GETTING STARTED Welcome To Omnisphere 2
GETTING STARTED Quickstart This Quickstart provides an overview of the essential things you will need to know in order to get started using Omnisphere. • Omnisphere is a software instrument plugin, and requires host software in order to run • Omnisphere can be a memoryintensive instrument, especially with Multis loaded. A system with plenty of RAM will greatly enhance performance. Be sure and check out the Concepts: Performance Optimization chapter. 1.
• After installing the updates, Omnisphere is ready to go! NOTE: Be sure to quit your host software before installing the downloaded updates. 4. Use Omnisphere Multitimbrally Omnisphere is a multitimbral instrument, so you can use a single instance to load and play eight different sounds on different MIDI channels • Setup your host software for multitimbral operation 5.
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GETTING STARTED System Requirements SYSTEM REQUIREMENTS FOR ALL USERS: • 2.4 GHz or higher processor • 4GB RAM minimum, 8GB or more recommended • USB2 Port, Broadband internet connection or Dual Layer compatible DVDROM drive • 64GB of free hard drive space Mac Recommendations: • OSX 10.9 Mavericks or higher • AU, VST 2.4 or higher, RTAS/AAX capable host software • Audio Unit requires host with support for "Cocoa" based AU plugins • Native 64bit and 32bit on OSX Windows Recommendations: • VST 2.
GETTING STARTED Installation Here you will find instructions for performing default and custom installations for both Mac and Windows. After installing Omnisphere, you will need to authorize the plugin.
GETTING STARTED Mac Download Installation Omnisphere 2 is available as a download as an installation option for registered users through our Techshop. Once you downloaded Omnisphere 2 via the Download Manager, follow this set of instructions to install it on your Mac system. You'll need over 64GB of free space available on your hard drive in order to continue. NOTE: These screen shots are taken in OSX Yosemite (10.10). Installation on other versions of Mac OSX may look somewhat different.
3. Doubleclick the file "Omnisphere 2 Installer.pkg." The installer might need to quit and reopen to ensure support for older versions of OS X, so just click "OK.
4. Follow the steps as you're guided through the installation process. Make sure to review the Installation Info and Licensing FAQ. Then at the "Destination Select" step, choose the option "Install for all Users of this computer." After the Installation Type information you'll enter your system password to start the install process. 5. The plugin files will then be installed on your Mac's system drive.
6. Then at the Preparation step, you'll select where to install the large core library files. By default they will be installed to your system drive or choose a secondary drive by selecting the button "Choose Location.
7. The large data files will now be copied to your selected drive. Allow for 3060 minutes to install all of the data.
8. After the installation of is complete, select "Close" and now it's time to open up Omnisphere 2 in your host to authorize it. Please consult the Authorization section for assistance with authorizing Omnisphere.
GETTING STARTED Mac USB Drive Installation Follow this set of instructions to install Omnisphere 2 from your USB installation drive on to your Mac system. You need over 64GB of free space available on your hard drive in order to install the instrument. NOTE: These screen shots are taken in OS X Yosemite (10.10). Installation on other versions of Mac OS X may look somewhat different. Omnisphere 2 Installation 1. Connect the Omnisphere installation drive into a USB port.
3. Log in to your Spectrasonics user account and select the DOWNLOAD button to download the current installers to your Mac. 4. From your Mac's Downloads folder open the "Omnisphere_2_Installation" folder, then open the "Step 1 Installer" folder.
5. Open the "Mac" folder inside of "Step 1 Installer." Doubleclick "Omnisphere 2 Installer.pkg" to begin the installation of Omnisphere.
6. The installer might need to quit and reopen to ensure support for older versions of OS X, so just click "OK.
7. Follow the steps as you're guided through the installation process. Make sure to review the Installation Info and Licensing FAQ. Then at the "Destination Select" step, choose the option "Install for all Users of this computer." After the Installation Type information you'll enter your system password to start the install process. 8. The plugin files will then be installed on your Mac's system drive.
9. Then at the Preparation step, you'll select where to install the large core library files. By default they will be installed to your system drive or you may choose a secondary drive by selecting the button "Choose Location.
10. The large data files will now be copied to your selected drive. Allow for 3060 minutes to install all of the data.
11. After the installation of Step 1 is complete, select "Close.
12. From the Omnisphere_2_Installation folder open the "Step 2 Data Updater" folder and then open the "Mac" folder.
13. Run the "Omnisphere_Data_Updater.pkg" from inside the "Mac" folder.
14. Follow the default steps of the data updater, making sure that it locates your STEAM folder. 15. When the update has been installed, select "Close." Now it's time to open Omnisphere 2 in your host and authorize it.
your host and authorize it. Please consult the Authorization section for assistance with authorizing Omnisphere.
GETTING STARTED Mac DVD Installation Follow this set of instructions to install the Omnisphere large sound library files onto your startup hard drive. You need over 64GB of free space available on your startup hard drive in order to continue. NOTE: These screen shots are taken in OSX Yosemite (10.10). Installation on other versions of Mac OSX may look somewhat different. INSTALLING DISC A 1.
4. You'll select the link to download the Omnisphere 2 Disc Installer. 5. Once the zip file downloads and extracts itself you should have a folder called "Omnisphere_2_Installation". Open the folder and first read the file called "Important!" as it contains vital information about the install process and requirements. Next, open the folder called "Step 1 Installer".
6. Then open the folder called "Mac". 7. Doubleclick the file "Omnisphere 2 Installer.pkg". The installer might need to quit and reopen to ensure support for older versions of OSX, so just click "OK".
8. Follow the steps as you're guided through the installation process. Make sure to review the Installation Info and Licensing FAQ. Then at the "Destination Select" step, choose the option "Install for all Users of this computer." After the Installation Type information you'll enter your system password to start the install process. 9. The plugin files will then be installed on your Mac's system drive.
10. Then at the Preparation step, you'll select where to install the large core library files. By default they will be installed to your system drive or choose a secondary drive by selecting the button "Choose Location.
11. The large data files will now be copied from the DVDs to your selected drive. Allow for 30 45 minutes per disc (approximately 46 hours for all eight DVDs.) 12. After the installation of Disc H is complete, close out the installer and return to your "Omnisphere_2_Installation" folder and open the "Step 2 Data Updater" folder. 13. Open the Mac folder and run the "Omnisphere 2 Data Updater.pkg".
14. Follow the steps as you're guided through the installation process. At the "Destination Select" step, choose the option "Install for all Users of this computer." After the Installation Type information you'll enter your system password to begin the data install process. 15. At the Preparation step, you'll see where the secondary data files will be installed on your system.
16. The supplemental data files will be added to your STEAM library folder.
17. When the data from the Step 2 installer has been completed, it's time to open up Omnisphere 2 in your host to authorize it. Please consult the Authorization section for assistance with authorizing Omnisphere.
GETTING STARTED Windows Download Installation Omnisphere 2 is available as a download for registered users through our Webstore/Techshop. Once you downloaded Omnisphere 2 via the Download Manager, follow this set of instructions to install it on your Windows system. You need over 64GB of free space available on your hard drive in order to continue. NOTE: These screen shots are taken in Windows8. Installation on other versions of Windows may look somewhat different. Omnisphere 2 Installation 1.
3. Click "Next" to begin the Omnisphere 2 installation process. 4. Follow the steps as you're guided through the installation process. 5. Make sure to review the Installation Info and Licensing FAQs and accept the license agreement.
the Installation Info and Licensing FAQs and accept the license agreement. 5.
At the “Select Components” step you'll choose to install the 32bit and/or 64bit versions of Omnisphere. If you are uncertain which one to choose, select them both. The following steps will show you the default location for both versions of the VST. 6. The default location of the large Omnisphere data files will be displayed next. If you wish to install the core library to a secondary drive, click the "Browse" button to choose a different location.
7. Once the installation paths have been confirmed, the installation will begin.
8. After the installation is complete, select "Finish.” Now it's time to open Omnisphere 2 in your host and authorize it.
Please consult the Authorization section for assistance with authorizing Omnisphere.
GETTING STARTED Windows USB Drive Installation Follow this set of instructions to install Omnisphere 2 from your USB installation drive on to your Windows system. You'll need over 64GB of free space available on your hard drive in order to install the instrument. NOTE: These screen shots are taken in Windows 10. Installation on other versions of Windows may look somewhat different. Omnisphere 2 Installation 1. Connect the Omnisphere installation drive to a USB port.
3. From your Downloads folder, open the "Omnisphere_2_Installation" folder, then open the "Step 1 Installer" folder. 4. Open the "Windows" folder inside of "Step 1 Installer." Doubleclick "Omnisphere 2 Installer.exe" to begin the installation of Omnisphere 2.
5. Follow the steps as you're guided through the installation process. Make sure to review the Installation Info and Licensing FAQs and accept the license agreement. 6. At the “Select Components” step you'll choose to install the 32bit and/or 64bit versions of Omnisphere. If you are uncertain which one to choose, select them both. The following steps will show you the default location for both versions of the VST.
7. The default location of the large Omnisphere data files will be displayed next. If you wish to install the core library to a secondary drive, click the "Browse" button to choose a different location.
8. Once the installation paths have been confirmed, the installation will begin.
9. After the installation is complete, select "Finish.
10. From your Downloads folder reopen the "Omnisphere_2_Installation" folder, then open the "Step 2 Data Updater" folder. 11. Run the "Omnisphere 2 Data Updater.exe.
12. Make certain that the Omnisphere 2 Data Updater selects the correct STEAM folder. 13. When the update has been installed, select "Finish.” Now it's time to open Omnisphere 2 in your host and authorize it.
Please consult the Authorization section for assistance with authorizing Omnisphere.
GETTING STARTED Windows DVD Installation Follow this set of instructions to install the Omnisphere large sound library files onto your startup hard drive. You need almost 64GB of free space available on your startup hard drive in order to continue. NOTE: These screen shots are taken in Windows8. Installation on other versions of Windows may look somewhat different. INSTALLING DISC A 1.
3. You'll be directed to the Spectrasonics website where you'll log into your user account. If you don't yet have a user account, you can create one by selecting the "Create New Account" button. If prompted, enter your Omnisphere serial number (found on the inside of your printed User Guide.
4. You'll select the link to download the Omnisphere 2 Disc Installer. 5. Once the zip file downloads and extracts itself you should have a folder called "Omnisphere_2_Installation". Open the folder and first read the file called "Important!" as it contains vital information about the install process and requirements. Next, open the folder called "Step 1 Installer". 6. Then open the folder called "Windows".
7. Doubleclick the file "Omnisphere 2 Installer.exe". 8. Follow the steps as you're guided through the installation process. Make sure to review the Installation Info and Licensing FAQ and then to agree to the license agreement.
9. The plugin files will then be installed on your PC's system drive. 10. At the Select Components step you'll choose to install the 32bit and/or 64bit versions of Omnisphere. If uncertain which to choose, select them both. The following steps will then detail the default location for both versions of the VST.
11. The default location of the large Omnisphere data files will be displayed next and if you wish to install the core library to a secondary drive, select the "Browse" button to select an alternate drive.
12. The large data files will now be copied from the DVDs to your selected drive. Allow for 30 45 minutes per disc (approximately 46 hours for all eight DVDs.
13. After the installation of Disc H is complete, close out the installer and return to your "Omnisphere_2_Installation" folder and open the "Step 2 Data Updater" folder. 14.
Data Updater" 15. Follow the steps as you're guided through the installation process and to agree to the license agreement.
16. The supplemental data files will be added to your STEAM library folder. 17. When the data from the Step 2 installer has been completed, it's time to open up Omnisphere 2 in your host to authorize it.
18. Select 'Finish' to quit the installer.
Please consult the Authorization section for assistance with authorizing Omnisphere.
GETTING STARTED Authorization Omnisphere authorization can be done immediately from any computer connected to the Internet. There is a 4day demo period from the time you first open the plugin to authorize it if immediate Internet access is not available. After opening Omnisphere in your host sequencer, an authorization window will appear. A Challenge Code will be provided. You will need this Challenge Code along with your Serial Number to complete the online Authorization process.
GETTING STARTED Authorization Your computer must be connected to the internet while following these instructions. If you need directions for authorizing on a computer not connected to the internet, please follow the steps detailed here 1. After instantiating Omnisphere into your sequencer, click the Omnisphere splash screen. You will now see the Omnisphere Authorization System window: 2. Click the COPY button to copy the challenge code.
http://www.spectrasonics.net/authorization You will be taken to your User Account page. If you don't yet have a User Account, you can create one. 3. If this is your first authorization of Omnisphere, you'll need to add it to your account by pressing the "Add a product to your account" button under the Registered Products table. 4. Fill out all of your personal information on this page. Select Omnisphere as your product. When finished, click "Next" at the bottom of the page. 5.
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7. Return back to Omnisphere. Click the PASTE button and the Response Code will now be displayed in Omnisphere. 8. Click the CONTINUE button. 9. Remove Omnisphere from your host sequencer. 10. Reinsert a new instance of Omnisphere into your host. Omnisphere will now be authorized and fully functional.
GETTING STARTED Authorizing on a computer NOT connected to the Internet. 1. After instantiating Omnisphere into your sequencer, click the Omnisphere splash screen. You will now see the Omnisphere Authorization System window: 2. Click the COPY button to copy the challenge code. 3. Open a text editor application (such as Text Edit (Mac), Notepad / Wordpad (PC)). Paste into a blank new document. On a Mac, hold COMMAND and press 'V'. On a PC, hold CTRL and press 'V'.
(RTF) with a filename of your choice. 4. Move the RTF file to a flash drive, hard drive, or other portable media. You will need to transport this document over to a computer that has an Internet connection. Flash drives are recommended because they are cheap and quickly move files between computers. 5. Open the RTF file on a computer with an Internet connection. Highlight the entire challenge code in the document and Copy it. On a Mac, hold COMMAND and press 'C'. On a PC, hold CTRL and press 'C'. 6.
9. You'll then paste your Challenge code in the field on the Authorization page. Please enter the details about your Computer as well, as it will be necessary if you require tech support. 10.
11. Open up a blank new document in a text editor application. Press paste (ControlV on Windows or CommandV on Mac.) The Response Code will now appear in the document. Save the document as a Rich Text File (RTF) with a filename of your choice. 12. Move the RTF file to a flash drive, hard drive or other portable drive. You will need to transport this document back over to the music computer. 13. Open up the RTF file which contains the Response Code on your music computer.
15. Click the CONTINUE button. 16. Now remove Omnisphere from your host sequencer. Insert a new instance of Omnisphere into your host. Omnisphere will now be authorized and fully functional.
GETTING STARTED Demo Mode We recommend that you authorize immediately, but if you would rather authorize later, then you may activate the Demo period, which will last 4 days. This can be useful if you want to try Omnisphere temporarily on a system to test its performance. In Demo mode, saving is disabled and audio artifacts will begin to appear in the signal after a period of time (loading of songs and patches will work though). You will still be able to authorize during or after the demo period.
GETTING STARTED Authorization Troubleshooting If you are returned to the Welcome to the Omnisphere Authorization System page or the demo mode version of Omnisphere after reopening Omnisphere, then that means the plugin did not accept the response code and it may have been incorrectly entered. You can check your response code by referring to the email that was sent to you after you registered. Try authorizing again with the instructions given in the Authorizing section.
GETTING STARTED Moving The STEAM Directory After installation, you can easily move the large STEAM directory containing all the sound files to a secondary drive if you wish to free up space on your original installation drive. WINDOWS MOVING THE STEAM DIRECTORY AFTER INSTALLATION • Drag or copy the STEAM folder from your installation drive (C:\ProgramData\Spectrasonics) to the hard drive location of your choice.
• Next, hold (Apple key and Option key) on the keyboard, click and drag the STEAM folder to the desktop to create an alias of the folder named STEAM.
GETTING STARTED Using Omnisphere StandAlone on a Computer Omnisphere was designed to work as a plugin which closely integrates within your main sequencing application and computer. We recommend using it this way for best results. Alternatively, Omnisphere may also be used with a simple host application to work as a sound module for live performance. Omnisphere has specials modes which are designed to make it an ideal instrument for use in live situations.
GETTING STARTED Checking For Updates The latest versions of the software, Soundsource library, and patch library for Omnisphere can be found on our website at: http://www.spectrasonics.net/updates With Omnisphere, we've included a way to quickly check for updates directly from the plugin. Simply click the Spectasonics logo to reveal the Splash page.
ARPEGGIATOR Introduction An Arpeggiator receives incoming MIDI notes, and outputs a sequenced pattern of notes based on a defined set of rules. Similar in concept to a step sequencer, an Arpeggiator has a number of differences that set it apart. Like a step sequencer, an Arpeggiator allows you to create and transpose a pattern, but it also interacts directly with the chords and intervals that you play from the keyboard.
ARPEGGIATOR Presets Selecting the downarrow on the right side of the ARPEGGIATOR label will reveal the Presets menu, which has save/copy/paste options and a menu of Arpeggiator preset patterns. Any custom arpeggios can be saved as presets You can also copy and paste patterns between Omnisphere’s Parts with the Copy/Paste functions.
ARPEGGIATOR Modes There are eleven different Arpeggiator modes available which determine the way the Arpeggiator outputs notes. Clicking on the MODE field will reveal the available modes. Chord all the notes held in a chord will be triggered at the same time, based on the velocity value of each step. Up all the notes held will be played in an ascending arpeggio. Down all the notes held will be played in a descending arpeggio.
ARPEGGIATOR Trigger Legato The Arpeggiator will continue through all of the steps in the pattern as long as notes are played legato. If you lift you hand from the keys before the pattern has finished, the Arpeggiator will restart from the beginning of the pattern. Song Position The Arpeggiator will follow the song position (bar & beats) of the host. Note Every time a new note is triggered, the Arpeggiator will restart from the first step.
ARPEGGIATOR Clock The clock setting lets you change the internal resolution of the pattern, and determines the time value of each step. For example, if you select 1/8 then each step in the Arpeggiator will be equal to an eighth note. In addition to straight steps, triplets and dotted note values are available from the Clock menu.
ARPEGGIATOR Octave 1 OCT The Arpeggiator will play back a pattern based only on notes that are being held on the MIDI controller. 2 OCT The Arpeggiator will play back a pattern based on notes being held on the MIDI controller, followed by the same pattern one octave higher. 3 OCT The Arpeggiator will play back a pattern based on notes being held on the MIDI controller, followed by the same pattern one octave, then two octaves higher over a threeoctave range.
ARPEGGIATOR Reset When selected, the pattern will immediately reset to the first step. NOTE: Using Reset will start playback from the first step regardless of Trigger mode.
ARPEGGIATOR Speed The Speed knob allows a userdefined offset of the host's tempo, which gives the sound of a freewheeling, unsynched arpeggiator, but is fullycontrollable. When it is set to the center position, the arpeggiator's speed will be the same as the current host tempo. When set all the way to the right, the maximum value would be 8X the current host tempo and when set all the way to the left, the minimum value would be 1/8 of the current host tempo.
ARPEGGIATOR Length Allows the overall length of all events in the arpeggio to be shortened or lengthened. In the example below, the length of each event is at maximum length. After changing the Length control to its minimum value, all of the events are a very short duration. NOTE: Changing the length of individual events is discussed in the Pattern Programming section.
ARPEGGIATOR Swing At the minimum setting, all the events are aligned straight to the tempo grid. As the control’s setting is increased, the events will have a greater swing groove. At high settings the swing will be very exaggerated. NOTE: If the Swing control is selected, the GrooveLock Strength slider will be forced to maximum setting, which is how it’s designed to work.
ARPEGGIATOR Velocity This control determines how much the velocity of incoming notes affects the dynamics of the Arpeggiator pattern. At maximum setting, keyboard velocity overrides all of the velocity settings in the Arpeggiator’s steps. As the setting gets closer to minimum, the velocity values of each step will determine the dynamics of the Arpeggiator pattern. Generally a setting of 50% is a good balance, since it allows the incoming MIDI velocity to interact with the dynamics of the pattern.
ARPEGGIATOR Pattern Programming Omnisphere’s Arpeggiator can have up to 32 steps in a pattern. Each step can have it’s own length and velocity value. To change the velocity of a step, click and hold at the top of the step and drag it up or down to raise or lower the velocity value of the step. Two or more steps can be combined to create a tie.The fastest way to tie steps together is to doubleclick the next step to the right.
ARPEGGIATOR Range The thin blue bar under the steps determines how many steps the pattern will have. To change the number of steps, select the right end of the Range Slider and drag it left or right until the desired number of steps is set. NOTE Dragging the Range Slider to the left in order to shorten the pattern does not delete steps it merely hides them. You can access them again by moving the slider to the right.
ARPEGGIATOR Groove Lock™ Groove Lock™ is one of Omnisphere’s most innovate new features. In the past, arpeggiators have always had a fixed timing, so they’ve had limited usefulness in genres outside of electronic music. With Groove Lock™ you can lock the groove of the Arpeggiator to the feel of any Stylus RMX or Standard MIDI file. This dramatically expands the rhythmic potential of the Omnisphere Arpeggiator.
Groove Lock™ is not limited to Stylus RMX MIDI data, any standard MIDI file can be dragged into Omnisphere’s Groove Lock™ feature. This is explained in the MIDI file browsing section.
