4/3/2024 0 Comments Change tempo in omnisphere 1Omnisphere's Effects section is comprehensive, as you have the opportunity to apply effects either to Layer A, Layer B or to the shared output, via the 'Common' tab. What's particularly impressive is that an independent arpeggiator is available for every layer of a multi, so if you have eight patches loaded simultaneously, they can all be independently arpeggiated. You can introduce swing via another knob, which shifts the 'even' steps late, so that straight patterns can become progressively 'skipped'. A variety of modes let you decide whether movement will be chord-based, upwards, downwards, randomised and the like, while the range can be extended from anything from one to four octaves.Ĭlock is available from 1/1 to 1/32 notes, while a Length dial knob lets you restrict the note length of the sequence globally. There are 32 steps available for any sequence, with buttons below each step acting as on/off switches. Spectrasonics has gone arpeggiator crazy in Omnisphere, with a powerful engine capable of taking any patch and sending it spiralling into tempo-sync'd madness. There are 24 routing options available for any patch and you can control which of the layers will be affected by routings you set up. There are six independent LFOs with a variety of waveforms too, and as with all things relating to the Omnisphere interface, you can either keep things simple by setting up a single modulation routing directly in the main window or you can maximise the view to get an overview of all routings on a single pop-out page. The Chaos button randomly adjusts the curves and envelope steps to yield unexpected results, though you can restrict the amount and type of randomisation if you don't want something wildly off the scale.Įnvelopes can be looped and synced to the tempo of your host sequencer, so you can achieved anything here from bubbly, filtered basslines to wild, eternally shifting soundscapes. These can be shaped manually, one step at a time, or you can rely on the Chaos envelope designer to take control for you. By clicking on the microscope button you can bring up an in-depth graphical display for the envelopes, which offer break-point, fully editable steps. You can keep envelopes in simple ADSR forms, or expand their functionality, which is where the fun really starts. Below the filter type, cutoff, resonance, Key Follow and Envelope dials allow you to adjust your filter treatment, with a handy gain slider available at this stage too.īelow this, the envelope section provides tabs to let you adjust the amp and filter envelopes, while also allowing access to four modulation envelopes. Once you've chosen the sound source of your choice, to the right you can activate the filter section, which offers variants in three categories: high-pass, low-pass and speciality. So if you like one half of a sound and not the other, you can make the necessary adjustments. The central section enables you to choose a source for each layer of a loaded sound, with samples rubbing shoulders with synthesis types including subtractive synth waveforms, FM synthesis, ring modulation and wave shaping.Īdditionally, Harmonia allows multiple synth oscillators to be loaded simultaneously, resulting in some hugely rich sounds.Ī full patch will load either a sample or the relevant synthesis type onto both layers but you're free to modify these independently once in the Main Edit area. Omnisphere dramatically expands on the synthesis options in Atmosphere: it contains a hugely flexible engine which throws up unexpected delights at each and every turn. The interface approach will be familiar to anyone with an existing Spectrasonics instrument, with each synthesis module incorporated into a 'metal' virtual rack. Once you've chosen a preset, you can close the patch browser, which takes you into the main Omnisphere interface. There are over 1,000 patches in total, which should keep you busy for a while. The first thing that greets you on start-up is Omnisphere's patch browser, from which you can choose sounds, either alphabetically, or via search criteria such as category, musical genre, or even via the names of the sound designers themselves.Īs each patch is tagged with information relating to how it was constructed, this latter category is surprisingly useful, as you can soon learn the artistic approach of each designer and can then seek out the work of those you favour. Installation takes place via six DVDs, while authorisation is achieved via a challenge/response code and your serial number. The result for Omnisphere users is an instrument with a sound that's liquid, shifting and unpredictable yet gloriously playable all at once.
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