They also require a $50 USD license transfer fee to be paid. * Buyer's Username created at Spectrasonics website. To transfer the licence, Spectrasonics require the following information from me: You'll also be able to upgrade it to the latest version (currently 2.5) and all further V2 updates for free. I'll also include the original box and installation discs - all the discs are in great condition! Although you don't actually need the discs to install it as you can get a downloadable installer quite cheaply from Spectrasonics, but either way works fine. It is important to be as detailed as possible so you can find the patch later when searching for similar sounds.I've got the all clear from Spectrasonics to do a licence transfer so I'm selling my Omnisphere 2 license. I also added my name to the list as an author of that particular patch. In the ‘Edit Tags’ Screenshot below, I assigned some adjectives to the various attribute types available. 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. You may find a few different variations of a patch during your synthesis process that warrant saving, naming and tagging for different musical purposes. 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. I felt more comfortable navigating this Mod section in particular compared to other software synths I’ve worked with. Anything in the Oscillator section can be modulated with LFOs, envelopes and assigned to controllers like mod wheels. The Modulation section matrix window is a great place to try different sources and targets. Synth Design Example 2-Designing a Dynamic Pad Sound with Modulation routing, Filter and Amp Envelopes:įigure 5 – Modulation Matrix Window in Omnisphere. All these adjustments changed the sound dramatically from the previous ‘Unison’ example, as you’ll hear below. I’ve included both samples with and without the Modulating filter cutoff so you can hear the difference. I also turned on the main Filter and modulated the Cutoff through LFO 4. 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 quickly discovered that I was starting to create an interested Pad sound with evolving character. I also experimented with modulating each of these parameters through different LFOs operating at slightly different, slow rates. Come along for the ride as I lead you through my process.įigure 4 – Quickly access Modulation drop down menu by right clicking on any parameter.īack 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.
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. Along the way, I’ll share some audio clips of my progress. I’ll go over types of waveforms, routing and using the modulation sections, where all the magic happens.
In this article, I will give an overview of how to begin to program synth patches and very quickly find unique and inspiring sounds. For those of you starting out with software synth programming, Omnisphere is a worthy investment and a good place to start. 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. 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. Watch these Omnisphere 2 video tutorials to become an Omnisphere Jedi.