GROOVE LOCK™ Strength & Clear Strength is a blend control that determines how much the imported MIDI groove will affect the feel of the Arpeggiator’s pattern. At minimum setting,Omnisphere will ignore the imported MIDI groove in favor of a standard, straight ‘grid’ feel. With Strength set to maximum, the imported MIDI groove will completely override the grid and base the feel of the Arpeggiator’s pattern on the imported groove. Clears the MIDI file from the from the Groove Lock™ field.
GROOVE LOCK™ MIDI File Browsing In addition to drag and drop, it’s also possible to click inside the Groove Lock™ field to open a file dialog, which allows browsing to any .MID file on your computer that you wish to import into the Arpeggiator.
NOTE: Omnisphere will only recognize the first 128 MIDI note events in a .MID file, so any subsequent notes are ignored.
GROOVE LOCK™ Indicator Dots When a MIDI file has been imported or dragged into the Groove Lock™ field, a series of small blue dots will appear directly below the Arpeggiator steps. These dots serve a dual purpose. They confirm that Groove Lock™ has received MIDI data and provide a visual reference for the feel of the MIDI content. Changing the Arpeggiator’s Clock value will change the resolution of the blue dots.
MIXER PAGE Introduction The MIXER page provides a complete overview of all the Parts in a MULTI.
MIXER Part Number & MIDI Channel Part Number Each of Omnisphere’s eight parts is numbered along the far left of the MIXER page. MIDI Channel By default, Parts 1 ~ 8 are assigned sequentially to MIDI Channels 1 ~ 8. However, each Part in a MULTI can be set to respond to any one of 16 MIDI channels. Select the desired channel from the MIDI Channel dropdown menu. Range 1 to 16 NOTE: While either LIVE MODE or STACK MODE is enabled, these settings are ignored.
MIXER Mute & Solo Mute Selecting the “M” Button mutes the audio output for that Part. However, the Part is still playing in the background when muted, and will continue to use CPU resources. Solo Selecting the “S” Button will Solo a Part. When the Solo button is selected, only that Part will be heard and all other Parts will be muted. It is possible to Solo multiple Parts by selecting additional Solo buttons. NOTE: The Solo and Mute Buttons can be MIDI Learned.
MIXER Output Assignment By default, Parts 1 ~ 8 are assigned to OUT A. However, each Part in a MULTI can be routed to any one of the 8 Output channels. Select the desired channel from the Output Channel drop down menu. Range OUT A OUT H NOTE Please refer to the FX Architecture section for more detail about how Omnisphere’s Outputs and FX are routed.
MIXER Patch Name Display The Patch Name Display shows the currently loaded Patch. Clicking the Patch Name Display will open the Patch Browser. Patches can then be browsed and loaded for that Part. Closing the Patch Browser will return you to the MIXER page. NOTE: Please refer to the BROWSER section of the manual for detailed information about using Omnisphere’s Patch Browser.
MIXER Level & Pan Level Each Part has a Part Level fader. Moving the fader to the left decreases volume, moving the fader to right increases volume. The Level Meter displays the Part’s current signal level. Although the meter can go into the “red”, Omnisphere will rarely distort on the Part level, so distortion is not a problem at this stage. Range inf to + 9.54dB NOTE: Use Command/CTRLclick to reset the fader to 0dB. Pan Each Part has a Pan control.
MIXER Aux Sends Each of the four Aux Sends has its own FX Rack (accessed by selecting the FX Button at the top of the MIXER). The AUX1 ~ AUX4 knobs let you control the amount of FX applied to the Part. NOTE: The Aux Sends FX are shared by all 8 Parts in the MULTI. Please see the FX chapter for a signal flow diagram. CPU CONSERVATION AND MUTING When all 32 Aux Send knobs are in the zero position (fully counterclockwise), all Aux Send FX will be internally bypassed to conserve CPU power.
STACK MODE Introduction STACK MODE is a powerful feature designed for creating splits, layers, and crossfades with up to eight Parts at once. STACK MODE offers a flexible environment for either live performance or composing. STACK MODE is especially useful for recording a multiPart performance using a single MIDI track in your host sequencer. Using Latch and Trigger Modes together with Stack Mode allows you to create complex multi Part performances that can be layered and quantized in real time.
To enable STACK MODE, select the Power Button to the left of the STACK MODE label. When STACK MODE is enabled, you’ll see “STACK MODE” displayed in the left side of the Omnisphere header. This will be visible from any page in the plugin.
STACK MODE Presets Menu All STACK MODE settings (except MIDI Channel, which will always default to “Any”) are saved and recalled with the MULTI, which means you can setup a MULTI specifically for use with STACK MODE enabled. In addition to saving and loading complete MULTIS, Stack Presets can be independently saved and loaded from the dropdown menu at the top of the STACK MODE page. A Stack Preset only saves and recalls the layout of the STACK MODE Grid.
STACK MODE MIDI Channel Menu All of the Parts in STACK MODE respond to a single MIDI Channel, even if the Parts are assigned to different MIDI Channels on the Mixer page. Use the MIDI Channel menu to choose which MIDI Channel STACK MODE will respond to.
STACK MODE MIDI CC Menu Use the MIDI CC menu to choose which MIDI Control Change number STACK MODE will respond to when using the CC setting. NOTE: When using CC, all Parts added to the Stack Mode Grid will be triggered simultaneously when notes are played, even if their Regions are outside the CC value range, and not outputting audio. Therefore, this feature can put a high demand on the CPU.
STACK MODE Grid The Stack Mode Grid is made up of 8 horizontal Rows, each divided by 128 lines corresponding to the full range of possible MIDI values. Up to 8 Parts can be arranged on the STACK MODE Grid as Regions. A Region will always correspond to one Part, and is displayed horizontally along a Row. Once added to the grid, Regions can be moved, resized or edited using the Mouse. One Row can contain multiple Part Regions, but each Part can only be present in one Row at a time.
STACK MODE Operation Modes There are three ways that Part Regions can be used in STACK MODE: NOTES, VELO and CC. Only one of these can be active at a time.
STACK MODE OPERATIONS MODES Notes When NOTES is selected, Part Regions are mapped to a MIDI Note range, allowing you to map splits, layers and positional crossfades across the keyboard. Each of the 128 lines in the grid correspond to a MIDI Note number, and Regions can be mapped over a tenoctave range. When NOTES is selected, a minikeyboard is displayed at the bottom of the Stack Mode Grid NOTE: The minikeyboard will highlight notes in blue as they are played.
STACK MODE OPERATIONS MODES Velocity When VELO is selected, Part Regions are mapped to a specific Velocity range. The mini keyboard is not displayed. Instead, the horizontal axis represents the 128 Velocity values. This allows Velocity switching and crossfading of Parts. For example, which Part is played depends on how hard or soft the MIDI keyboard is played. The horizontal axis shows white reference numbers for Velocity values and also displays incoming MIDI Note messages.
In this example, playing at medium Velocity values crossfades to the Region in the center of the Grid. Finally, as Velocity increases further, the next Region to the right will be triggered by higher Velocity values.
STACK MODE OPERATIONS MODES CC When CC is selected, Part Regions can be switched or crossfaded using MIDI CC messages. This is useful for crossfading patches from a MIDI hardware slider or knob. Each Region can be mapped to specific values across the MIDI CC’s range. The MIDI Control Change number that STACK MODE uses is chosen from the MIDI CC menu on the STACK MODE page. Once the MIDI Control Change Number has been chosen, all of the Regions will respond to that CC number.
STACK MODE Adding & Removing Parts To add a Part, Right/ControlClick on the desired Row in the Stack Mode Grid, then choose a Part from the menu. All of the Patches loaded into the current Multi will appear in this menu. Any unassigned Parts will display as ““. NOTE: You can add Parts to the Stack Mode Grid that have no Patches loaded yet.
STACK MODE Moving, Crossfading & Resizing Regions Moving To move a Region, click inside the Region and drag horizontally. NOTE: You can only drag Regions horizontally, and not vertically across Rows. To relocate a Part to another Row, simply add the Part to the desired Row using the Add Part contextual menu. The Part will relocate, with its Region settings (position, width and fades) intact. Resizing – and drag the lower right or lower left corner of a Region to increase or decrease its width.
accordingly.
STACK MODE Patch Browser Access To access the Patch Browser for a specific Part, control/rightclick its Part Region and select the “Popup browser to choose new patch” option from the context menu. Closing the Patch Browser will take you back to the Stack Mode page.
STACK MODE Latch & Trigger Modes
LIVE MODE Introduction LIVE MODE is a powerful feature that allows you to seamlessly switch and layer Patches. LIVE MODE was designed for use in a live performance environment, but is also an inspiring way to interact with the sounds of Omnisphere in composition and production situations. LIVE MODE is especially useful for recording a multiPart performance using a single MIDI track in your host sequencer.
You can also use your STACK MODE regions in LIVE MODE, by turning ON "Stack Mode Note Regions" in the LIVE MODE zoom. This gives you the flexibility to combine the instant Part selection from Live Mode with the Stack Mode splits and layering capabilities. Power Button To enable LIVE MODE, select the Power Button to the left of the LIVE MODE label. When LIVE MODE is enabled, you’ll see “LIVE MODE” displayed on the left side of the Omnisphere header. This will be visible from any page in the plugin.
LIVE MODE Selecting Parts To get the most out of LIVE MODE, it can often be more convenient to switch Parts remotely (rather than by using the mouse), by MIDILearning the Part switches, or by using Omni TR our remote control app for the iPad. To MIDI Learn a Part, Right/Controlclick on its Slot to open the contextual menu, then choose the Part selection method you would like to MIDI learn. MIDI CC Learn: Select MIDI CC Learn from the menu, and then physically move a control on your MIDI device.
MIDI Key Select and MIDI CC to a single Part Slot. LIVE MODE Show Menu LIVE MODE offers five ways to switch or layer the eight Parts; via MIDI Notes, MIDI CC messages, MIDI Program Change, via the mouse or with Omni TR. The first three methods use MIDI Learn to setup how the Parts will respond. Although all methods can be active at the same time, only one can be displayed at a time on the interface.
SHOW: Program Change Displays the MIDI Program Change number assigned to select the Part. SHOW: Part Number This is the default display, which corresponds to the actual Part Number.
LIVE MODE Reordering Parts Parts can be reordered by dragging and dropping them between the eight Slots. Dropping a Part into an occupied Slot doesn’t delete the existing Part. Instead, all the remaining Parts will move to make room for the dropped Part. NOTE: Reordering Parts in the LIVE MODE display will not change their positions in the MIXER. For example, a Patch loaded into Part 3 of the MIXER will remain as Part 3, regardless of which Part Slot it occupies on the LIVE MODE page.
LIVE MODE Mixer Controls Displays the basic mix controls for each of the eight Parts, and includes a Mute button, Solo button, a Level slider and a Folder icon to access the Patch Browser. Any changes made using the Mixer Controls on the LIVE MODE page will be reflected on the MIXER page, since they are the same parameters. Mute Mutes the Part. Multiple Parts can be Muted. This is a duplicate of the Mute button from the MIXER page, and can be MIDI Learned.
LIVE MODE Dual Live Mode Dual Live Mode adds a second MIDI channel to Live Mode, and is designed for use with two MIDI controllers. It divides the eight Parts into two columns of four Parts each (Parts 14, and Parts 58). Each column can receive MIDI messages on its own MIDI channel. The color scheme is changed so that the second column is highlighted in white instead of blue. NOTE: Parts can still be reordered in Dual Live Mode.
LIVE MODE Latch & Trigger Modes The Latch Mode and Trigger Mode features extend the multitimbral performance capabilities of Omnisphere, especially when used together with Live Mode or Stack Mode. They enable realtime creation of complex, multiPart performances with full synchronization between Parts, and across multiple Omnisphere, Trilian and Stylus RMX instances, without the need for traditional sequencing techniques.
LIVE MODE Latch Mode When Latch Mode is enabled for a Part, repeatedly playing a note will toggle the note on and off. When it is toggled on, the note will continue to sustain, even if the note is released. Playing the same note again will toggle it off. NOTE: Any Latched notes will stop as soon as the host transport starts or stops. Latch Mode is accessed from the LIVE MODE page, using the Latch Mode View button.
To view or adjust the Latch Mode status for a Part, open the LIVE MODE page, and select the Latch Mode View button to open the Latch Mode View. NOTE: The Latch Mode View button toggles between the Latch Mode and Live Mode views. Closing the Latch Mode View does not change or disable the Latch Mode or Trigger Mode settings. When the Latch Mode View is open, you will see the Latch & Trigger Mode Part Controls. Selecting the Latch Mode Icon for a Part will enable Latch Mode for that Part.
NOTE: If you have multiple Parts playing using Latch Mode and only want to stop one Part, disable that Part’s Latch Mode Icon to send an All Notes Off message only to that Part.
LIVE MODE Trigger Mode Trigger Mode enables realtime quantization of incoming MIDI notes, so that multiple Parts will always play in sync. Trigger Mode is accessed from the LIVE MODE page, using the Latch Mode View button. NOTE: Trigger Modes can also be viewed & accessed from the STACK MODE page using Part Regions and their context menus, or from the EDIT Page using the controls in the Footer.
Using the switching and layering capabilities of Live Mode together with Trigger Mode quantizing allows for some exciting performance possibilities. For example, you can easily switch between or layer two different arpeggiating sounds, without worrying about falling out of sync as you play. Trigger Modes can also be used while browsing and auditioning sounds.
Next Beat: this option delays playback to the next beat. If incoming MIDI notes arrive ahead of the next beat, the delay is a maximum of one beat. Next Beat mode makes it very easy to trigger rhythmic patches in perfect sync, and when used together with Latch Mode, for layering phrases that are quantized to the beat in real time. Next Bar: delays playback until the next bar. If MIDI messages arrive ahead of the next bar, the delay is a maximum of one bar.
LIVE MODE Previous/Next The Previous/Next arrows step through the eight Slots one at a time, changing the selected Part without stopping any notes currently being played. The Previous/Next arrows can be MIDI Learned, so they can be triggered via MIDI messages. When Dual Live Mode is enabled, two sets of Previous/Next arrows will be visible. The left set will step through Part Slots 14, and the right set will step through Part Slots 58. Both sets can be MIDI learned via their respective MIDI channels.
LIVE MODE Stack Mode Note Regions Omnisphere allows the Part splitting, layering and fading features of STACK MODE to be used in combination with Live Mode. There are times in live performance when splits are desired at the same time instantly switching between Parts is needed. This can be achieved by clicking on the "Stack Mode Note Regions" Power Button in the Live Mode Settings page.
LIVE MODE Settings Zoom The SETTINGS page allows the configuration of LIVE MODE parameters. These include the Part selection methods that LIVE MODE will respond to, as well as settings for MIDI Channel, Modes, and Display Formats. Settings in Dual Live Mode When Dual Live Mode is enabled, the Settings options are duplicated for both channels and grouped as Parts 14 and Parts 58 (corresponding to the two columns in Dual Live Mode).
NOTE: LIVE MODE Settings are saved with the MULTI. Key Select When enabled, Parts can be selected using learned MIDI Program Change messages. When disabled, Parts will not respond to Program Change messages. Program Change When enabled, Parts can be selected using learned MIDI Program Change messages. When disabled, Parts will not respond to Program Change messages. Key Select hen enabled, Parts can be selected using learned MIDI Note messages.
Stack Mode Note Regions When enabled, you can use the splitting, layering and fading features of STACK MODE in combination with Live Mode. MIDI Channel Determines which MIDI Channel LIVE MODE will respond to. Any Will respond to MIDI messages sent from any MIDI channel. CH:XX Will respond to MIDI messages sent from the specified MIDI channel. Mouse Select Mode Parts can be selected (or deselected) using a Mouse.
Parts can be selected or deselected using MIDI Control Change messages. Latch Latch Mode acts as an ‘on/off’ toggle. Sending a learned MIDI CC message to a Part will select it. Another message from that MIDI CC assignment will deselect the Part. NOTE: Latch Mode is intended for use with MIDI controllers that are set to use momentary mode. If your MIDI controller is set to use toggle mode, you should use Switch Mode instead of Latch Mode when using MIDI CC.
MiddleC (note number 60) is referred to in two different ways as either C3 or C4 depending on the MIDI device manufacturer. You can choose either numbering convention, based on your keyboard or your host software. Please refer to your device or host’s owner’s manual to determine which is the correct setting Program Change Display Format The LIVE MODE display can accommodate different Program Change numbering systems.
SYSTEM The System page in Omnisphere is a universal control area that governs how Omnisphere’s sounds are streamed, sets some user defaults, and configures the modulation controls.
SYSTEM Memory Management The Sample Memory Menu allows you to manually limit the amount of virtual memory Omnisphere can use for Sample Memory. The default is ‘Process limit’. To disable memory limit alerts, use ‘No limit on Sample Memory’ instead. Selecting a value from the dropdown menu sets the maximum amount of virtual memory Omnisphere will have available to use. Using the updown steppers will step through the available values NOTE: Omnisphere Soundsources can require a great deal of memory.
SYSTEM Streaming The first column contains controls for the streaming function in Omnisphere. Streaming permits samples to largely reside on disk. In this way you can use large samples with a relatively small amount of memory. Streaming Mode Streaming Mode engages or disengages disc streaming in Omnisphere.
When using Omnisphere on a PC it's recommended to leave STREAMING MODE set to "Streamed" unless for some reason you need to disable hard drive streaming and have lots of physical memory. On Mac's there is an additional mode called "Server", which is short for Sample File Server. Please refer to the Sample File Server page for more details. NOTE: On the Mac version of Omnisphere, Server is enabled by default. Do not change it to "Streamed" unless directed to by Spectrasonics support.
The control balances system resources between streaming and other operations. This is the second most important streaming parameter, after the PreLoad Memory Size. It should generally be set to a moderate value around 0.1. Values above 0.5 may lead to streaming glitches due to deferring streaming reads in order to give priority to other processing operations in the application. Turning it down to zero may cause glitches in other operations due to the streaming monopolizing the CPU.
SYSTEM Sample File Server On the Mac version of Omnisphere, the Streaming Switch is replaced by the Mode menu, and provides an additional Server mode for loading sample data. NOTE: The Server mode only works on Mac, so you wont see the Mode menu on Windows. On Windows, use a 64bit host instead. Server mode is a way of solving the "out of memory" problem that can happen when using large sample sets with 32bit hosts and is an alternative to using 64bit hosts.
SYSTEM Miscellaneous Introduction This area determines the settings for master tuning, the instrument’s startup page and preferences for how the Layers behave in the interface. Startup Page Preference Omnisphere’s default startup page is the Main Page. This menu allows you to select from either the Orb, Mail or Edit page as the default.
From this menu it is possible to select the Patch directory that will be selected on startup. It is possible to specify Spectrasonics, User or thirdparty libraries. From this menu it is possible to select the Patch directory that is loaded at startup. Here you can specify and limit the startup directory to choices such as "All," "All Spectrasonics," "Projects," "User," any of the Satellite Instruments and Legacy Libraries, as well as any of your thirdparty libraries.
This is the default behavior and the way that Atmosphere worked. If you prefer to not have the automatic Layer switching, you can turn that behavior off here. If Switch To Layer Upon Activation is off, then Layer activation will not cause the Layer page to change to the activated Layer. Sync Tabbed Panes Together When enabled, this function will ensure that when you change from one Part to a different Part, the view will be the same.
Enabling this option allows Omnisphere to communicate with the Omni TR iPad app. When Accept Omni TR Connections is enabled, Omni TR will be able to automatically connect to Omnisphere when launched. For complete instructions on setting up Omni TR, please visit our website at: http://www.spectrasonics.net/omni_tr_app/ Custom Controls Tab Reset When enabled, this function will ensure that when you change from one Keyscape Custom Controls Tab to a different one, the view will be the same.
SYSTEM Modulation The MODULATION assignments section allows you to override and remap the standard MIDI messages used by the Modulation Matrix sources in Omnisphere. Simply select the dropdown menu next to one of the fourteen modulation types and a pop up will appear that says “Move MIDI Controller” Then on your MIDI controller move the knob, slider or wheel that you wish to use to remap to that Modulation source.
SYSTEM MIDI Controller The choices for MIDI modulation source in Omnisphere include a variety of standard MIDI controllers such as Wheel, Expression, Soft Pedal, etc. You can use these options on the System Page to map those sources to other MIDI controls. This can be useful if you don't have a particular physical controller such as an Expression Pedal. For example, if you map Wheel to Breath Control, you can use a Breath Controller in any patches that use the Wheel as a modulation source.
SYSTEM Master Tuning This is Omnisphere’s global tuning parameter. That means any tuning change you make on MASTER TUNING will affect any other tuning settings in the instrument. The default is 440Hz, which is the standard for most Western music. For other tuning standards, Omnisphere’s master pitch can be changed to accommodate any of them.
SUPPORT Many common technical support questions can be answered by checking the Spectrasonics Support Knowledge Base NOTE: You will need to log into your User Account to access the Spectrasonics Support Knowledge Base. If you are still in need of technical assistance after referring to the Support Knowledge Base, please contact the Tech Support Department by phone or email, and we will gladly assist you.
