphere 2.5, you should check out their Hardware Recommendations Video for some pointers and background on some pretty iconic hardware gear:Conclusion
The malleability of the Omnisphere concept, it’s interface, sounds and workflow, has always been it’s greatest strength: the user can make of it whatever they like, and is provided with a carefully curated menu of modulation and processing options that allow you to change and sculpt sounds quickly and dramatically, with detail where needed but without getting too bogged down in minutae. Hardware Synth Integration is a natural extension of this philosophy, treading the deceptively delicate line between optimum flexibility and ease of use.It’s a strange sensation to see how easily Omnisphere adapts itself to the attached hardware, and vice versa, creating a new hybrid that doesn’t feel like the sum of the hardware/software parts at all, but a whole new instrument. It’s so smoothly implemented that it makes you wonder, “Why don’t all soft synths do this?” Judging by how successfully Omnisphere 2.5 has pulled it off, maybe before too long they will.Pricing and AvailabilityFor all registered Omnisphere 2 users, Omnisphere 2.5 is available now as a FREE update. Go to the Omnisphere splash page and click the “Get Updates” feature.For new users, you can buy Omnisphere 2.5 as a download from the Spectrasonics site for US$499.on Oct 23, 2015 in Synths & Sound Design 0 comments
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.
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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.
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.
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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.
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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.
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Figure 6 – Creating Tags for Custom Patches in Omnisphere.
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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:
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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.