SUPPORT Updates It's important to download and install the latest version of Omnisphere, since we are continuing to add new features and improve their performance and capabilities. http://www.spectrasonics.
GLOSSARY OF TERMS Audio Unit Apple introduced the Audio Unit (AU) plugin specification in Mac OS X. Since this plugin standard is native to OS X and not to any specific host or platform (like TDM or VST) Apple has encouraged companies to adopt it as a standard for all Mac audio applications. Although it is not crossplatform, many host applications like Logic, GarageBand, Digital Performer, Abelton Live and others have adopted the Audio Unit plugin standard.
compander, it is used to make loud parts of a signal softer and soft parts louder. Beyond the threshold, the ratio of the signal's input level to its output level (e.g., 2:1, 4:1) is user selectable. A compressor is commonly used to keep levels within an acceptable range, but because it can slow a signal's rate of decay below the threshold, compressors are also used to add sustain to instruments such as electric guitar and bass.
change in the sound passing through the FX Unit (unless it is bypassed). FX Preset/Patch Saving all the current parameter settings of a single FX Unit creates an FX Patch. Users can save custom FX Patches. These FX Patches will be available later in any session. Patch is synonymous with Preset. FX Rack Preset/Patch Saving all the current parameter settings of an entire FX Rack creates an FX Rack Patch. An FX Rack Patch can be any combination of up to three FX Units with any settings.
Menu Item Refers to the items in the list of a popup/dropdown menu in the software interface. MIDI CC MIDI Continuous Controller. MIDI has 128 possible controllers. Omnisphere can respond to any of them using the MIDI Learn feature. Multi patch Omnisphere is eightpart multitimbral and settings for all the Patches that make up a Multi can be saved as a 'Multi Patch'. Multitimbral The ability to operate on more than one MIDI channel at a time. Omnisphere is 8 Part Multitimbral.
of the instantaneous voltages along a waveform, averaging the squared values, and taking the square root of that number. For sinelike signals, average power = RMS(voltage) RMS(current) Round Robin Term referring to a sampling technique that allows a repeated note to trigger a different take each time it’s played, giving a natural sounding result and eliminating the “machine gun” effect. RTAS Real Time Audio Suite a Digidesign proprietary, crossplatform plugin format for Pro Tools. S.A.G.E.
Valve See Tube. VST Virtual Studio Technology a crossplatform plugin platform created by Steinberg.
CREDITS Produced by Eric Persing SOFTWARE DEVELOPMENT Principal software development: Glenn Olander, Neal Olander Additional coding: Thomas Serafini, Bernie Torelli, Artemiy Pavlov, Bram de Jong, Jon Hodgson, Magnus Jonsson, David Strozyk, Jay Olson, Shirley Sloper, Jankoen de Haan, Chad Martin SOUND DEVELOPMENT Principal Soundsource development: Eric Persing, Diego Stocco, Ignacio Longo, Tobias Marberger, Scott Frankfurt Additional sound development: Bob Daspit, Tobias Marberger, Jonathan Merrill, Roby
Cover Art, Art Direction, Graphic Design & Sonic Imagery: Tolga Gurpinar DOCUMENTATION Managing Editor: Ignacio Longo Graphic Layout: Michael Flint Contributors: Ignacio Longo, Jonathan Merrill, Eric Persing, Robinson Collins, Michael Flint, Glenn Olander, Neal Olander PRODUCTION Production Manager: Michael Flint Production Coordinator: Lorey Persing Warehouse Manager: Gabriel Muñoz Discmaster: Ingacio Longo Betamaster: Bob Wilson Printing: Graphic Visions WEBSITE Webmaster: Chad Martin Site development:
SPECIAL THANKS Special Thanks to: Ignacio Longo, Tolga Gurpinar, Michael Flint, Scott Frankfurt, Les Correa, Bob Wilson, Diego Stocco, Bob Daspit, Neal Olander, Glenn Olander, Gulli Briem, Stéphane Pigeon, John Martin, Chad Martin, Jonathan Merrill, Cesar Moreno, Gabriel Muñoz, Maria Arellano, Paul de Benedictis, Andy Gradl, Susan DiGiulio, Mike Babbitt, Mark and Shelly Hiskey and all @ ILIO, Satoshi Yamaguchi and all @ Media Integration Japan, Sue Meaney and all @ Sonic Virtual Media, Patrik, Mattias and
LEGAL Licensing/Protection FAQs What's the principle of the standard license agreement? • Single user music production/performance = Allowed • Multiple users = Not Allowed • Nonmusic use = Not Allowed Any uses that are not allowed need additional permission or a special license from Spectrasonics. Are there any legal limitations to how I can use Omnisphere? The main limitation is that you are not allowed to use it to make a sample library or another kind of samplebased product.
this contingency. However, the good news is that this event is highly unlikely...we plan to be around for many years! Do I have to credit Spectrasonics if I use Omnisphere? No, it isn't mandatory for our instruments...but we certainly would appreciate it! Do I need to obtain a special license to use Omnisphere on a commercial project? No, the lifetime license fee to use the samples is covered in the purchase price of the instrument.
What if it's just for my own use and I don't distribute the samples I've created? If you're a licensed user, you are welcome to use your Spectrasonics instruments and libraries to create new audio samples and loops for your own use. The important thing is not to distribute them. I work at a production music studio with several other composers/producers. Can we all use Omnisphere from our main server? No. It's very important that each composer must have his or her own copy and license for Omnisphere.
use the instrument. When you purchase the product, you are primarily purchasing the lifetime right to use the product and the sounds it contains in your own music projects. Also, if you sell any of your computers that have a Spectrasonics instruments installed on them, you are required to delete them first from the hard drive.
Can I sample Omnisphere for my own private use? Of course. Every licensed user is free to use Omnisphere's sounds in any way within the production of their music that works for them creatively...including making their own custom samples with the instrument. Those custom samples only become a legal issue when they go beyond the private musical use of the individual user (i.e. distribution). Am I permitted to distribute my Omnisphere samples if it's noncommercial? No.
LEGAL NOTICES Software License Agreement NOTICE TO USER: THIS IS A CONTRACT. BY INSTALLING THIS SOFTWARE AND SOUNDS, YOU ACCEPT ALL THE TERMS AND CONDITIONS OF THIS AGREEMENT. This copy of the Software is licensed to you as the end user. Please read this Agreement carefully. This Spectrasonics End User License Agreement accompanies a Spectrasonics computer software program and sounds and its documentation and other related explanatory materials (collectively, the “Software”).
4. Limitation of Liability.
LEGAL NOTICES Sounds License Agreement NOTE: COPYRIGHT LAWS HAVE RECENTLY BEEN STRENGTHENED. IT IS IN YOUR BEST INTEREST TO READ AND FOLLOW THIS AGREEMENT. You cannot resell or copy this instrument to another user. You cannot transfer ownership of this instrument or the sounds or programs it contains without obtaining a license transfer from Spectrasonics. License Transfers are only granted on a case bycase basis. DO NOT USE THIS PRODUCT UNTIL YOU HAVE READ THIS LICENSE AGREEMENT.
LEGAL NOTICES Trademarks Omnisphere® is a registered trademark of Spectrasonics. All other manufacturers' product names used in this instrument are trademarks of their respective owners, which are in no way associated or affiliated with Spectrasonics. These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Spectrasonics sound development.
CONCEPTS Introduction Omnisphere has been designed to accommodate a wide range of operations, from basic interaction with Factory Patches to comprehensive and complex sound design. The Omnisphere interface provides an intuitive workflow which offers all the depth and flexibility you need.
STEAM™ Engine The STEAM™ Engine is the core technology created by the Spectrasonics inhouse development team, and is used as the basis of all Spectrasonics performance instruments. Like our core S.A.G.E. technology, used for groovebased instruments like Stylus RMX, STEAM™ completes the technology transition from earlier performance virtual instruments that were based on the licensed UVI Engine.
CONCEPTS The MULTI The MULTI is at the top of Omnisphere’s hierarchy and consists of up to eight Parts, together with four Aux FX Racks and a Master FX Rack. The Multi Section contains four pages:MIXER, FX,LIVE and STACK. These allow access to a full featured MIXER, the Multi FX, and two flexible performance modes: LIVE MODE and STACK MODE, which provide interactive environments for both composition and live performance.
CONCEPTS Parts & Patches Omnisphere is a multitimbral instrument, allowing up to eight different Parts to be played at the same time within a single instance of the plugin. Each of the eight Parts can be thought of as an entire synthesizer, complete with its own oscillators, modulation routings, and FX, and each Part can be played on a different MIDI channel. The settings of all eight Parts are saved with a MULTI, or with your project.
CONCEPTS Layers & Oscillators Each Part has two Layers (A and B), and each Layer has a set of synthesis controls. Each Layer has its own polyphonic Primary Oscillator, which can be set to either Sample Mode (using Soundsources) or Synth Mode (using DSP Waveforms). Because each Layer has its own independent Primary Oscillator, you can mix and match the modes by using two Layers.
CONCEPTS Soundsources Soundsources allow Omnisphere’s synthesis to begin with sampled sounds instead of DSP waveforms. They are accessed by selecting Sample Mode in the Oscillator. Soundsources are based on a ‘map’ of audio samples stored in the Core Library of Omnisphere in Spectrasonics’ proprietary STEAM format.
synthesis settings. This allows you to take any patch you like and create thousands of variations by simply changing the Soundsource. Most importantly, the concept of Omnisphere is completely different than a typical sampler. Omnisphere is an incredibly deep synthesizer with a massive Core Library that will take a lifetime to explore. The Factory Core Library of Omnisphere is almost 60Gb and includes more than 4800 Soundsources specifically designed for compatibility with STEAM engine synthesis.
CONCEPTS Common Parameters Each Layer has an independent set of synthesis controls, and there are many parameters that will only affect the individual Layer. However, there are also a number of Common parameters that are shared by both Layers in a Part. Most of these Common Parameters are accessible from the Main Page. If a parameter is numbered, then it’s a Common parameter that can be used by both Layers (ex: LFO 1 ~ 6, Mod Env. 1 ~ 4).
CONCEPTS The Header The top area of the Omnisphere interface is the Header. The Header is visible from any page in Omnisphere (except when any Full Browser is open) and is the primary navigation area of the interface. The Header contains the Utility Menu, Multi Information including the Multi Name Display and access to the MULTI Browser, indicators for when LIVE MODE or STACK MODE are enabled, and Navigation Buttons for selecting any of the 8 Parts, the MULTI Section or the SYSTEM Page.
CONCEPTS Utility Menu The Utility Menu can be divided into several sections. The first section contains a MIDI Learn and Automation submenu.
The second provides UNDO and REDO commands. The third section provides various Initialize, Clear, Save, Copy, & Paste functions for Multis, Patches, Parts, and Layers. The fourth section is for importing user audio, sharing and adding sounds. The fifth section provides a “factory reset“ option, the ability to save your global settings as a default Multi and gives you direct access to the Omnisphere Reference Guide and Tutorials.
CONCEPTS MIDI Learn The Utility Menu provides the MIDI Learn and Automation options that apply to the whole plugin. These include MIDI Learn Templates, Unlearn All, and access to a ‘Current Assignments’ Report. See the MIDI Learn & Automation section for details.
CONCEPTS Clear, Save, Copy & Paste The Utility Menu provides options to Initialize or Clear Multis, Patches and Layers, and to Save Multis and Patches. There are also functions that allow Part and Layer settings to be copied and pasted.
Initialize Multi Initializes all current Multi settings, including all Parts and FX. The Multi is returned to an unedited ‘default’ state, including default sounds. Clear Multi Clears all current Multi settings, including all Soundsources, Parts and FX. This will result in a completely empty Multi. Save Multi Selecting the Save Multi option will open a File Save dialogue.
Revert to Saved Patch Reverts the Patch to the saved parameters. Copy Part This command is used to copy the settings from a single Part. These settings can then be pasted to another Part using the Paste Part command. To copy a Part, select the Part using the Navigation Buttons in the Header, and then select the Copy Part command from the Utility Menu. Paste Part After a Part has been copied using the Copy Part command, it can be pasted to another Part.
Clear Layer Clears all settings for the selected Layer, including all Soundsources, Modulation routing and FX. This will result in a completely empty Layer. Copy Layer This command is used to copy the settings from a single Layer. These settings can then be pasted to another Layer using the Paste Layer command. To copy a Layer, select it using the Layer tabs in the Edit Page, and then select the Copy Layer command from the Utility Menu.
CONCEPTS Add Sounds & User Audio Install .omnisphere Adding sounds to your library that have been shared by other Omnisphere users is simple! Omnisphere sounds that have been shared using the Sharing features are conveniently collected into a single .omnisphere package. Files with the extension .omnipshere can be added to your library in a single operation, which automatically installs all the necessary components (Multis, Patches and User Soundsources) to play those sounds into your Omnisphere library.
After deleting it, you must click the "Refresh" button in your Soundsource Browser to reflect the changes. NOTE: Each imported audio file will become a User Soundsource in Omnisphere. The User Audio import function does not support zonemaps, roundrobins, multiple velocities, etc. Remember, Omnisphere is not a sampler, is a synthesizer. The objective is not to play multi sampled instruments like a sampler, but to be creative in transforming your own audio.
CONCEPTS Save As Default Multi Saving a Multi is like saving the entire state of the plugin for future recall. A Multi stores all of the settings from the MIXER page, the Multi FX, the LIVE MODE and STACK MODE pages, all MIDI Learn assignments and Automation, as well as all of the settings (including any unsaved edits) for each of the eight Parts. By saving a Default Multi, you can customize Omnisphere to load all of your preferred settings each time you open a new instance.
CONCEPTS Reference Guide Selecting this option from the Utility Menu will open the online Omnisphere Reference Guide. The Reference Guide will be displayed using your default Web Browser. The Reference Guide is indexed, so you can search the Guide, print chapters (click the Print Icon next to any chapter to load printable pages) which can be saved as a PDF. The complete Omnisphere 2 Reference Guide also is available as downloadable PDF.
CONCEPTS Reset Defaults and Preferences The Utility Menu provides the ability do a “factory reset” by selecting “Reset Defaults and Preferences”. After selecting this option, a message will be displayed, warning you that this action will overwrite your default Multi and user preferences.
A confirmation dialog will be displayed after the default Multi and preferences are reset.
CONCEPTS LIVE/STACK MODE Indicators When either LIVE MODE or STACK MODE is enabled, you’ll see “LIVE MODE” or “STACK MODE” displayed on the left side of the Omnisphere header.
CONCEPTS Multi Display This part of the Header contains the Multi Name Display, Multi Steppers, and a Folder icon for access to the Multi Browser. Selecting the Folder icon, or anywhere inside the Multi Name Display, will open the Multi Browser. After a MULTI has been loaded, the name of the MULTI will be displayed in the Multi Name Display. The Multi Stepper buttons (up/down arrows) will load the next or previous MULTI from the Library, based on the current filtered results in the Multi Browser.
CONCEPTS Navigation Buttons The Navigation Buttons in the header are used to select and view any of the eight Parts, the Multi Section or the System Page. Only one button can be selected at a time. Part Select Buttons (1 ~ 8) Buttons 18 are Part Select Buttons. Selecting a Part lets you access and view any of the pages for that Part, including the Orb, Main , Layer A, Layer B, Patch FX pages, and the Arpeggiator Page.
CONCEPTS Master Volume Control The Master Volume slider controls the output of the whole plugin, and includes a meter, which provides a reference to the output signal. The range of the Master Volume slider is inf dB ~ 9.54 dB.
CONCEPTS Dropdown Menus (Down Arrows) A downward facing arrow indicates that a dropdown menu is available. There are numerous drop down menus in the Omnisphere interface, which provide access to settings, Presets, MIDI Learn, Automation and other functions.
CONCEPTS Contextual Menus (Right/ControlClick) Contextual Menus are an important part of the Omnisphere interface, and provide convenient access to many important functions. Right/Controlclicking almost anywhere in the Omnisphere interface will bring up a contextual menu. The contents of the menu will depend on where the cursor is placed when the contextual menu is opened. For example, Right/Controlclicking over a blank area of the Omnisphere Header will reveal the Utility Menu.
CONCEPTS Up/Down Steppers Steppers (up/down arrows) are located throughout the Omnisphere interface, and are used to step through values or load saved settings, incrementing or decrementing one at a time. In the picture above, clicking the arrows will step through the different LFO waveforms available.
CONCEPTS Zoom Icon Buttons One of the features of Omnisphere’s interface design is that it only reveals its depth and complexity on an asneeded basis. The Zoom Icon Buttons provide access to Zoom Views, where you can view expanded information or interact with Omnisphere’s more advanced features. A magnifying glass icon next to a function indicates that a Zoom View is available. Selecting the icon with a ‘+’ inside it opens the Zoom View for that function.
CONCEPTS Folder Icon Buttons (Browser Access) Besides the MiniBrowser, there are three Full Browsers built into Omnisphere, one each for Multis, Patches, and Soundsources. All three Full Browsers have identical functions, but access different parts of the Core Library. Anywhere that you see a Folder icon, you will be able to access that Browser by clicking on the Folder. If there is a Name Display next to the Folder icon, you can also click inside the Name Display to open the Browser.
CONCEPTS Knobs & Sliders Using a mouse, Knobs and Sliders (vertical and horizontal) are adjusted by clicking and dragging. Shiftclick and drag for more precise adjustments. Most Knobs and Sliders in Omnisphere can be MIDI Learned for direct control from a MIDI device.
CONCEPTS Floating Parameter Values Adjusting Knobs and Sliders will display their current setting or value in a floating display above the controls. Holding down the SHIFT key while adjusting Knobs and Sliders allows for more precise adjustments.
CONCEPTS Buttons Buttons are used for choosing sections or selecting from among multiples of a single type. When selected, Buttons will be highlighted in blue. For example, there are 6 LFO Buttons. When one of them is highlighted it means it is selected, and that LFO’s settings are displayed.
CONCEPTS Switches (Toggles) Switches let you toggle certain parameters on and off or switch between multiple options. When a parameter is enabled or selected, the switch will be highlighted. For example on the Layer Pages, switches toggle between SAMPLE Mode and SYNTH Mode, toggle LFO Sync on and off, or select between Velocity Curve settings. Power Buttons are also a type of Switch, an example being the FILTERS On/Off Button.
CONCEPTS Indicator Switches The Indicator Switch LEDs can be both a status indicator and a toggle and are found below the Page buttons. The blue LEDs below ORB, A, B, and ARP indicate whether the feature is enabled or not, and double as a toggle to enable/disable them. The LED below MAIN is an indicator only and will be lit up when a parameter changes from its default position. When LED below FX is blue, it indicates that effects units are in use.
CONCEPTS Key Modifiers There are a number of Omnisphere functions that are modified by combining a mouseclick (or click and drag) with one of three Key Modifiers; the Command/Control key, Shift key, or the Option/Alt key. In the manual these are referred to as: ControlClick (Mac users, use Commandclick) Brings up contextual menus. Sliders & Knobs: resets the slider or knob to a neutral or default position. Browsers: allows selection of multiple Attributes.
CONCEPTS – Parameter Control Understanding Parameter Control There are three ways to control parameters in Omnisphere: Modulation, MIDI Learn and Automation. Deciding which type of Parameter Control to use depends on a number of factors including which host you use, which parameters you want to automate and what type of physical controller (if any) you wish to use to control the parameters.
NOTE: After setting up all of your MIDI Learn and Host Automation assignments, you can save a Default Multi, which will load all of your custom assignments each time you open a new instance of Omnisphere.
CONCEPTS Host Automation All MIDIlearnable parameters in Omnisphere can also be automated using the Host Automation feature. Each host handles Host Automation differently, so it’s important to understand how your specific software will interact with Omnisphere. Enabling Host Automation To make a Host Automation assignment for a parameter in Omnisphere, Right/Controlclick a parameter to open its contextual menu, and then select the Enable Host Automation option.
For example, some only permit the first 128 parameters of a plugin to be automated. In others, the limit is 1024 parameters. By comparison, Omnisphere has nearly 20,000 parameters! If you're working in a host that limits the number of automation parameters, you can also use Omnisphere's MIDI Learn feature to automate its parameters. The combination of Host Automation and MIDI Learn gives you powerful realtime control of virtually every parameter of Omnisphere.
CONCEPTS MIDI Learn MIDI Learn is an immensely powerful feature that allows you to remote control virtually any on screen parameter with a MIDI controller. It is a very flexible system that can adapt to the MIDI device you use and allows changes made to any learned parameter to be recorded by the host application. While Host Automation support varies widely among hosts, almost all hosts have the ability to record and edit MIDI messages received from a MIDI controller.
control Parts 3 & 4. A MIDI device sending on any MIDI channel can control MIDI Learned parameters on any of Omnisphere's Parts/MIDI Channels. This means that you can use a MIDI device with all of its controls assigned to a single channel, but still control any parameter on any of Omnisphere eight parts. Assignments can be made to receive in “Omni mode” so that when a sequencer's track is changed, all of the controls are still active regardless of the incoming MIDI channel assignment.
CONCEPTS MIDI Learn Menus Utility Menu The first section of the Utility Menu has several MIDI Learn options. MIDI Learn Template All MIDI Learn & Automation assignments are saved with a MULTI, but there are times when it makes sense to save a MIDI Learn & Automation configuration for use with another project or environment. MIDI Learn & Automation Templates allow custom setups to be saved and easily recalled whenever they’re needed.
NOTE: Before saving a MIDI Learn Template, you can use MIDI Learn Report (see below) to preview the assignments that will be saved with the Template. This is also a convenient way to verify assignments after a MIDI Learn Template has been loaded. Unlearn Next MIDI Device When a physical controller has been MIDI Learned, you can use this option to Unlearn it. To accomplish this, select Unlearn Next MIDI Device from the menu, then move the physical controller on your MIDI Device.
The MIDI Learn Report displays all existing MIDI Learn assignments, and includes Host Automation assignments. The Report will be displayed using your default Web Browser. The MIDI Learn Report is especially useful for checking existing MIDI Learn assignments before saving a MULTI or a MIDI Learn Template, or to verify assignments after loading a MIDI Learn Template.
MIDI Note Learn Select this option then play a note on your MIDI controller. That Note will then control the assigned Omnisphere parameter. Once a Note has been MIDI Learned it will no longer trigger a sound when Omnisphere receives Note On messages from that Note, it will only control the assigned parameter. MIDI Note Learn Inverted When you select this option, then play a note on your MIDI controller, that Note will then control the assigned Omnisphere parameter. However, the values will be inverted.
CPU Optimization & Conservation The vast majority of Omnisphere Patches will play comfortably within your host, without stressing the computer's CPU or memory. But some Patches employ sophisticated effects or large numbers of streamed samples, and those may require special attention. If your system is not configured properly, streaming some Patches may not be fast enough and may produce audio glitches.
Limit Voices Omnisphere allows up to 64 notes to be played simultaneously. You can adjust the maximum number of notes with the Voices menu on the Main Page. High values can put tremendous demand on the CPU, so reducing the Voices limit can significantly reduce CPU usage. Reducing "Voices" to 16, or 10, or even fewer is an early action you should take to eliminate CPU overload.
View the System page and ensure that the PreLoad Memory Size is around 50,000 and the Stream Brake is around 0.1. Disable Effects Disabling some effects particularly reverb effects may greatly reduce CPU load. Effects are disabled in the FX Pages by clicking on the blue oval that contains the effect name. In the example below, the PROVERB effect is off, and the PROPHASER and RETROPLEX effects are on.
Review Oscillator SubPages (FM, RING, WS, UNI, HARM, GRN) It’s easy (and fun!) to use all of the oscillator subpages at the same time, but used together these can demand a significant amount of CPU power. Using them sparingly will often lead to better sonic results and be easier on the CPU load. Reduce Two Layers to One There’s a lot that can be done with a single Layer.
Prefer Common FX Rack Over A/B Racks Using Common or Aux FX racks whenever possible is a great way to save CPU power. Instead of loading separate delay units into each Layer FX Rack, try sharing a single unit in the Common or Aux FX Rack. Adjust Waveshaper The Waveshaper is a great feature, but it can be very CPU intensive, because it is polyphonic. To save CPU, you can try alternate approaches to achieving the desired sound. For example, try experimenting with the Toxic Smasher effect unit first.
Turn Unused Aux Sends Off If you are not using the AUX Sends on the Mixer Page, make sure all of them are off (all knobs turned fully counterclockwise). When all of the Aux Sends are off, the entire AUX system is disabled, which saves CPU power. If any of the Aux Sends is on, the entire Aux Send system on all Racks and Parts is enabled, even if no audio is passing through it. View the Aux Sends on the MULTI MIXER page.
menu File > Export Audio/Video. If the host provides two bounce/freeze modes (offline and realtime), try them both. Offline bouncing typically yields better results for streamed samples, but realtime mode may also be satisfactory. Consolidate patches into one instance, or not If you have multiple MIDI tracks each with a dedicated instance of Omnisphere, it may be more efficient to instead use a single instance of Omnisphere in multitimbral mode.
CONCEPTS Using Satellite Sounds in Omnisphere Omnisphere 2 can fully integrate Trilian and Keyscape as Satellite instruments within the Omnisphere® interface.
When Satellite Patches are loaded in Omnisphere, that Satellite’s Custom Controls page will be automatically displayed when the Patch is loaded from the Mini Browser or revealed when you close the Full Browser. The Satellite Patches contain their own layout that brings together all the most useful parameters of that Patch.
Satellites & Omnisphere Controls To switch to the Omnisphere interface, just click on the “X” in the top left of Keyscape’s interface; Or the “Omnisphere Controls” button in Trilian’s interface;
Conversely, selecting the Keyscape (or Trilian) button on the Omnisphere interface when a Satellite patch is loaded will return you to the Satellite instrument’s Custom Controls page.
CONCEPTS Omnisphere Library Integration Setup In order to enable Omnisphere Library Integration, you must have your Satellite Instrument registered in your Spectrasonics account and installed on your system. If you already have Omnisphere on your system, you will be asked to reauthorize it after you have installed and registered the Satellite Instrument. When you launch Omnisphere, you will see the following splash screen. Click the Authorize button, and follow the normal steps for authorization.
After (re)authorizing Omnisphere, the Trilian libraries will appear in your Omnisphere Browsers. CONCEPTS Omnisphere Library Integration Browsing Sounds While Trilian’s browser operates in the same manner as the browser in Omnisphere, Keyscape’s Patch organization is slightly different. When opening Keyscape sounds in Omnisphere, the sounds are presented in a manner that conforms to Omnisphere’s Patch organization.
The third filter is Model, which will display the list of models displayed in Keyscape’s Model menu.
CONCEPTS Using Satellite Instrument Sounds Keyscape’s keyboards and Trilian’s basses come equipped with controls that permit you to modify them in many creative ways . For those who want to delve even deeper, users can open any of the sounds from the Keyscape and Trilian libraries inside our flagship instrument, Omnisphere 2! Omnisphere Integration lets you expand the sonic possibilities of Trilian and Keyscape by applying Omnisphere’s soundshaping and performance features.
Use the Arpeggiator You can apply Omnisphere’s Arpeggiator to Satellite sounds to create rhythmic patterns. Here, the Trilian Patch, “Big Boy OSCar” uses Omnisphere’s Arpeggiator.
You can use any of Omnisphere 2’s greatsounding FX units to modify Satellite sounds or get under the hood and tweak what is already in use. Keyscape and Trilian already utilize many of Omnisphere 2’s FX Units, but there are many more! Try a wide variety of amps, stompboxes and highquality effects to create sounds that range from hardhitting to ethereal.
CONCEPTS Remote Control Spectrasonics has developed an application for Apple’s iPad which turns it into a performance oriented, remote control surface for Omnisphere: Omni TR.
CONCEPTS Omni TR Omni TR (Touch Remote) is designed to turn an iPad into a performanceoriented, remote control surface for Omnisphere, running on a Mac or Windows PC. Omni TR offers wireless twoway communication, multitouch patch selection, remote browsing and editing of Patches and Multis, and the ability remotely control the Orb. Omni TR is a fourpage app. The pages can be accessed by selecting the icons on the topleft.
The Orb is a unique circular controller that intelligently modifies Omnisphere sounds in realtime. To create diverse new modifications to your Patches, simply touch the Orb and move your finger. The DICE button will give many interesting variations on the parameters being controlled. Change the Inertia amount to control the speed and duration of the controller after you set it in motion and let go. Use the Depth Slider to control the intensity of the effect.
The Controls page offers fast access to some of the most useful performance parameters in Omnisphere and a fun Pitch Ribbon. Select the desired Part from the tabs on the left. Choose from the control templates in the dropdown menu above the faders to change which Omnisphere parameters are displayed. The A/B/Link buttons at the bottom of the page work the same as on Omnisphere's EDIT page, determining which layer's parameters are displayed/edited.
Sometimes on stage it can be useful to have large, easytoread Patch selection buttons. Just like on the Main page, you can select any combination of Patches on the fly and it's easy to see the patch names. Make sure "Live Mode" is selected from the drop down menu in the top left area. Setup Setup is very simple. With Omnisphere running on the computer and the iPad connected to the same wireless network, launch the Omni TR app on the iPad and press "Connect.
BROWSER Introduction Omnisphere ships with a massive library of sounds and requires a sophisticated way to search, filter and browse them. The Browsers in Omnisphere were designed to provide an intuitive and convenient way to quickly find exactly what you need from a library containing thousands of sounds. Using categories, searchable attributes (called Tags), Projects & Sharing, the Browsers add a powerful and important feature to the workflow in Omnisphere.
While the Multi and Patch images are named respectively, some Patches display unique images. In the Soundsource Browser you will find unique images for each Soundsource, giving you a visual representation of what to expect from the sound.
MINIBROWSER Layout The MiniBrowser lets you browse and edit sounds without switching pages. It is displayed in the left most area of the Omnisphere interface and provides convenient Patch and Multi browsing with the Omnisphere controls still easily accessible. MiniBrowsers are available for Patches and Multis. The Patch MiniBrowser is displayed when Part pages are selected and the Multi MiniBrowser is displayed when Multi or System pages are selected .
MINIBROWSER Header The Mini Browser Header contains the Browser Title, access to the Full Browser via the magnifying glass, Sound Lock, Directory Menu, Search Field, and tabs for selecting Attributesbased browsing or Sound Match.
MINIBROWSER Filters In Attributes Mode, there are four selectable Browser Filters, which display Category and three contextsensitive Attributes for searches based on the tags that have been added to the sounds. When a Category or an Attribute has been changed from All, the title changes to blue, to let you know it is filtered. You can rightclick on the Attribute Types to make a different selection from the list.
Sound Match, on the other hand, lets you find sounds that are similar with a simple click. Sound Match analyzes the tags of every sound and finds others with similar characteristics to the one currently loaded.
MINIBROWSER Results & Info After filtering using Attributes Mode or using Sound Match to find similar sounds, the list of results is displayed in the lower area of the Mini Browser. Information about the loaded Patch and is displayed in the middle area of the Main Page. When this area is set to Notes View, a visual representation of the Patch is displayed along with useful information, performance suggestions, and access to the Patch Zoom.
When this area is set to Layers View, it provides the names and a visual representation of the Waveforms or Soundsources that make up the Patch. It also displays other basic Layer controls, like Soundsource/Wavetable steppers, Layer On/Off switches and Layer Level sliders.
MINIBROWSER Footer The Mini Browser footer provides additional sorting options, a Shuffle button, up and down stepper arrows, and an Audition button. MiniBrowser Up/Down Arrow Keys When enabled you can use the arrow keys in your ASCII keyboard to step through Patches or Multis in the MiniBrowser. Sometimes it is preferable to have this disabled so you can use the arrow keys to step through tracks in your host.
BROWSER Layout The layout is the very similar for all three Full Browsers. Once you familiarize yourself with the common layout and operation of any Full Browser, you will be comfortable with all of them. NOTE: When using Satellite Instruments inside Omnisphere, its Soundsources, Patches and Multis will also display unique images which identify the instrument or feel of the selected sound. When you open a Keyscape or Trilian Patch in Omnisphere, the Custom Controls will become available.
BROWSER Header The Full Patch Browser Header contains the Browser Title, the Part selector dropdown menu, a Memory Meter, controls that let you apply filtering options using the Directory Menu, buttons that allow selection between the three browsing modes (Attributes, File Directory or Sound Match), the Projects menu, the Sharing menu, and Sound Lock, as well as the Search field.
BROWSER Filters The fourcolumn layout of the Full Browser Filters provides both hierarchical and Attributesbased filtering functions, and operates in two distinct modes. In Attributes Mode, the Full Browser Filters display selectable Category and contextsensitive Attributes columns based on the tags that have been added to the Multis, Patches, or Soundsources.
BROWSER Results and Info The Full Browsers have 4 columns for search criteria and the results are displayed in the 5th column on the right. When the Info View is selected, the Info Area provides detailed information about the selected sound in the right column. The image in the right column also helps distinguish which Browser you are using. This is the default View Mode for all Browsers.
BROWSER Footer The Browser Footer provides access to the Tag Editor and Browser Settings, access to the Lite Version Options, a menu with multiple sorting options, a Shuffle button, Up and Down steppers, Refresh and Audition buttons and access to the Info View, which shows more detailed information about the selected Sound.
BROWSER Access Anywhere that you see a Folder Icon Button, you will be able to access Omnisphere's Full Browser by clicking on the Folder. If there is a Name Display next to the Folder, you can also click inside the Name Display to open the Full Browser.
BROWSER Multi Browser The Full Multi Browser is accessed using the Multi Display in the Header, which is visible and accessible from most pages in Omnisphere (it is not accessible from the Full Patch or Soundsource Browser pages). Select the Folder Icon Button or click inside the Multi Name Display to open the Full Multi Browser. When the Multi MiniBrowser is open on the left, clicking on the magnifying glass at the top of the browser will open the Full Multi Browser.
BROWSER Patch Browser The Full Patch Browser is accessed from the Patch Name Display, which is always visible and available from any of the Part pages. Select the Folder Icon Button or click on the Patch Name Display to open the Full Patch Browser.
You can also access the Full Patch Browser from the Stack Mode page by controlclicking/right clicking its Part Region and selecting the “Popup browser to choose new patch” option from the context menu.
BROWSER Soundsource Browser The Soundsource Browser is accessed from the Layer A and Layer B pages, as well as the Main Page. On the Main page, select LAYERS in the central Info section, then click on the image or the folder icon to open the Soundsource Browser. On the Layer pages, select the SAMPLE tab in the OSCILLATOR section, then click inside the Soundsource Name Display to open the Soundsource Browser.
BROWSER Search and Filtering Searching and filtering is done from the MiniBrowser and the Full Browser Header, using the Directory Menu, the Search Field, and the Browser Filter columns. There are several options available for filtering the results (including Boolean Expressions), and choosing how sounds are browsed, displayed, and previewed. The Directory Menu, Search Field, and Browser Filters work in combination with each other to further refine the results.
BROWSER Directory Menu The Directory Menu lets you filter by libraries. Select the Directory Menu down arrow or name display to open the menu. After selecting a Library, only the sounds in that Library will be displayed in the Full or MiniBrowsers. You can further refine the search by using the Search Field and the Browser Filters. Selecting ‘All’ will remove any Directory Menu filtering and show all Libraries simultaneously.
BROWSER Search Field Click anywhere in the Search Field to enter search text. Press the Enter/Return key to search and view the filtered results. The Search function will check Names, Tags, Keywords, and even Notes to determine the search results. Selecting Attributes in the Browser Filters can refine the search even further. The more selections that are made, using Attributes and the Boolean Search capability, the narrower the search results will be.
Select the Search Clear button to clear the Search Field. When you click the Search Clear button, the displayed sounds will update accordingly. NOTE: You can apply the Search Clear button with Search Lock enabled. This lets you make changes to your search criteria without changing the Search Lock status. Boolean Expressions Boolean Search uses the criteria "Or, And, and Not," and lets you include or exclude certain Attributes to narrow your search.
BROWSER Browser Filters When using the Full Browser, the browser filters can be used in two modes: Attributes and File Directory. When using the Mini Browser, only Attributes Mode is available. NOTE: Selecting Sound Match hides the browser filters and automatically finds similar sounds to the one that is loaded. Attributes Mode Using Attributes Mode, filtering is achieved by selecting Categories and Attributes to refine the list of sounds.
When using the Mini Browser, the Attribute filters are displayed one at a time. If there is an assignment selected in one of the filters, the letters in the filter header will be blue. If nothing is selected, they will be white. In the MiniBrowser you can rightclick on the Attribute Types to make a different selection from the list. NOTE: Automatic Attributes changes will only occur if Category Sensitive Attributes in the Browser Settings is enabled (the default state).
BROWSER Operation Boolean Filtering Boolean Filtering Boolean Filtering uses the criteria "Or, And, and Not," in order to include or exclude certain Attributes to narrow your search. In addition to typing expression into the Search field, you can filter search results using a combination of mouse clicks and key commands, or accessing the Boolean menus by clicking on the icons at the topright corner of each filter (the icons are only available in the Full Browsers).
This option says, "Show me results that are only tagged with BOTH of these Attributes." Example: Within the Genre column, Commandrightclicking/CommandControlclicking (Mac) and ControlRight Click (PC) "Film" and "Electronic" will display only those sounds that are tagged with BOTH Film AND Electronic tags. The selection(s) in the column will be bordered in blue and only the intersection of the circles in the icon is filled in.
BROWSER Displaying and Navigating Results There are numerous options available for navigating sound and to change how they are organized and displayed. These tools let you sort sounds in different ways, including by Ratings, and because there are thousands of sounds to explore, these controls help you delve deeper into the Library. These Browser controls will also work on filtered results. Sort Menu The Sort Menu includes four ways to sort the list of sounds.
Ratings All sounds in the library can be given ratings from 1 to 5 stars using the Ratings system. Selecting Ratings from the Sort menu displays rated sounds at the top of the Browser list, in order of their Ratings. 5star sounds are listed first, followed by 4–star sounds, and so on. Marked You can use shift+click to mark sounds in the browser in order to share them or add them to Projects. This sorting option puts the marked sounds at the top of the list sorted alphabetically.
Shuffle Button It’s a common error to only browse the sounds near the beginning of the alphabetical list. Every time the Shuffle button is selected, the order of the sounds will be randomized. This button is useful for keeping the list of sounds fresh and inspiring, instead of always showing the same sounds at the top of the list. Browser Stepper Buttons The Stepper buttons step through the sounds in the Browser one at a time. When you step to the next sound, it will be selected and loaded.
BROWSER Loading Sounds Selecting a sound in the Browser also loads it. How quickly it loads depends on the amount of samples the sound has and how they are mapped, and whether Progressive Loading or Lite Version are enabled. Auditioning Sounds When browsing a substantial library, it’s important to have convenient ways of quickly auditioning the sounds. The Browser provides an Audition Button and Lite Version button with multiple thinning settings available in the Lite Version Options Zoom.
BROWSER Operation Marking Sounds Sounds can be marked with two purposes: for sharing them and for adding them to Projects. To mark a sound, shift+click on it in the Browser. The sound will be with highlighted with a pale blue bar and a dot. To unmark a sound, shift+click on it again. To clear all marks, option+click/alt+click on a sound. NOTE: Loading sounds works separately from marking sounds. Loading a sound does not affect marked ones, and marking a sound doesn't not affect the loaded one.
BROWSER Operation Memory Meter Memory Meter The Memory Meter is a gauge that shows how much Virtual Memory the instance of the plugin is using. If the Memory Meter approaches full, you will see a popup warning, and may need to take steps to reduce memory usage, such as enable the Lite Version of Patches, or reduce the Pre Load Memory parameter on the System Page.
BROWSER Lite Version The Lite Version is a feature located in the Full Browsers and provides added flexibility when loading Patches and Multis to help you manage the available memory resources and is especially useful for quick loading and auditioning sounds. Enabling the Lite Version Button lets you reduce, or “thin,” the number of samples that are loaded with a Patch or Multi. When this button is enabled, the thinning settings from the Lite Version Options Zoom are applied.
Soundsources can sometimes include a large number of Round Robin samples per zone, and can add significantly to the size of the Soundsource. This option lets you control the number of Round Robin samples that are loaded with the Patch or Multi. In many cases, you can save quite a bit of memory by reducing Round Robins to ‘At most 2 RRs’, without sacrificing the more realistic feel that Round Robins provide.
Velocity switched samples will adjust to be triggered across the full Velocity range. Legato This option determines whether or not Legato Soundsources are loaded. If “No limit” is selected, Legato Soundsources will be loaded. If “None” is selected, no Legato Soundsources will be loaded. NOTE: Omnisphere sounds do not currently contain Legato Soundsources. However, if you are loading Keyscape or Trilian sounds in Omnisphere, this feature becomes very important for overall memory management.
To limit loaded samples to a specific Scale or Interval, select the Pitch Thinning dropdown menu, and select an option from the available submenus. You can select from Major or Minor Scales, or from a variety of Intervals. NOTE: Although only a limited set of samples will be loaded, this won’t result in “silent zones” on the keyboard. All notes will still play because the remaining zones will be stretched across the sample map.
The Lite Version Button will reset to its default, disabled state when you close the Full Browser. When this option is enabled, the Lite Version Button in the Full Browser will remain enabled, even after you close it. Think of it as changing the default state of the Lite Version Button to "enabled.
BROWSER Settings Select the Settings Button to open the Browser Settings Zoom View. Settings are saved across sessions, and are restored the next time you load Omnisphere. Audition Auto Play When enabled, every time a Multi, Patch, or Soundsource is selected in the Browser, the Audition Note will sound for the length of time determined by the Audition Note Length. This is useful for browsing sounds using the Browser Steppers as it allows rapid auditioning of multiple sounds.
Category Sensitive Attributes If Category Sensitive Attributes is enabled (the default state), then the different Attributes columns may change when a new Category is selected. This ensures that the context of the Attributes matches the Category. If this setting is disabled, the Attributes columns will remain static as you change Categories.
BROWSER Sound Match Sound Match is a powerful browsing feature that lets you explore the library in a brand new way. Sound Match allows you to find similar sounds with one simple click. After loading a sound, it is common to want to search for related sounds to see if they might work better in a track. When you've loaded a sound you like, selecting Sound Match instantly gives you all the sounds that are similar. Sound Match analyzes the tags of every sound and finds ones with similar characteristics.
Current Selection" to update your results.
BROWSER Sound Lock Sound Lock lets you lock specific parameters of a Patch and apply them to other Patches as you browse. You can use the FX section of a Patch, the Arpeggiator pattern of another one and the Modulation Matrix of a third one. This mixandmatch approach makes browsing a fun and creative experience. It is so easy to try different combinations that this approach can be extremely valuable for creating new sounds that are far from what you would normally come up with.
For example, if you are browsing Patches in the Arp + BPM section and select a sound that has an interesting arpeggiated pattern that you would like to apply to other Patches, select Arpeggiator from the Sound Lock menu. Now, any Patch you choose from from any category (including nonrhythmic Patches!) will have the same arpeggiated rhythm. If the next Patch you select has some interesting FX, you can lock the Effects section, as well, from the Sound Lock menu.
including the Arpeggiator, LFOs, Envelopes, etc., so if you are interested in locking the rhythm of a Patch it is sometimes necessary to look at the Modulation Matrix to see how it is created.
LAYER PAGES User Audio Omnisphere is an extremely powerful synthesizer that allows you to import your own audio to use as Soundsources for the creation of your own Patches and Multis. This lets you creatively morph, meld, and mangle your own audio the same way you can with the included Factory Soundsources. Each imported audio file will become a User Soundsource in Omnisphere.
Selecting "User Audio" from the Utility Menu will display a File Dialog prompting you to navigate to the audio file or directory. Navigate to the folder or file you wish to import and click "Open". The import process will begin and they will be added to the User Soundsources directory in Omnisphere. Once the audio has been successfully imported, you will get a confirmation notice.
After the import process is complete, the Soundsource Browser will be displayed and your audio (now an Omnisphere User Soundsource), will be automatically selected and played back at the note and duration set by the Audition Note settings. To delete the audio you imported, you can do so by locating it it in your hard drive in the following directory: STEAM/Omnipshere/Soundsources/User/ After deleting it, you must click the "Refresh" button in your Soundsource Browser to reflect the changes.
Soundsource Browser Audio can be imported via the Soundsource Browser. You can drag and drop audio files or folders into this area to automatically start the import process. You can also click on the pane to open a File Dialog prompting you to navigate to the audio file or directory. Clicking "Open" will start the import process. See User Audio for further details.
BROWSER Saving & Managing Sounds Omnisphere offers a flexible way to manage custom Patches & Multis. You can create custom collections of sounds organized by project or style and they can be searched, selected, filtered, or shared using the Full Browsers. The process of saving and managing custom Patches or Multis in Omnisphere is essentially identical, the main difference being the locations of the User Libraries you create.
Selecting the Save Patch (or Save Multi) option from the Utility Menu will open a File Save dialogue. After naming and saving the Patch or Multi, the EDIT TAGS interface will open, letting you assign various Attribute Types and Assignments, custom Assignments, and add your own Keywords and Notes to the file. Once you have finished editing the tags, click SAVE. You can cancel the save process by clicking CANCEL.
create a new folder at the top level (alongside the User folder), it will show up in the DIRECTORIES dropdown menu in the respective Browser NOTE: When you rename or create new folders at the top level, you must reinstantiate Omnisphere, then select the Refresh button in order for them to appear in Omnisphere's Browser. TIP: If you plan to create a new Patch Library, a good starting point is to unzip the "Current Categories.zip" file.
BROWSER Projects Introduction Projects are an excellent way to manage and organize your sounds, making it easier to work efficiently within Omnisphere's enormous library. Saving your sounds into Projects lets you collect and organize sounds together with a particular job or session and are recallable at any time. Projects use global tags that are saved automatically, and are always available for later recall. They will be present in any open instance of Omnisphere.
BROWSER Projects A Project is a userdefined collection of sounds, organized in a single group. This can be applied in many useful ways. For example, Projects can be created and named according to a current job, different sessions, songs, or styles. You can add Multis, Patches, and Soundsources to a Project. The Project system is flexible and easy to manage, and since you name and populate the Projects yourself, they can be organized in ways that are most meaningful to you.
Select “Create Project” from the Projects/Sharing menu in the Full Browser, then type a name for the Project into the text field and press Return/Enter on your keyboard. The Project is now created and available for adding sounds. After creating a Project, its name will appear in the top section of the Project Menu.
To add a sound to a Project, first select the sound you wish to add in the applicable Full Browser. Next, open the Project Menu and select the Project name to which you wish to add the sound. That’s it! Whenever that sound is selected and you open the Project Menu, you will see a checkmark next to that Project name, indicating that the selected sound is contained in that Project. A sound can be added to multiple Projects.
The leftmost attribute filter will change from "Category" to "Project," and all of your Projects will show up in that column. Select a Project from the Project list, and your Browser will display only that Project's sounds. Select “Show Projects” from the Project Menu again, and the attribute filter will return to the Category view. You can also switch between displaying Projects or Categories by selecting the leftmost attribute filter menu, and selecting "Project" or "Category.
To delete all Projects, open the Project Menu and select “Delete All Projects”. A confirmation popup will appear, asking you to confirm the deletion. Selecting OK will delete the Project.
To delete a Project, open the Project Menu and select the Project you wish to delete from the “Delete Project” submenu. A confirmation popup will appear, asking you to confirm the deletion. Selecting OK will delete the Project. Deleting a Project doesn't remove or delete any sounds from the library. It simply removes the tags assigned to that Project. If you have the same Project also being used in the Multi, Patch and Soundsource Browsers, you will have to delete the Project separately in those Browsers.
Sounds can be marked so multiple ones can be added to a Project in one step. Open the Project Menu and select "Add all marked items to Project". From submenu that shows up select the Project you want to add all the marked sounds to. A confirmation popup will appear, asking you to confirm the action.
Sometimes it can be useful to add all the results displayed in the Browser. For example, if the browser is filtered to show bowed, atonal, dark sounds, you can add all the results by opening the Projects menu, selecting "Add all listed items to Project" and then your project.
"Share Sounds" and then a Project from the flyout menu to create an .omnisphere file containing sounds you can share with other Omnisphere users. See Sharing Sounds for more information.
BROWSER Favorites The Favorites feature in Omnisphere provides a familiar and convenient way of rating and organizing sounds in the library. You identify Favorites by applying Ratings to Multis, Patches and Soundsources. You can also sort sounds in the Browser by Ratings, bringing your favorite sounds to the top of the Browser list. Used together with the Projects feature, Favorites provides a powerful and convenient way to organize and manage the Omnisphere sound library.
To see your Favorites sorted according to their Ratings, open the Sort Menu in the Browser Footer and select "Ratings". The sounds in the Browser window will then be displayed with your favorite sounds at the top of the list, in order of their Rating. The toprated (5star) sounds will appear first, followed by 4star sounds, then 3star sounds, etc. To return to an alphabetical list, open the Sort Menu again and select “AZ”.
BROWSER Edit Tags Selecting the Edit Tags Button in the Browser Footer opens the Tag Editor. Omnisphere’s customizable tagging system allow sounds to have Tags assigned to them, which categorizes sounds and makes them searchable and filterable. Tags are based on Attributes that also can be customized by the User. It is not required to create Tags for custom sounds, but it’s strongly recommended to add them, as Tags will make them easier to find when browsing and to share with other Users.
BROWSER Attributes Attribute Types All of Omnisphere’s factory sounds have at least three Attribute Types assigned to them, and can have up to eight Attribute Types assigned. Each Attribute Type can have multiple Attribute Assignments. Required & Optional Types There are two kinds of Attribute Types; Optional and Required. Any Attribute Type highlighted by a thin red box indicates that it is Required meaning that Attributes must be assigned to them.
By selecting the dropdown menu next to any Attribute Type a custom Attribute Type can be created by selecting “Create New Attribute Type”. Enter the name of the new Attribute Type in the field and it will be added to existing types in the Attributes Types column. When you create a new Attribute Type, it’s also necessary to create new Assignments for the new Attribute Type. Please see the section on adding Assignments for details.
BROWSER Overview The Overview area displays all of the Assignments assigned to each Attribute Type. Reset All The “Reset All” button in the Overview area will clear all Assignments for all Attribute Types. If this button was selected accidentally, the Reset can be undone by immediately pressing the Cancel button in the Edit Tags screen.
BROWSER Assignments The Assignments column displays a list of Tags that can be added to an Attribute Type. These are typically descriptive words or labels, and will change depending on the Attribute Type selected. When you add an Assignment to a sound using the Assignments column, it will be added to the selected Attribute Type, and can be used later to locate the sound using the search feature of the Browser.
NOTE: If a custom Assignment has been created, but is not added to the Attribute Type, it will automatically be deleted after exiting the Edit Tags pane. Assignments View These switches determine how Assignments are viewed and sorted on the Edit Tags page. More Selecting this option hides the Overview area so that more Assignments can be displayed at a time.
BROWSER Category & Sort Category Selecting this option will highlight all of the Assignments for the selected Attribute that have been used in the category the loaded sound is in. The Assignments used for Omnisphere sounds will be highlighted in blue and the ones used on third party libraries or User sounds will be highlighted in orange. Sort The Sort function groups all Attribute Assignments that are in the same Category as the currently loaded sound.
BROWSER Keywords, Weblink & Sort Keywords Keywords are descriptive words and phrases that are outside of the scope of Attributes, but are still useful when searching and browsing sounds. These can be more subjective and can be changed or added to both factory and Usercreated Multis and Patches. You may want to add your name or comment to indicate that it’s a favorite sound, or an artist that the sound reminds you of or a project that the sound is associated with.
BROWSER Edit Tags Footer The Footer displays information about the current sound, and allows any changes to the Edit Tags to be saved or canceled. Directory, Category and Name These are informational displays indicating the Directory, Category and the name of the Sound. Cancel/Save Any changes made in the Tag Editor can be saved or canceled by selecting the appropriate button. NOTE: Saving the Tags also saves the Patch or Multi and any modifications that have been made to it.
BROWSER Omnisphere Library Integration Loading Satellite Sounds One of the powerful features of Omnisphere is Library Integration. If you also have Keyscape and/or Trilian installed, the library for those satellite instruments will appear in the Browser DIRECTORY menu along with your other Omnisphere libraries.
When either Keyscape or Trilian Patches are loaded in Omnisphere, the Main Custom Controls page will be automatically displayed when the Patch is loaded from the Mini Browser or revealed when you close the Full Browser. Each Patch contains its own Custom Controls layout that brings together in one page all the most useful parameters of that Patch.
Omnisphere Controls in Satellite Instruments When using Keyscape’s or Trilian's Custom Controls page, selecting the Omnisphere Controls button on the Keyscape or Trilian interface will switch the interface to the standard Omnisphere control. Conversely, selecting the KEYSCAPE or TRILIAN button on the Omnisphere interface when a patch is loaded will return you to the Custom Controls page of the satellite instrument.
MAIN Introduction The MAIN Page can be considered Omnisphere's "dashboard." It allows quick changes to the Patch that’s been loaded and there are useful performance controls that appear exclusively on this page. The parameter controls in the MAIN page affect the entire Patch (both Layer A and Layer B). The large middle area shows the Notes View and the Layers View.
MAIN Notes View The MAIN NOTES view provides a visual representation of the Patch, along with useful information and performance suggestions. Click on the magnifying glass to access the Patch Zoom, for a more detailed description of the Patch, creative ideas for its application and performance, and other information such as educational, historical, or background material that will be of interest.
MAIN Layers View The LAYERS view provides the names and a visual representation of the Waveforms or Soundsources that make up the Patch, along with ON / OFF buttons for quick auditioning and Volume faders for each Layer. The stepper arrows allow you to step through Waveforms or Soundsources, and for Layers that use Soundsources, the folder icon takes you to the Soundsource Browser, while the magnifying glass takes you to the Soundsource Zoom for that Layer.
The Soundsource Zoom Info View provides detailed information about the Soundsource, including information on the origin of the sampled sound and how it was modified or adapted for inclusion in Omnisphere. There also will be some suggestions for its use and some ideas for modifying it, along with a web link and legal information links with more info about the Soundsource. This section also displays a wide variety of information, including the author, specifications and categorization.
MAIN Voices & Octave Voices The VOICES parameter determines the number of simultaneous notes (also called polyphony) that are playable in a single Part. Omnisphere is capable of up to 64 voices of polyphony per part, and the VOICES selector determines the maximum number of voices that the Patch will have available. The higher the number of voices that the Patch has, the more CPU power it will use, so this is a very important parameter in Omnisphere.
MAIN Scale One of Omnisphere’s versatile features is its ability to utilize different tunings, which includes historical temperaments, microtonal scales, and usercreated temperaments as well. Omnisphere can import any .TUN scale file. Each Part can have a single Scale active at one time. Up to eight different Scales can be simultaneously loaded in a Multi (one per Part). Each tuning lists the number of notes per octave.
Sanza 7Tone Sanza 8Tone Arabic The first two Arabic scales were created in the first century by Persian philosopher Abu Nasr al Farabi and are still used in modern Arabian music. Sabbagh tuning is designed for the Oud (a lutelike instrument) and the fourth one is a common Turkish 24note scale. AlFarabi 17Tone AlFarabi 19Tone Sabbagh 7Tone Turkish 24Tone Gamelan These scales are used in Indonesian Gamelan music. A Gamelan is an ensemble comprised of metallic percussion, strings, horns and vocals.
Blue Nile Alimba Bottlecap Zimbira Bright Marimbula Ceramic Kalimbadrum Coffee Can Kalimba Dark Zimbira Double Gourde Kalimba Electric MBira Guitaralimba Hohner Guitaret KalimbaAfrican AD KalimbaWestern AD Purple Rain Alimba Resonator Zim'bira Rhumba Box Ruby Moon Bass Alimba Sizzle Gourd Kalimba Small Gourd Kalimba Tanzanian Bird Kalimba Wood Key Marimbula Microtonal These scales add additional microtonal steps from just under an octave to as many as 48 tones per octave.
influential scientists of the late 1800s. Partch 29tone – Henry Partch, an American composer of the 20th century. Partch created many alternate tunings, such as 43tone, 37tone and this 29tone scale. Carlos Scales Synthesis pioneer Wendy Carlos created these five scales. The first three are microtonal and the last two are 12tone scales.
NOTE: In Ascending/Descending tunings the notes do not necessarily correspond to the key number to which they are mapped; they are simply grouped as they were tuned on the original instrument.
MAIN Clock Speed All of the timebased parameters in Omnisphere (Arpeggiator, Envelopes, LFOs, and FX) can be synchronized to the host's tempo. For instance, a rhythmic Patch might have the Arpeggiator clock set to 1/16th notes, the LFO set to the rate of 1/4 note, and a delay effect unit with a delay time of a dotted 1/8th note.
MAIN Latch & Trigger Modes Latch & Trigger Modes The Latch Mode and Trigger Mode features extend the performance capabilities of Omnisphere, especially when used together with Live Mode and/or Stack Mode. Used together, they enable a wide range of creative performance, live remixing, and composition techniques to discover and explore.
To change Trigger Modes, select the Trigger Mode icon and choose the desired Trigger Mode from dropdown menu. A checkmark will appear next to the selected option, and the Trigger Mode icon will change to reflect the selected Trigger Mode. Trigger Modes Immediate: This is the default Trigger Mode. MIDI input is not quantized, and playback of MIDI notes is immediate. Next 16th: this option delays the playback of incoming MIDI notes to the next 16th note.
MAIN Gain, Channel & Output GAIN The output level of the part can be controlled in 1db increments. The default is 6db. Range +10db to 24db MIDI Channel By default, Parts 1 ~ 8 are assigned sequentially to MIDI Channels 1 ~ 8. However, each Part in a MULTI can be set to respond to any one of 16 MIDI channels. Select the desired channel from the MIDI Channel dropdown menu. Output By default, Parts 1 ~ 8 are assigned to OUT A.
Range OUT A – OUT H NOTE Please refer to the FX Architecture section for more detail about how Omnisphere’s Outputs and FX are routed.
MAIN Part Level, Mute/Solo Part Level This slider determines the overall volume of the selected Part. This slider, and the Mute/Solo switches are the same as the Mute/Solo and Part Level control on the Mixer page. Range Inf dB to +9.54dB Mute & Solo M (Mute) – Silences the audio of the Part. S (Solo) – Isolates the audio of the Part, muting any other active Parts. NOTE: The Part Level, MUTE and SOLO parameters are saved with the MULTI, not the Patch.
MAIN VCurve The “V” stands for Velocity. Omnisphere has four velocity curve presets available on the CONTROLS screen. The first curve is linear, then two exponential curves and the last is flat. These curves are provided to quickly adjust the dynamic response of the current Patch to your MIDI controller and playing style. Linear The linear curve is the most commonly used velocity setting.
MAIN Velocity Curve Zoom Selecting the Zoom icon next to the different Velocity Curve presets opens the VELOCITY CURVE ZOOM. This page provides detailed controls to modify the velocity curve of a Patch. The Velocity curve settings are global to the Part – meaning they will be applied to both layers, but the amount applied to each layer can be controlled independently. You can save, copy, and load preset Velocity curves from the dropdown menu next to the VELOCITY CURVE ZOOM header.
The AMP ENV (Amplitude Envelope) knobs control how much the Amplitude Envelope is affected by the Velocity Curve in each layer. The lower the setting, the less effect velocity will have on the output of the Amplitude Envelope. FILTER ENV (Layer A & Layer B) The FILTER ENV (Filter Envelope) knobs controls how much the Filter Envelope is affected by the Velocity Curve in each layer. The lower the setting, the less effect velocity will have on the output of the Filter Envelope.
curve is set.
MAIN Solo & Glide SOLO Solo allows the Patch to play monophonically. SOLO mode is most effective when playing lead or bass lines. It works in conjunction with the LEGATO button to the left of it, which determines how the sound is triggered. LEGATO Legato is a triggering mode that prevents the envelope from being retriggered with each new note. If LEGATO is not selected, then each new note will retrigger both the envelopes.
Glide Legato will change the criteria for when GLIDE is enabled. If legato notes are played, then GLIDE will be activated. If quick, staccato notes are played, the Glide effect will not be heard. GLIDE A B (LAYER BUTTONS) GLIDE can be used on just one Layer if desired. By default, when GLIDE is selected, both A & B will active. If neither A or B is selected, no GLIDE effect will be heard, and the GLIDE button will turn itself off. Gliding on one Layer only can be an interesting musical effect.
MAIN Bend Omnisphere has the ability to control the Pitch Bender’s range independently for both up and down movements (whereas many synthesizers only allow the same amount of bend in both directions). This setting is for the Patch, and determines how much the note will bend when using the MIDI controller’s pitch bender. DOWN Determines how much the pitch will bend down using the MIDI controller’s pitch bender.
EDIT PAGE Sustain & Expression Sustain Modes There are two Sustain modes available in the Footer, Standard Sustain (Mode 1) and Alternate Sustain (Mode 2). The Sustain Mode selection switches (numbered 1 and 2) allow you to switch between modes, and are MIDIlearnable switches. Standard Sustain (Mode 1) When the Standard Sustain Mode is selected, using your Sustain pedal will behave like a normal Sustain function.
The Expression Pedal Icon is an on/off toggle. It defaults to on (enabled). When this switch is enabled, the Expression pedal will always affect Expression (CC#11). When this switch is disabled, the Expression pedal will still send CC#11 messages, but will not be applied to Expression. This allows the Expression pedal to be used exclusively for modulating other parameters using the Mod Matrix, or by MIDIlearning controls such as FX or Filter parameters, or Layer mix controls.
MAIN Master Filter Omnisphere’s MASTER FILTER controls the entire Patch, meaning that it affects both Layer A and B. The MASTER FILTER is completely separate from Omnisphere’s dedicated Filter section on the LAYERS page and is designed as a simple tone control. The extensive Filter section in the LAYER pages should be used for serious sound shaping. TYPE (LPF/HPF) The MASTER FILTER has two available filter modes; LPF and HPF. The HPF (Highpass Filter) removes low frequencies from the sound.
more emphasis to the sound. NOTE: The Master Filter is not capable of selfoscillation, but the DualFilter on the LAYER page is. TIP: Try MIDIlearning the Master Filter to a MIDI Foot Controller. Having a simple “Tone Pedal” for live performance is extremely useful.
ORB Introduction The innovative Orb feature is both a remarkable sound manipulation tool and an intuitive performance interface — it can be thought of as a ‘circular controller.’ With a single click of the mouse, it is possible to instantly manipulate a sound in many different ways. Best of all, the Orb automatically works with every patch a user has, there’s no setup necessary.
ORB POWER SWITCH This switch will turn the Orb on and off. Note that turning on the Orb will activate some processing modules and enable FX units in your Patch in order to ensure moving the cursor creates some interesting sounds. Turning the Orb off deactivates any processing modules and removes any FX that were instantiated when it was turned on.
ORB Dice & Depth DICE Pressing the DICE button will instantly create a brand new group of intelligent sonic modifications and effects to try. There’s no limit to how many serendipitous sonic variations the DICE can create – opening up the vast power of the STEAM engine to every user, regardless of synthesis knowledge. You will be presented with a different idea or point of departure each time you press it. NOTE: It's important to save your Patches once you are satisfied with the Orb's changes.
ORB Interia & Attractor Inertia and Attractor are key Orb parameters since they control the movement of the cursor, which directly affects the sonic results. INERTIA Inertia Switch This turns the Inertia on or off. Inertia Amount The Inertia Amount controls the speed and duration of the cursor's movement after it is set in motion. The higher the Inertia Amount slider is set, the faster and longer the cursor will bounce around. When turned all the way up, the cursor will continue to move indefinitely.
ORB Recording The Orb's movements, whether manual or INERTIAbased, can be captured with the Orb's builtin recorder. These movements can be saved as part of the Patch. This simple feature adds a dynamic quality to a sound that is unique and quite difficult to achieve with conventional controllers.
Choose 1, 2 or 4 BARS for recording precise movements in those lengths that you would like to be synced with the host. To initiate recording, press the red RECORD button. With the cursor in motion, the RECORD button will flash while waiting for the beginning of the next bar, whether or not the host sequencer is playing (Omnisphere's internal clock continues to run when the host is not playing). At the beginning of the next bar, the RECORD button will turn to solid red and begin recording.
ORB Trigger Modes There are two available Trigger Modes that determine whether the recorded movements are synchronized with the host sequencer or with your playing. NOTE: It is important to set the Trigger Mode before recording, as it cannot be modified afterwards. LEGATO When set to LEGATO, the recorded movements will start their cycle when the first note of a legato phrase is played. As long as the notes played are connected, the recorded loop will continue uninterrupted.
ORB Clear Pressing the CLEAR button will restore the Patch to its original state. The Orb's cursor will be returned to the center and any movements recorded in the builtin recorder will be cleared. NOTE: The CLEAR button does not affect which parameters are modified by the Orb. The same parameters that were modified before pressing it will still be modified afterwards when the cursor is moved.
ORB Automation The Orb's movements can be automated in your host sequencer. Since the Orb's movements are plotted on 2 different X/Ytype planes, "Angle" and "Radius," they must be enabled independently. To enable the Orb's host automation, follow these steps: 1. Rightclick on the Orb and choose "Enable Host Automation" to enable the Angle (the default setting) for automation. 2. Rightclick again on the Orb in Omnisphere and choose "Switch to Radius." 3.
ORB MIDI Learn The Orb's movements can be controlled using a MIDI controller. Since the Orb's movements are plotted on 2 different X/Ytype planes, "Angle" and "Radius," they must be assigned to different MIDI CCs to work effectively. To control the Orb using MIDI CCs, follow these steps: 1. Rightclick on the Orb and choose "MIDI CC Learn" to MIDI Learn the Orb's Angle (the default setting). 2. Move a physical control on the MIDI device that is connected to Omnisphere to control the Orb's Angle. 3.
ORB Using The Orb As A Modulation Source The Orb can be used as a modulation source. Using the DICE provides interesting and surprising results instantly, however using the Orb as a modulation source gives the user flexibility and full control over the parameters it modulates. The Orb is seamlessly integrated to Omnisphere's FlexMod™ system. In Omnisphere, by rightclicking on the parameter to be modulated, the available modulation sources will appear under the "Modulate", "All Mod Sources" submenu.
LAYER PAGES Introduction Each Part in Omnisphere has two Layers, A and B. Omnisphere’s Layer Pages have been designed to provide a useful set of controls over many aspects of the sound. In cases when more precise and detailed controls are needed, the Zoom feature (click on the magnifying glass icons to access the available zooms) reveals a set of deeper controls. You can also think of the Layer Pages as “Overviews” of the sound.
LAYER PAGES Introduction Each Part in Omnisphere has two Layers, A and B. Omnisphere’s Layer Pages have been designed to provide a useful set of controls over many aspects of the sound. In cases when more precise and detailed controls are needed, the Zoom feature (click on the magnifying glass icons to access the available zooms) reveals a set of deeper controls. You can also think of the Layer Pages as “Overviews” of the sound.
LAYER PAGES Selecting & Linking Layers The Layer Page Selection Buttons toggle between the controls for each Layer in a Patch. Linking Layers The LINK Button makes it possible to lock the controls of both Layers together. When enabled, any parameter changes made in one Layer will be mirrored in the other. The LINK Button will highlight when it is enabled, to indicate that the Layers are linked. When the LINK Button is disabled, changes made to Layer parameters will only affect the selected Layer.
LAYER PAGES Level, Amp & Pan Each Layer has Layer Level and Pan controls in addition to an AMP control, commonly used as a modulation target. LAYER LEVELS The level sliders are used to blend the two layers and often even a subtle change in level can affect the sound dramatically. The Layer mixer level sliders cover a range of inf dB (silence) to +9.54dB. To quickly set the Level to 0dB (unity gain), select the slider when holding down the Command key (Mac) or Control key (Windows).
if you bring AMP all the way down, then rightclick on the fader and navigate to Modulate with LFO, you will hear the Amplitude of that Layer being modulated. To change the overall level of the Layer, use the Layer Level slider.
LAYER PAGES Pitch Controls TRANSPOSE Transpose works like MIDI transposition and pitch changes are made in semitones. Changes in pitch don’t affect the sound quality of the Oscillator. This control is most often used to set the oscillators at different semitone values, such as octaves or different intervals. Range 24 semitones to +24 semitones NOTE: Transpose offers the best available sound quality but it is not modulatable.
If the TRACKING (also known as Keyboard Tracking) switch is enabled, the pitch of the Oscillator will track the keyboard, meaning the root pitch will be changed with each key. When TRACKING is disabled, the Oscillator will not track the keyboard. If a Soundsource is loaded, depending on the map, some keys may have static pitches. Single Sample All of the keys will play the same pitch MultiSample The range of each sample will have the same pitch.
LAYER PAGES Modulation Modulation adds motion and complexity to sounds. Simply put, modulation is any source that affects a target parameter in some way. The most common form of modulation in synthesizers is vibrato, where an LFO modulates the pitch of an Oscillator. Modulation is used in synths for adding richness and variety to a sound in realtime. Omnisphere’s modulation capabilities are extensive, but simple to use with the FlexMod™ system we’ve designed.
LAYER PAGES FlexMod™ FlexMod™ is the quickest way to set up a modulation routing. By rightclicking on the control to be modulated,* you'll get a popout menu, where you can select Modulation, then select from the list of available sources. The first group of modulation options in the list is commonly used sources. If there’s more than one source available of a given type, the next available source will be used automatically.
LAYER PAGES Modulation Section When a parameter is modulated, the routing is automatically shown in two sections: in the left side of the plugin (replacing the Mini Browser) and in the Layer pages. They both have similar controls, with the advantage that the area on the left of the plugin is visible from other pages (FX, ARP, Zooms, etc). The Modulation sections display the most recent modulation routing, which can also be edited there.
SOURCE The SOURCE area displays and selects the modulation source to control a target. Selecting the source will open up a menu of 34 modulation sources and “Off” negates any modulation source. SOURCE AMOUNT This slider controls the amount of modulation that will be sent from the source to the modulation target. If the slider is set to minimum, the modulation source will have no effect on the modulation target. The higher the setting, the more the source will affect the target.
MUTE The currently displayed modulation routing can be muted with this switch. This is a quick way to A/B the Patch with and without the modulation routing. INVERT The Invert button inverts the modulation polarity. For example, if the modulation source is an LFO with an ascending ramp wave as its waveform, it will invert the polarity so it results in a descending ramp modulation.
For convenience, the modulation source controls are displayed at the bottom of the left column. For example, if an LFO is selected as a source, the corresponding LFO's controls will be available here. When sources don't have controls (Alternate, Random), a representative image will be displayed instead.
LAYER PAGES Mod Sources List The SOURCES menu brings up a list of the 34 possible modulation sources available in Omnisphere.
Sostenuto The value from a MIDI Sostenuto pedal (MIDI CC#66) Soft Pedal The value from a MIDI Soft Pedal (MIDI CC#67) Legato The value from a MIDI Legato Pedal (MIDI CC#68) User CC A userdefined Continuous Controller (or MIDI CC value defined from the System page) System page Morphing Source a specialpurpose modulation source described in the Morphing Modulation chapter
LAYER PAGES Mod Target List A Modulation Target is a parameter that can be controlled by a source. Target is another word for Destination. Omnisphere has an extensive set of nearly ninety different modulation targets available.
Harmonia Detune 4 The detune amount of the fourth Harmonia oscillator (monophonic) Sample Timbre The Sample Timbre parameter in the Oscillator (polyphonic) Sample Start The Sample Start parameter in the Oscillator (polyphonic Sample Granular Intensity The size/intensity of the grains(monophonic) Sample Granular Gliding The glide probability of the grains (monophonic) Sample Pitch Grains The probability of Granular pitch grains (monophonic) Sample Granular Speed/Position The Speed/Position of t
LFO2 Depth The amount of LFO2 (monophonic) LFO3 Rate The speed of LFO3 (monophonic) LFO3 Depth The amount of LFO3 (monophonic) LFO4 Rate The speed of LFO4 (monophonic) LFO4 Depth The amount of LFO4 (monophonic) LFO5 Rate The speed of LFO5 (monophonic) LFO5 Depth The amount of LFO5 (monophonic) LFO6 Rate The speed of LFO6 (monophonic) LFO6 Depth The depth of LFO6 (monophonic) Aux Sends Common Aux Send The amount of Send from the Common FX Rack to the Part's Aux Rack (monophonic) Layer Aux
Arpeggiator Arp Length The length of Arpeggio steps Arp Swing The swing amount of the Arpeggio Arp Speed The speed of the Arpeggio * These parameters appear exclusively within the Modulation Matrix and are not seen on the GUI.
LAYER PAGES Effects Modulation The fact that Omnisphere can modulate nearly 90 synthesis parameters per Layer is only part of the story. Any of Omnisphere’s modulation sources can be applied to the myriad of FX parameters as well.
After a parameter has been assigned as a Modulation Target, the control will become shaded with a bluish tint (in the example below, the Input control is now blue). These parameters will be available as long as the effect module is assigned to the Patch – meaning they will no longer appear if the effect is removed from that Layer’s rack. Aux Sends It is possible to modulate the Aux Sends from each Layer and the Common Rack.
LAYER PAGES Mod Matrix Zoom Selecting the Zoom icon on the Modulation header will open the Mod Matrix Zoom view. The Mod Matrix view offers precise control over all of the modulation routings in the Patch. The advantage of this zoom view is that the many routings can be displayed for editing simultaneously. There are the same Source/Target sections, Depth and Target Parameter controls from the EDIT overview page, as well as some controls unique to the Mod Matrix Zoom, like smoothing.
Status This is a shared area with two switches, Mute & Invert. The Mute control virtually disconnects the modulation routing. This is a quick way to hear what kind of effect it’s having on the part. The Invert button inverts the modulation polarity. Source The source area displays and selects the modulation source to control a target. Selecting the source will open up a menu of 34 modulation sources and "Off" negates any modulation source.
LAYER PAGES Morphing Modulation Omnisphere has a very special modulation feature that goes beyond the standard method of modulating a single target with a single source, called morphing modulation. This system uses dual sources to modulate a single target and adds a morphing component to interactively crossfade between the outputs of the two modulation sources. This can create very dynamic modulation routings and effects.
Morphing Input B This is the other morphing source that will modulate the target. Morphing Input B needs to be selected as the target. After the Source is chosen, then It’s important to make the Source in Morphing Input B different from Morphing Input A – if they ar ame source then the morphing will have no effect.
LAYER PAGES Oscillator The Oscillator is the heart of Omnisphere’s vast synthesis capabilities. It has a "splitpersonality" since each Layer’s Oscillator can have either highdefinition, streaming sampleplayback or dynamic, real time, DSPgenerated wavetables. The Oscillator’s extensive synthesis capabilities vary depending if Sample mode or Synth mode is utilized.
(SAMPLE) or will utilize a DSP Wavetable (SYNTH). SAMPLE MODE does not load a Soundsource by default. First a Soundsource must be selected from the Soundsource Browser. SYNTH MODE defaults to the “SawSquare Fat” waveform. OSCILLATOR SUBPAGES Each of the oscillator zoom subpages contain a wide set of synthesis functions that can applied to the Oscillator. They can be accessed by clicking on the magnifying glass icon in the Oscillator header or by clicking in the LEDs below the Wavetable/Soundsource name.
LAYER PAGES Oscillator Sample Mode When in SAMPLE mode, the OSCILLATOR plays back Soundsources from Omnisphere’s massive Core Library. Soundsources range from complex, multisampled sounds to single sample mapped across a keyboard. SAMPLE MAIN Soundsource Display The Soundsource Display area contains an image of the loaded Soundsource, provides controls to step through Soundsources and access to the Soundsource Browser and Soundsource Zoom.
LAYER PAGES Oscillator Timbre Control The TIMBRE slider alters the tonal characteristics of the Soundsource in different ways. There are two TIMBRE modes, CRUSH and SHIFT. The centerpoint of this bidirectional slider is null – meaning no TIMBRE change will occur. TIMBRE CRUSH MODE Polyphonic BitCrushing (Distortion) and filtering are applied to the Soundsource. BitCrushing with a LowPass Filter is applied left of the center point.
LAYER PAGES Oscillator Sample Start The START control determines at what point in the sample that it begins when the oscillator is triggered. This setting will vary depending on the number of samples in the Soundsource. This feature has several applications. First, it can remove sharp attacks or clicks at the start of a sample. Soundsources can have a single sample mapped across the entire keyboard (Textures are a typical example of this).
LAYER PAGES Sample Oscillator Reverse The REVERSE button appears at the bottom center of the of the Layer Pages and the Oscillator Zoom when the SAMPLE tab is selected. When engaged, it reverses the playback of the selected Soundsource for that Layer. The button is highlighted in blue when it is in the "ON" position.
LAYER PAGES Soundsource Zoom The Soundsource Zoom Edit View provides controls for managing the complex Soundsources in Omnisphere. Deceptively simple, this single interface provides important sound shaping and memory management capabilities. Selecting the Zoom icon in the Soundsource Display will open the Soundsource Zoom Edit View by default.
The Soundsource Zoom Info View area, accessible from the INFO tab, provides the most information about the loaded Soundsource, with details about the origin of the samples and suggestions for their application. It also displays a large representative image of the loaded sound. The Soundsource Zoom Info View is covered in detail in the Browser section of the guide.
LAYER PAGES Soundsource Zoom Mix Omnisphere supports Soundsources of up to four channels, called Sublayers. Each Sublayer one can be mono or stereo. The controls in this section allow you to mix the output channels Sublayer Power Button Turning this button OFF not only mutes the audio but also disables that Sublayer from using memory resources or CPU usage. Turning it ON will reload the Sublayer back. Sublayer Level Each Sublayer has a Sublayer Level fader.
LAYER PAGES Soundsource Zoom Release, Legato, Pedal Noise, Damper There are two types of additional Soundsources loaded in the background that are automatically triggered depending on how a passage is performed. These consist of Release Noise articulations and Legato Soundsources (samples of actual Legato performances). Omnisphere Soundsources don’t currently use Legato Soundsources, but most Trilian Soundsources do.
At higher settings you will hear an overlap of the sustained sample release time, and the trigger of the release noise. If the fader is all the way to the left, there will be no overlap. Release Soundsource Menu Release Soundsources are triggered only after a note has been released. This menu lets you select the Soundsource used for Release Noises. You can also select “No Release Soundsource” if none is desired. Some Soundsources have multiple sets of Release Noises (e.g.
Release Level Mode There are several Release Noise Level modes from which to choose. They consist of settings that are set up for basses and various keyboard instrument types. The Mode menu controls how much velocity and volume attenuation is applied to the Release Soundsource depending on how long a note is sustained. Setting “Trilogy” has no velocity or volume attenuation (this is how release noises were handled in Trilogy).
From this menu it is possible to select the interval within which the Legato Soundsources will be triggered. The possible ranges are from one semitone to two octaves. Legato Rules In Trilian Soundsources where Legato Soundsources are available, the Use Legato SS feature enables very realistic hammeron, pulloff and other types of performance phrasing.
LAYER PAGES Soundsource Zoom Thinning In addition to Special Articulations, Soundsources may also include multiple Round Robin samples and Velocity switched samples. For this reason, a fully loaded Soundsource can use quite a bit of memory. The Sample Thinning interface helps to manage the use of those resources. By limiting the number of Round Robin samples, or the Velocity switched samples, or by turning off Legato Soundsources, you can dramatically reduce memory used.
Soundsources can include a very large number of Velocity switched samples, which is great for very realistic and expressive playing. However, if you need to conserve system resources, you can choose to thin the amount of Velocities using this menu. No Limit Will load all Velocity switched samples. Every other Will load every other Velocity switched sample. Every third Will only load every third Velocity switched sample. Every fourth Will only load every fourth Velocity switched sample.
Pitch Thinning A Soundsource can contain thousands of samples mapped across the full keyboard range. Pitch Thinning lets you limit the samples that are loaded to match either a “trained” range of played notes, or a selected Scale or Interval. Using Pitch Thinning can substantially reduce the number of samples loaded with the Soundsource. NOTE: Although only a limited set of samples will be loaded, this won’t result in “silent zones” on the keyboard.
To limit loaded samples to a specific Scale or Interval, select the Pitch Thinning dropdown menu, and select an option from the available submenus. You can select from Major or Minor Scales, or from a variety of Intervals. NOTE: The Pitch Thinning options on the Soundsource Zoom Edit View are the same as those found on the Patch & Multi Browser “Lite Version” Zoom.
LAYER PAGES User Audio Omnisphere is an extremely powerful synthesizer that allows you to import your own audio to use as Soundsources for the creation of your own Patches and Multis. This lets you creatively morph, meld, and mangle your own audio the same way you can with the included Factory Soundsources. Each imported audio file will become a User Soundsource in Omnisphere.
Selecting "User Audio" from the Utility Menu will display a File Dialog prompting you to navigate to the audio file or directory. Navigate to the folder or file you wish to import and click "Open". The import process will begin and they will be added to the User Soundsources directory in Omnisphere. Once the audio has been successfully imported, you will get a confirmation notice.
After the import process is complete, the Soundsource Browser will be displayed and your audio (now an Omnisphere User Soundsource), will be automatically selected and played back at the note and duration set by the Audition Note settings. To delete the audio you imported, you can do so by locating it it in your hard drive in the following directory: STEAM/Omnipshere/Soundsources/User/ After deleting it, you must click the "Refresh" button in your Soundsource Browser to reflect the changes.
Soundsource Browser Audio can be imported via the Soundsource Browser. You can drag and drop audio files or folders into this area to automatically start the import process. You can also click on the pane to open a File Dialog prompting you to navigate to the audio file or directory. Clicking "Open" will start the import process. See User Audio for further details.
LAYER PAGES Oscillator Synth Mode When the oscillator in in Synth Mode, Omnisphere uses DSP wavetables generated in realtime by the STEAM engine. A wavetable is a collection of singlecycle waveforms that can be swept through smoothly (using the SHAPE slider), creating dynamic timbral changes. These changes can be subtle or dramatic, depending on the timbral variety of the waveforms in a wavetable.
LAYER PAGES – Wavetables Click the downarrow to the left of the Waveform display to reveal a dropdown menu listing Omnisphere's DSP wavetables. The first ones in the list are from the original version of Omnisphere, with the 400 added in version 2.0 listed in the directories below. Use the SHAPE slider to get an idea of the sonic results each wavetable can produce.
Sine Waveform The sine wave is the most symmetrical and since it has no overtones, it sounds very pure. But with the SHAPE, SYMMETRY and HARD SYNC controls, overtones can be added to alter its character. Noise Waveform White Noise contains all frequencies, therefore it is pure noise. Since changing the wave’s contour with the SHAPE control would not normally make any difference to noise, the three sliders in the MAIN section have different functions when the Noise waveform is selected.
The "Digital Wavetables" directory contains sounds modeled after a wide variety of digital synthesizers – both hardware and softwarebased. Because of the nature of these sources, this directory contains the most sonic variety, ranging from edgy, to warm, to belllike. You will find classic digital PPGlike sounds and modern, aggressive sources for new Patches. The amount of waveforms per wavetable varies and the more dramaticsounding ones (using SHAPE) are in the "Sweepers" subdirectory.
LAYER PAGES Oscillator Synth Shape This control is unique to the SYNTH Oscillator in Omnisphere. Moving this slider sweeps through the waveforms on the selected wavetable, and depending on the wavetable, can create subtle or dramatic changes. The waveform display will dynamically change the waveshape as the SHAPE slider is moved. The SHAPE slider is modulatable.
LAYER PAGES Oscillator Synth Symmetry Symmetry varies the span of the waveform and is most commonly used for PulseWidth modulation. This is especially useful when SYMMETRY is used as a modulation destination, as it adds shifting tone color and movement to the sound. The waveform display will dynamically change the waveshape as the SYMMETRY slider is moved. NOISE waveform only The SYMMETRY slider becomes a morphing filter that sweeps through four different types of filters.
LAYER PAGES – Oscillator Synth HardSync Hard Sync was a feature on some analog synthesizers which gave the timbre a "throaty" diphthong type of sonic characteristic when swept. Hard Sync was popularized on synthesizers like the Prophet 5 and the early Oberheim synthesizers for a more metallic and aggressive timbre, and is especially useful for lead sounds. Hard Sync is achieved by using two oscillators, one which is the "master" and the other the "slave.
LAYER PAGES – Oscillator Synth Analog The Analog control allows inconsistency to be introduced into the pitch and phase of the oscillator, which makes Omnisphere sound and behave more like a vintage analog instrument. When the Analog control is set to 50% and lower, it destabilizes the phase of the oscillator. After 50% it will also destabilize the pitch. As the Analog control is increased past 75% the pitch will become heavily detuned.
LAYER PAGES Oscillator Synth Phase Control The PHASE control will only have an audible effect when it is heard combined with another layer, as phase changes can only be perceived when they are in relation to another audio signal. The best way to understand the PHASE control is to set up a SYNTH sound on Layer A (with the ANALOG control to zero). Then, from the UTILITY menu select the Copy Layer option and select Layer B and select the Paste Layer option from the UTILITY menu.
LAYER PAGES Oscillator Zoom : Introduction To access the Oscillator Zoom page, click on the magnifying glass next to the word OSCILLATOR. The Oscillator Zoom page contains the controls for Omnisphere's multiple types of synthesis and has six subpages: Main, FM, Ring, Waveshaper. Unison, Harmonia and Granular. The Oscillator Zoom is the center of Omnisphere's vast sound design capabilities. To close the Oscillator Zoom, click on the magnifying glass icon in the header.
LAYER PAGES Oscillator Zoom The Main Oscillator Zoom SubPage contains many of the controls already present in the Layer Page, with some additions and a different layout. Some of the controls will change depending on the selected Oscillator mode. TRANSPOSE Transpose works like MIDI transposition and pitch changes are made in semitones. Changes in pitch don’t affect the sound quality of the Oscillator.
The fine pitch controls are the most precise, changing the pitch in 1cent increments. The Fine controls can shift the pitch 100 cents (one semitone) up or down. The most common use of fine pitch controls is to detune oscillators a small amount (less that 15 cents) from each other, causing them to sound richer.
Depending on which tab is selected, the Soundsource/Waveform Display area displays an image of the loaded Soundsource (SAMPLE) or waveform (SYNTH). The steppers on the right allow you to step through Soundsources (SAMPLE) or wavetables (SYNTH). Clicking on the displays brings up the Soundsource Browser (SAMPLE) or the wavetable menu (SYNTH). REVERSE (SAMPLE ONLY) The REVERSE button appears at the bottom center of the of the Layer Pages and the Oscillator Zoom when the SAMPLE tab is selected.
TIMBRE change will occur. CRUSH Polyphonic BitCrushing (Distortion) and filtering are applied to the Soundsource. BitCrushing with a LowPass Filter is applied left of the centerpoint. Right of the centerpoint, BitCrushing with a HighPass filter is applied. Timbre Crushing works effectively with any Soundsource. SHIFT Transposes the mapping of the samples in one direction and changes the pitch in the opposite. This results in significant harmonic changes in the Soundsource.
ANALOG (SYNTH ONLY) The Analog control allows inconsistency to be introduced into the pitch and phase of the oscillator, which makes Omnisphere sound and behave more like a vintage analog instrument. When the Analog control is set to 50% and lower, it destabilizes the phase of the oscillator. After 50% it will also destabilize the pitch. As the Analog control is increased past 75% the pitch will become heavily detuned.
SYMMETRY (SYNTH ONLY) Symmetry varies the span of the waveform and is most commonly used for PulseWidth modulation. This is especially useful when SYMMETRY is used as a modulation destination, as it adds shifting tone color and movement to the sound. The waveform display will dynamically change the waveshape as the SYMMETRY slider is moved.
LAYER PAGES Oscillator Frequency Modulation FM stands for Frequency Modulation. FM has been a feature on synthesizers since the 1960s, but it was popularized in Yamaha’s DX/TX series of digital synthesizers in the 1980s. It was well known for producing glassy, metallic sounds and for creating sound that are more harmonically complex.
FM KEYBOARD TRACKING The small musickeyboard switch enables or disables Keyboard Tracking. The Keyboard Tracking button determines whether the modulator oscillator tracks the keyboard. If the Keyboard Tracking is on, the modulator oscillator will track the keyboard, meaning it will change pitch with each key. If Keyboard Tracking is off, the modulator will not change pitch with the keyboard, it will stay on the same pitch, no matter which key is played.
Moving this slider sweeps through the wavetable selected as the Modulator, and depending on the wavetable, can create subtle or dramatic changes. The waveform display will dynamically change the waveshape as the FM SHAPE slider is moved. FM SYMMETRY FM SYMMETRY varies the span of the wavetable selected as the Modulator and is most commonly used for PulseWidth modulation.
LAYER PAGES Oscillator Ring Modulation RING is short for Ring Modulation, which is similar in concept to FM (and the parameters are exactly the same as those in the FM subpage). In Ring Modulation the frequencies of both oscillators are multiplied, which changes their overall amplitude, so it’s can also be referred to as Amplitude Modulation. Traditionally, Ring Modulation is used as an effect to create highfrequency, clangorous overtones.
RING MOD KEYBOARD TRACKING The small musickeyboard switch enables or disables Keyboard Tracking. The Keyboard Tracking button determines whether the modulator oscillator tracks the keyboard. Most Ring Modulators do not track the keyboard, which is part of the character of their sound, but Omnisphere provides the option to enable Keyboard Tracking if required. If the Keyboard Tracking is turned on, then the Ring Modulator oscillator will change pitch with the keyboard.
RING SYMMETRY RING SYMMETRY varies the span of the wavetable selected as the Modulator and is most commonly used for PulseWidth modulation. This is especially useful when RING SYMMETRY is used as a modulation destination, as it adds shifting tone color and movement to the sound. The waveform display will dynamically change the waveshape as the RING SYMMETRY slider is moved.
LAYER PAGES Oscillator Waveshaper Omnisphere’s Waveshaper takes the Oscillator’s waveform and passes it thru mathematically generated curves that add various types of distortion, which changes the waveform’s harmonic content. Instead of being a standalone effect, Omnisphere’s Waveshaper is part of the Oscillator, and is polyphonic, making it a synthesis function and not just an effect.
LAYER PAGES Waveshaper Crusher The CRUSHER section offers parameters for controlling the Bit Depth of the oscillator. BIT CRUSH Bitcrushing introduces distortion by reducing the resolution of digital audio. This lowers the dynamic range and increases the noise floor. Use this for achieving grainy or lofi sounds it really adds character to your sound. The effect can range from slightly distorted to very harsh, depending on the slider setting. BIT CRUSH is Modulatable. Range 0.000 to 1.
LAYER PAGES Waveshaper Shaper The SHAPER section offers controls for introducing WaveShaping to the oscillator. DEPTH In the SHAPER section, you can control the amount of WaveShaping that is applied to your sound by using the DEPTH slider. The farther to the right this is set, the more pronounced the effect of the Waveshaper will be. DEPTH is Modulatable. Range 0.000 to 1.000 TYPE You can change the type of WaveShaping by selecting one of the four preset WaveShaping algorithms.
LAYER PAGES Waveshaper Reducer The REDUCER section offers parameters for controlling the Sample Rate of the oscillator. SAMPLE RATE This controls the amount of SampleRate Reduction that is introduced to the Oscillator. By reducing the sample rate, distortion and artifacts called "aliasing" are introduced to the sound. Generally, aliasing is avoided in digital audio, but here it can be used in a controlled manner to add wildly different tonal qualities.
LAYER PAGES Waveshaper Mix, Path and Gain MIX The MIX slider controls the balance between the original Oscillator’s signal and the WaveShaped sound. If the mix is at the minimum setting, then the effect of the Waveshaper is not heard. When set to the maximum, only the WaveShaped signal is heard. MIX is modulatable. Range 0.000 to 1.000 AUDIO PATH These three mode switches determine at what point in Omnisphere’s audio path the Waveshaper is placed.
LAYER PAGES Oscillator Zoom Unison In vintage analog polyphonic synthesizers, Unison was used to trigger all of the voices cards of the synthesizer at the same time for a rich, detuned monophonic sound. Omnisphere takes Unison to the next level by offering polyphonic Unison, with numerous enhancements and controls. Just a few or many unison voices can be added, so each note played will trigger several voices each with different detuning, spread and octave.
The OCTAVE menu specifies at which octave the unison notes will sound: up to two octaves above or below the main oscillator. This is not a traditional transpose control, as it only moves the UNISON voices up or down – the pitch of the Oscillator will remain the same. UNISON DETUNE This determines to what degree the unison notes will be detuned from the original OSCILLATOR. This setting does not affect the pitch of the original OSCILLATOR, just the unison voices. UNISON DETUNE is modulatable.
The Phase Control option is unique to the SYNTH mode. The Phase Control means the initial phases of the Unison voices can be randomly spread across a range. The width of the range is controlled by stepping through the five Phase Control options, which range from inphase to spread over 180°. Perfectly inphase produces results like digital synthesizers. Outofphase settings produce classic analoglike results.
LAYER PAGES Oscillator Harmonia HARMONIA™ is one of Omnisphere’s most exciting and unique features. While it may seem like it shares the same functionality of the traditional Harmonizer effect, it’s actually far more powerful because it’s built into Omnisphere’s OSCILLATOR as a polyphonic synthesis component, and not just as an audio effect. HARMONIA™ adds four additional oscillators to the layer.
LAYER PAGES Oscillator Harmonia Controls HARMONIA POWER SWITCH This turns HARMONIA on and off and is useful for comparing the sound with the added voices to the original sound. HARMONIA PRESETS A complete set of HARMONIA presets can be accessed by selecting the menu arrow. Any factory presets or custom settings can be copied, pasted or saved. HARMONIA VOICES 14 Up to four HARMONIA voices can be stacked on top of the original voice by selecting the numbered switches in HARMONIA.
Each of the HARMONIA voices can be positioned in the stereo field with the PAN controls. Range 0.000 to 1.000 HARMONIA DETUNE Each of the HARMONIA voices can be detuned by +/ 100 cents. When the knobs are centered, there is no detuning. The HARMONIA DETUNE controls are modulatable. Range 0.000 to 1.000 HARMONIA INTERVAL Each of the HARMONIA voices can be transposed over a fouroctave range.
LAYERS PAGES Oscillator Harmonia Synth Controls . When the OSCILLATOR is set to SYNTH mode, all of the HARMONIA features in SAMPLE mode are available, as well as a second set of options that are unique to SYNTH mode. This special set of controls allows independent waveform control over each HARMONIA voice. HARMONIA PHASE Like the Phase Control option in UNISON, this is unique to the SYNTH Oscillators. The Phase Control allows the phase of the HARMONIA voices to be spread across a 180° range.
This control is unique to SYNTH Oscillators. This is an offset of the SHAPE control on the MAIN OSCILLATOR page. Each of HARMONIA’s four voices can have its own SHAPE offset. The center position indicates that the HARMONIA voice's SHAPE is identical to the main Synth Oscillator's SHAPE. NOTE: To learn more about the SHAPE functionality, check out the description in the OSC MAIN chapter. Range 0.000 to 1.000 HARMONIA SYMMETRY This control is unique to SYNTH Oscillators.
This control is unique to SYNTH Oscillators. This is an offset of the HARD SYNC control on the MAIN OSCILLATOR page. Each of HARMONIA’s four voices can have its own SYNC offset. The center position indicates that the HARMONIA voice's SYNC is identical to the main Synth Oscillator's HARD SYNC. NOTE: To learn more about the HARD SYNC functionality, check out the description in the OSC HARD SYNC chapter Range 0.000 to 1.000 HARMONIA WAVETABLE This control is unique to SYNTH Oscillators.
LAYER PAGES Oscillator Granular Granular synthesis is a powerful type of synthesis that fragments pieces of audio into very small bits called "grains." Since each grain can have its own duration, amplitude and envelope, they can create a layered ‘soundscape’ of overlapping tones. The composer Innas Xenakis first conceptualized Granular synthesis in the 1970s. Omnisphere contains a fullyimplemented set of granular controls.
The Granular Visualizer is a dynamic 3D model that represents how the grains are manipulated in the STEAM engine. It provides visual feedback of the Granular parameters by changing colors, increasing the density and size of the spokes, adding waviness to the spiral, and adding a 3D appearance to it. This feedback can be very useful during the sound design process. NOTE: Granular Synthesis can require a great deal of processing power. LEGACY Omnisphere 2.
LAYER PAGES Oscillator Granular Modes There are two exclusive Granular modes: SPEED and POSITION. While other granular parameters work in the same manner regardless of the mode, the slider above the SPEED and POSITION mode selectors controls only the mode selected. SPEED SPEED automatically moves the position of the sample that is being granulated forwards or backwards at a fixed rate. All the way to the left is forward at full speed, all the way to the right is backwards full speed.
LAYER PAGES Oscillator Granular Grain Controls GRAIN DEPTH Moving this slider to the right increases the number of grains which are created from the Soundsource. The higher the number of grains, the higher the demand on the CPU. Excellent results can usually be obtained without using a lot of GRAIN DEPTH, so use it carefully. In the Granular Visualizer, GRAIN DEPTH adds more loops to the spiral, which represent more grains overlapping with each other. Range 0.000 to 1.
The grains can be detuned by increasing this control's value. The higher DETUNING is set, the more variation in pitch will be heard in the grains. In the Granular Visualizer, DETUNING adds a waviness to the spiral.. Range 0.000 to 1.000 GRANULAR TRIGGER (MOD MATRIX TARGET ONLY) Granular Trigger is an advanced feature that can be accessed only from the Modulation Matrix. It allows for single grains to be triggered at specific time intervals without affecting their size.
LAYER PAGES Oscillator Granular Pitch Controls PITCH GRAINS This slider sets how often the grains will be transposed in pitch. The PITCH GRAINS parameter and the ones below it, INTERVAL, GLIDING and DIRECTION menu, are interdependent. When the PITCH GRAINS parameter is set to 0, the INTERVAL, GLIDING nor DIRECTION parameters will have no effect. In the Granular Visualizer, PITCH GRAINS determines the percentage of lines which have an alternate color based on the INTERVAL setting.
set to zero. In the Granular Visualizer, GLIDING shortens a percentage of lines determined by PITCH GRAINS. Range 0.000 to 1.000 DIRECTION The items in the DIRECTION menu determine which direction the PITCH GRAINS are transposed. There are four PITCH GRAIN DIRECTIONS available: The PITCH GRAINS will be transposed up only. The PITCH GRAINS will be transposed down only. The PITCH GRAINS will be transposed up or down only – they will never be transposed up and down on the same note.
LAYER PAGES Filters The Filter is a key component of subtractive synthesis. It’s designed to remove frequencies from a sound, which can enhance its character. Filters typically consist of a cutoff control, which sets the removal of certain frequencies, and a resonance control, which emphasizes the frequency of the cutoff point. The most common form of filtering is called lowpass, which means that higher frequencies are removed while lower frequencies pass through without being removed.
Omnisphere has a wide variety of customized filter configurations, called presets. The presets represent the settings of Omnisphere’s complex dual stereo filter. Filter presets can be selected, copied, pasted and saved from this menu.
LAYER PAGES Filter Cutoff The primary function of the filter is to remove, hence "cut off," frequencies from the sound. Omnisphere’s filters can remove frequencies in a variety of ways, from Lowpass, Highpass, Bandpass, Notch to more specialized filter types. Depending what Filter preset is chosen, the Cutoff control will remove different frequencies in various ways. For example, if a Lowpass filter is used, turning the control counterclockwise will remove the higher frequencies.
LAYER PAGES Filter Resonance Resonance is also called ‘Q’ or Emphasis in synthesizers, because it emphasizes the cutoff point of the filter. Resonance can often increase the loudness of the Filter, so its a good idea to use this control along with the Filter Gain, so that audio clipping does not occur. TIP: Omnisphere’s UVI1 filter can selfoscillate. To achieve this effect, set the Resonance to maximum, and the filter can then be ‘tuned’ by the cutoff control.
LAYER PAGES Filter Key Tracking The Filter Tracking is a dedicated modulation control. It determines to what extent the cutoff frequency will track the keyboard. The higher the KEY value is set, the more the filter will open over the upper range of the keyboard and close in the lower ranges of the keyboard. For example, if a low pass filter is loaded and the cutoff is set below 1.
LAYER PAGES Filter Envelope Depth The Filter Envelope Depth is a dedicated modulation control. It sets the amount that the Filter Envelope controls the cutoff frequency. At minimum setting, the Filter Envelope has no effect on the cutoff. The higher the setting, the greater effect the Filter Envelope’s contour has in opening and closing the Filter. NOTE If both the Filter Cutoff and Filter Envelope Depth are set to minimum values, little to no sound will be heard.
LAYER PAGES Filter Gain GAIN By default the FILTER GAIN is set at 0.0dB. Changing this control alters the output level of the Filters. One application would be if the Filter is closed down, and the tone is quite dark and rather low in output, the level could be compensated for by using the FILTER GAIN control. More commonly, Filter combinations with Resonances can get too loud, causing distortion and clipping. Use the GAIN slider to reduce the overall level in these cases. Range between inf (0) and +9.
LAYER PAGES Filter Variant The VARIANT control in Omnisphere’s filter is not typically found on most synthesizers. Since Omnisphere’s filter is stereo, VARIANT responds in most filter types by moving the cutoff frequency in one direction on one side of the stereo field while moving it in the opposite direction in the other side of the stereo field. For example, the filter could be opening on the left channel while closing on the right channel.
LAYER PAGES Filter Zoom FILTER ZOOM in Omnisphere provides precise control over each Layer’s dualfilter. The two stereo filters are represented on the right and left. The central area controls the routing and contains the shared controls. Each of the two stereo filters can have any of 32 filter types assigned to it. They can be combined in series or parallel, allowing for hundreds of possible filter configurations.
Omnisphere has a wide variety of customized filter configurations, called presets. The presets represent the settings of Omnisphere’s complex dual stereo filter. Filter presets can be selected, copied, pasted and saved from this menu.
done because it's the best way to audition the different Filter Presets within the context of your current Patch.
FILTER ZOOM Structure The central part of the FILTER ZOOM section is dedicated for controls that are common to both of the Filters, including the ability to route to two Filters in parallel or series and to place them before or after the Amplifier. The CUTOFF, RES, VARIANT, KEY, ENV and GAIN controls are exactly the same as those in the Filter section on the LAYER pages. Any changes that are made on these controls will be reflected on the LAYER page as well, and viceversa.
MIX In Parallel mode, each of the two Filters pass thru the Filter Mixer, and the Mix control determines how much of each filter is heard. Centering the slider will allow both filters to be heard equally, and sliding it to the right or left will favor one over the other. Range 100.00 to 00.100 (50.50 is the center point) GAIN The Gain adjusts the level of the input or output of the Filter Module depending on the Pre & Post setting. Range between inf (0) and +9.54.
The Gain Control is applied before the Filters.
FILTER ZOOM Filter Type The Filter Type menu allows you to select the actual Filter algorithm to be used in FILTER 1 or FILTER 2. Omnisphere comes with a wide range of filter types. Each of the two stereo filters has the same thirtytwo filter types available. Because of the flexible dualfilter system in Omnisphere, different filter types can be combined, routed in series or parallel, allowing for hundreds of possible configurations.
Metal Pipe Formant Resonator Resonator +
FILTER ZOOM Offsets CUTOFF OFFSET Filter Cutoff settings affect both FILTER 1 and FILTER 2. The CUTOFF OFFSET counterbalances the Cutoff for FILTER 1 and FILTER 2 independently. These are not separate filters controls; they simply increase or decrease the Cutoff frequency for each Filter, relative to the primary Cutoff control. When the slider is centered, there is no offset to the Filter Cutoff. Moving the slider to the right increases the offset and moving it to the left decreases it.
FILTER ZOOM Cutoff The Cutoff control in the Filter Zoom is identical to the Cutoff control on the Layer pages. The primary function of the filter is to remove, hence "cut off," frequencies from the sound. Omnisphere’s filters can remove frequencies in a variety of ways, from Lowpass, Highpass, Bandpass, Notch to more specialized filter types. Depending what Filter preset is chosen, the Cutoff control will remove different frequencies in various ways.
FILTER ZOOM Resonance The Resonance control on the FILTER ZOOM page is identical to the RES knob on the LAYER pages. Resonance is also called "Q" or Emphasis in synthesizers, because it emphasizes the cutoff point of the filter. Resonance can increase the loudness of the Filter, so its a good idea to use this control along with the Filter Gain, to avoid audio clipping. TIP: Omnisphere's UVI1 filter can selfoscillate. If the Resonance is set to maximum, the filter can be "tuned"' by the cutoff control.
FILTER ZOOM Variant The VARIANT control in Omnisphere’s filter is not typically found on most synthesizers. Since Omnisphere’s filter is stereo, VARIANT responds in most filter types by moving the cutoff frequency in one direction on one side of the stereo field while moving it in the opposite direction in the other side of the stereo field. For example, the filter could be opening on the left channel while closing on the right channel.
FILTER ZOOM Key Tracking The KEY control on the FILTER ZOOM page is identical to the KEY slider on the LAYER pages. The Filter Key Tracking is a dedicated modulation control. It determines to what extent the cutoff frequency will track the keyboard. The higher the KEY value is set, the more the filter will open in the upper range of the keyboard and close in the lower ranges of the keyboard. For example, if a low pass filter is loaded and the cutoff is set below 1.
FILTER ZOOM Envelope The Filter ENV control is identical to the ENV control found on the LAYER pages. The Filter Envelope Depth is a dedicated modulation control. It sets the amount that the Filter Envelope controls the cutoff frequency. At minimum setting, the Filter Envelope has no affect on the cutoff. The higher the setting, the greater effect the Filter Envelope's contour has in opening and closing the Filter.
LAYER PAGES Envelopes One of the innovative features of Omnisphere's envelopes is that each of them has two interfaces. There have always been two competing design philosophies; ADSR envelopes, which are fast and easy to use, and Complex envelopes, which are more powerful and flexible but typically not as fast or easy to use. In Omnisphere we combined both ideas into one, offering the best of both worlds.
AMP ENVELOPE Each Part has two dedicated AMP (Amplitude) Envelopes, one each for Layer A and Layer B. These shape the overall loudness of the Layer. A dedicated Velocity knob controls the dynamic output of the AMP Envelopes based on MIDI Velocity. FILTER ENVELOPE Each Part also has two dedicated FILTER Envelopes, one each for Layer A and Layer B. These shape the Filter cutoff for each Layer. A dedicated Velocity knob controls the dynamic output of the FILTER Envelopes based on MIDI Velocity.
1, 2, 3, 4 (Modulation Envelope buttons) Under the MODS subpage these small switches select any of the four modulation envelopes. Instead of a dedicated VELO (Velocity) control, each of the four Modulation Envelopes has its own DEPTH control knob.
LAYER PAGES ADSR Controls The ADSR Envelope slider interface operates the same way for all the different envelope types in Omnisphere. The screenshot above is from the Envelopes Zoom page, but illustrates what a standard ADSR Envelope looks like. The first to second point (or Stage) is the Attack time; the second point is the decay time, which ends at the third point, the Sustain level. After the note is released, the Sustain level drops away based on the Release time.
D Decay The ‘D’ is the DECAY time, which begins after the Attack has reached its maximum level. At minimum settings, the Decay will be zero, which means there is no Decay after the Attack and the Envelope goes straight to the Sustain stage. At the maximum setting, the DECAY can be about twenty seconds before the Sustain stage starts. Range between 0 to 20 seconds S Sustain ‘S’ is the Sustain Level. Unlike A, D & R, Sustain is not a time value; it's a level value.
When the X button is clicked, it will change the complex envelope contours to a SIMPLE one, and the icon will revert to the SIMPLE icon. When you want to simplify an envelope, you can use the X button to quickly reset a complex envelope to a simple ADSR style envelope. This can’t be undone, so use it with caution! NOTE: Changing an Envelope’s shape to complex can be done by loading a Complex Envelope Preset or by accessing the Envelope Zoom page and adding stages.
LAYER PAGES Envelopes Zoom The ENVELOPE ZOOM page provides precise editing of the eight available envelopes in a Part. Complex envelopes can be created with hundreds of stages. Each envelope segment can have one of nine different curve presets applied to it. These include bumps, spikes, pulses, curves and linear transitions. It is not necessary to choose between a simple or complex envelope, since they both exist simultaneously.
LAYER PAGES – Envelopes Zoom Preset Menu There are two dropdown menus that provide access to Envelope Presets. One is on the LAYER pages next to the ENVELOPES label, the other is found in the Envelopes Zoom View beside the ENVELOPES ZOOM label. The dropdown menus will display a list of various Envelope presets as well as options to Save, Copy, and Paste Envelopes. Envelope Presets contain all the contours of a single envelope.
NOTE: In order to load a shared envelope preset, it must first be placed in the following folder: STEAM/Omnisphere/Settings Library/Presets/User/Envelope Only then it will appear on the list of presets. Copying & Pasting Envelope Presets Select “Copy Envelope Preset” from the Presets menu to copy the current Envelope contours. Then select the Envelope to which you wish to copy it. This can be any of the Envelopes in the current Part or in any other Part.
EDIT PAGE – Envelope Page Buttons Above the Envelope Display area are six buttons that select the controls for the six Envelopes available in the current Layer. NOTE: the AMP and FILTER Envelopes displayed are only for the current Layer, the other Layer must be selected to see the other two AMP/FILTER envelopes.
LAYER PAGES Mod Envelopes Timeline The four MOD Envelopes each have an LED indicator that tracks the time it takes to play through the Envelope contour. The rate of the Envelope’s contour will make these LEDs trace along as a visual guide. The LED timeline display is also helpful in monitoring the different types of Envelope triggering. For example, if “NOTE” triggering is enabled, the LED display will start at the beginning of the Envelope every time a note is triggered.
LAYER PAGES Envelopes Zoom Edit There are four different automated Envelope adjustments, which provide a simple way to double and/or half the total number of Envelope points. These options can quickly change the playback rate of the Envelopes as well. Repeat Every time ‘Repeat’ is selected, all of the stages in the Envelope will be duplicated, doubling the number of points. Unrepeat Can undo any Repeats that have been done. Unrepeat can also be used to “halve” the number of segments in an envelope.
LAYER PAGES Envelopes Zoom Display The contour of the current Envelope can be modified from this display. The point to the extreme left is always the Attack time and on the last two points on the right are the Sustain level and the Release time stages. Time is represented horizontally and Level is on the vertical axis. To add an additional stage to the Envelope, rightclick (ControlClick) and select "add" from the pop up menu.
LAYER PAGES Envelopes Curves All of Omnisphere’s eight dedicated Envelopes are capable of generating contours with hundreds of points. Right/Controlclicking anywhere in the Envelope display will bring up a list that allows points to be added or removed, followed by a list of preset curves. Clicking and dragging directly on the curve can change the orientation and position of the curves. A cross hair will appear that will move the curve in any direction within the limits of the curve.
Introduces four pulses between the points Four Pulses Three Pulses Introduces three pulses between the points NOTE: Envelopes can never have fewer than four points, as they correspond to the ADSR of the simple envelope. Attempting to remove these ADSR points will be ignored. TIP: Doubleclicking on any point in the Envelope will remove it. NOTE: Whether an Envelope is considered SIMPLE or COMPLEX depends on the number of points (or stages) it has.
LAYER PAGES Envelope Editing Controls These mode switches offer several methods for precise editing of the Envelopes. ENVELOPES ZOOM SNAP When SNAP is selected, any horizontal repositioning of a point is limited to 16th notes. The Envelope Display has vertical reference lines, which are helpful when using SNAP to line up the points at the 16th note divisions. If the Envelope is short, under a few seconds, the SNAP points are correspondingly small.
The duration of the Envelope will be scaled by dragging any of the points within it (except the first one). Dragging to the right will increase the duration and dragging to the left decrease it. Scaling the Envelope beyond the limit of Envelope Display will appear to ‘squish’ many of the points together, but selecting AUTO ZOOM will expand the view to fit them all. NOTE: When zoomed in, clicking and dragging in an empty region of the envelope display will drag the display left or right.
LAYER PAGES Envelopes Zoom Chaos The envelope contour can be randomized with the special CHAOS feature. CHAOS can change the level settings for all the points in an Envelope as well as the curve transitions between the points. Chaos works by taking the existing points in an Envelope and randomizing their Levels and Curves based on two controls. The two sliders in the CHAOS section, CURVES and LEVELS, control the probability of randomization.
LAYER PAGES Envelopes Zoom Speed Controls how quickly the envelope will cycle. This is a ratebased control, based on the duration of the Envelope. For example, if the Envelope’s cycle is 2 seconds, and the SPEED slider is set to 0.50, the Envelope will take 4 seconds to complete its cycle. If the SPEED slider is set to 5.00, the Envelope will cycle 3 times every second. This control can be modulated. Range 0.10X10.0X (1.
LAYER PAGES Envelope Velocity The VELO slider is a duplicate of the knob found in the Amp and Filter Envelope section of the Layer pages. This slider controls the effect of MIDI Velocity on the output of the Amp and Filter envelopes. Moving the slider to the right increases the dynamic sensitivity of the envelope and moving it to the left decreases it. NOTE: Each of the VELO (Velocity) controls for the two AMP and two FILTER envelopes are independent.
LAYER PAGES Envelope Zoom Depth The Depth slider is a duplicate of the knob found in the MODS Envelope Section of the Layer pages. At the minimum settings, little to no modulation will be sent to the modulation matrix. At the maximum setting the full output of the Modulation Envelope will affect the modulation matrix. Range 0 to 1.
LAYER PAGES Envelope Zoom Trigger Several modes are available to determine how the Envelope is triggered and cycled. The NOTE/LEGATO/SONG modes are only available on the Modulation Envelopes. LOOP This switch toggles Envelope looping. When selected the Envelope will continually repeat. SYNC The Envelope will sync to the song’s tempo. Both LOOP and SYNC can be selected at the same time so the Envelope will cycle and sync to the song’s tempo.
LAYER PAGES – Envelopes Zoom – Zooming AUTO ZOOM Selecting the button will autofit all of the points into the Envelope Display. ZOOM This slider controls the how much of the Envelope Display is seen. At the minimum value it will display a small part of the first segment and a maximum setting all 100 bars are visible. If your mouse has a scroll wheel, you can use it to zoom. Mouseover the envelope display and move your scroll wheel to zoom.
LAYER PAGES Polyphonic Mod Envelopes Mod Envelope 4 can be monophonic or polyphonic. When you select the MOD 4 tab in the Envelope Zoom, you will see a small button, labeled "P" to the right of the tab. Engaging it makes Mod Envelope 4 polyphonic, meaning each note will trigger it's own envelope, instead of all notes sharing the same one. To demonstrate this, right click on the Fine Pitch knob and select "Modulate with Envelope.
LAYER PAGES Groove Lock Envelopes Groove Lock™ is one of Omnisphere’s most innovate features. With Groove Lock™ you can lock the groove of the Envelopes to the feel of any Stylus RMX or Standard MIDI file. This dramatically expands the rhythmic potential of the Omnisphere Envelopes. You can instantly create a Groove Lock™ envelope by simply dragging and dropping any standard MIDI file (for example, from Stylus RMX) onto the Envelope Display.
Complex Envelope after Groove Lock™applied Using MIDI files provides a great starting point for creating interesting new envelopes. It allows envelopes to be Groove Locked to other Spectrasonics plugins, or to any MIDIbased musical phrase in your project. NOTE: When you drop a MIDI file onto the Envelope Display, it will replace the existing envelope. If desired, you can save your current envelope as an Envelope Preset before creating the new Groove Lock envelope.
LAYERS PAGE LFOs LFOs (Low Frequency Oscillators) are used for cyclical modulation effects like vibrato, tremolo, filter sweeps and autopan effects. Omnisphere has six independent LFOs available for each Part. All six LFOs have an identical set of parameters and can be used as sources within Omnisphere’s Modulation Matrix. LFO PRESETS Selecting the menu arrow in the section header will display a drop down menu that allows copying, pasting and saving of LFO settings as presets.
Selecting a button displays the current values of that LFO’s parameters.
LAYER PAGES Waveforms Each of Omnisphere’s LFOs can have its own waveshape. There are nine available LFO waveforms. Sine – A smooth cshape that begins positive and then curves negative and back again. Useful for sweeps and vibrato. Triangle – Is a positive/negativeshape like the Sine, but without curvature. Useful for sweeps and vibrato. Square – Starts at maximum positive value and then drops to maximum negative value. Useful for trills and pulsing effects. Rounded Square – A smoothed Square wave.
LAYER PAGES LFO Rate The Rate knob controls the speed of the LFO’s cycle. The Rate knob has two modes. These modes depend on the state of the LFO Sync button. • SYNC OFF – The LFO's rate is not synchronized with the host tempo is measured in Hz. The rate increases as it's turned clockwise. • SYNC ON The LFO's rate is synchronized to the host’s tempo.
LAYER PAGES LFO Depth This knob controls LFO depth. The higher the setting, the greater the amount of the LFO signal is sent to the modulation matrix.
LAYER PAGES LFO Delay The Delay slider determines the how quickly the LFO’s depth will reach its maximum strength after a note has been triggered. This allows the modulation to be introduced gradually, for example, to achieve delayed vibrato. When the slider is set to maximum, it will take approximately 5 seconds for the LFO depth to reach maximum value. The LFO Delay always works in a “legato” style trigger mode, where subsequent legato notes do not retrigger the start of the LFO delay.
LAYER PAGES LFO Sync The Sync switch determines how the LFO rate behaves. When Sync is enabled, the LFO will lock its rate to the host’s song tempo. Also, the values assigned to the Rate knob will change. Instead of displaying a value in Hz, the values are displayed in rhythmic values.
LAYER PAGES LFO Trigger Mode The LFO trigger mode determines how the LFO will begin its cycle. There are four available LFO Trigger Modes: Free The LFO will independently cycle regardless of when a note is triggered. Note The LFO will restart its cycle with every new note that is played. Legato The LFO will start its cycle when the first note is played, but will continue its cycle when additional notes are played. If staccato notes are played, the LFO will restart its cycle with each note.
LAYER PAGES Unipolar Switch The Unipolar switch is represented by a small (+) button in the LFO section in the layer pages or with a "Unipolar" switch in the Show Modulation section on the left. In this example, the oscillator’s pitch is being modulated with a Triangle wave from LFO1. If LFO1 is in bipolar mode, the pitch will go above, then below, the pitch of the note that was triggered.
LAYER PAGES LFO Phase The small LFO Phase slider determines the point at which the LFO waveform will begin its cycle. If the slider is set to minimum, the LFO will begin its cycle at the start of the waveform. As the phase is increased, the point in the waveform that the LFO will begin its cycle will be changed. For example, if the Phase control is in the center of the slider, the LFO will trigger from the middle of the waveform.
LAYER PAGES Polyphonic LFO LFO 6 can be monophonic or polyphonic. When you select LFO 6, you will see a small button, labeled "P" in between the RATE and DEPTH knobs. Engaging it makes LFO 6 polyphonic, meaning each note will trigger it's own LFO, instead of all notes sharing the same one. To demonstrate this, right click on the Fine Pitch knob and select "Modulate with LFO." Next, select LFO 6 as a source in the Modulation sidebar, then load the preset "Delayed Vibrato" from the LFO Presets menu.
USER AUDIO Introduction Omnisphere is an extremely powerful synthesizer that allows you to import your own audio to use as Soundsources for the creation of your own Patches and Multis. This lets you creatively morph, meld, and mangle your own audio the same way you can with the included Factory Soundsources. Each imported audio file will become a User Soundsource in Omnisphere.
USER AUDIO Basics Omnisphere allows you to import your own audio to use as Soundsources and to create your own Patches and Multis. You can process and manipulate your own audio in creative ways using Omnisphere's powerful synthesis capabilities. You might want to import a guitar track, a vocal, or even an entire mix and transform the audio into something completely different: a cinematic texture, a percussive sound or even a synth lead.
Selecting "User Audio" from the Utility Menu will display a File Dialog prompting you to navigate to the audio file or directory. Navigate to the folder (Mac only) or file you wish to import and click "Open". The import process will begin and they will be added to the User Soundsources directory in Omnisphere. Once the audio has been successfully imported, you will get a confirmation notice.
After the import process is complete, the Soundsource Browser will be displayed and your audio (now an Omnisphere User Soundsource), will be automatically selected and played back at the note and duration set by the Audition Note settings. To delete the audio you imported, you can do so by locating it it in your hard drive in the following directory: STEAM/Omnipshere/Soundsources/User/ After deleting it, you must click the "Refresh" button in your Soundsource Browser to reflect the changes.
NOTE: Each imported audio file will become a User Soundsource in Omnisphere. The User Audio import function does not support zonemaps, roundrobins, multiple velocities, etc. Remember, Omnisphere is not a sampler, is a synthesizer. The objective is not to play multisampled instruments like a sampler, but to be creative in transforming your own audio. NOTE: If you batch convert a group of audio files, only the first imported file will be selected and played back.
USER AUDIO Files & Directories Omnisphere can import one or hundreds of audio files at once. The way in which the files are organized prior to importing determines how they are organized in Omnisphere's Soundsource Browser and in your STEAM folder. Importing Single or Multiple Files (not in a folder) When importing single or multiple audio files, the files are saved in your User directory, into a folder labeled with the current date.
Omnisphere can import hundreds of audio files at once into multiple, customnamed directories. Importing using this method is a simple matter of selecting the top folder(s) containing the audio files and either dragging them into the User Audio pane or locating them via the File Dialog. They will be saved in your User directory and the top folder will show up in the Category column in Omnisphere's Soundsource Browser.
On your drive, the directories will be in the following location: STEAM/Omnisphere/Soundsources/User NOTE: Omnisphere will assign unique names to files that share the same name. If "Audio File Name" already exists in your User folder and you import the same sound (or a sound with the same name), it will be renamed "Audio File Name_2" after it is imported.
USER AUDIO Loops, Sample Rates, Etc Format, Sample Rate, and Bit Depth Omnisphere can import standard stereo or mono PCM .wav and aif files of any sample rate with bit depths of 8, 16, 24, and 32. Certain files, such as those with advanced compression, cannot be imported. If you receive an error message, simply convert the file to a standard PCM format .wav or aif file and reimport.
USER AUDIO Organizing User Audio Libraries Once User Audio has been imported, it resides in the following directory in your drive: STEAM/Omnisphere/Soundsources/User The first four subdirectories under "User" are reflected in the first four columns of the Soundsource Browser when in File Directory mode. With that in mind, you can reorganize your directories inside "User" any way you like.
There are two things you must avoid or you will break your imported user audio: • Do not rename files which have the extension .db or .zmap. • Do not move files or folders outside "User." Other than that, you can create, rename, move, or delete folders. NOTE: You must click on the Refresh button in your Soundsource Browser to see any changes. Sometimes it can be simpler to organize your directories before importing.
USER AUDIO FAQ Can I import my mp3 files? Omnisphere supports standard stereo or mono PCM .wav and aif files. See USER AUDIO Audio File Properties for more info. Can I rename the files, once they are imported? You can create, rename, move, or delete FOLDERS, as well as reorganize your directories inside "User" in any way you like. However you cannot not rename files which have the extension .db or .zmap or move files or folders outside "User." If you want to rename your .wav or .
happens, Omnisphere will map your audio file Middle C. You can set the base note by renaming the audio file like this: Martin Acoustic_D4.wav or Martin Acoustic D4.wav. After renaming the file, reimport it and the audio will be mapped correctly. See USER AUDIO Base Note for more details. Can file names also include flats? Like Tingly_Ab.wav or does it have to be Tingly_G#.wav? Yes, you can have "b" or "#" after any of the 7 note letters: Eb2, Bb5, G#4, etc.
SHARING Introduction Using the Sharing feature, it's easy for you to share your custom Omnisphere sounds, no matter if they were created using Factory Soundsources, Wavetables, or your own audio. You can share any combination of Patches, Multis, and User Soundsources with a few simple steps. All the necessary components will be be collected for you into a single .omnisphere file which others can open in Omnisphere on a different computer.
Share Projects Sharing Projects allows you to share all Multis, Patches and User Soundsources that were added to a Project in a single .omnisphere package. Publish Library The "Publish Library" feature was created for thirdparty developers of Omnisphere libraries. It allows developers to easily export or "publish" a library of Multis, Patches, along with any associated Soundsources and images in a single .omnisphere package. Endusers can then install this package into their systems with a single step.
SHARING Share Sounds Using the applicable browser, choose the sounds you want to share by using shiftclick. NOTE: Use optionclick if you wish to deselect them all in one step. Next, select "Share Sounds" from the Utility Menu or press the "Share" button in the Full Browsers to create an .omnisphere file containing the selected sounds.
NOTE: If a Patch or Multi you are sharing employs User Soundsources, those will be included as part of the .omnisphere package. After viewing the copyright message, you will be prompted to enter a name and select a location where you wish to store the .omnisphere package. Next you will get a report of the data contained in the package.
Next you will get a report of the data contained in the package. Select ”Continue" and you'll get a confirmation that your sounds are ready to share. You can send the .omnisphere file to other Omnisphere users and they can select Install .omnisphere from the Utility Menu to import the shared package NOTE: When you want to share only one type of sound at a time, (Multis, Patches, or User Soundsources), this is the quickest and simplest method.
SHARING Share Projects Sharing Projects lets you assign sounds to a specific Project and share them with other users. This method uses the Project features located in the Full Browsers. You can share any combination of Patches, Multis, and User Soundsources with a few simple steps. All the necessary components will be be collected for you into a single .omnisphere file which others can open in Omnisphere on a different computer. First, create a Project for the sounds you want to share.
When you select "Save," Omnisphere will analyze your Project and give you a report of the data you are about to share. If you find discrepancies, select "Cancel" and make sure your Project contains everything you want to share. After selecting "Continue," you'll get a confirmation that your sounds are ready to share. You can send the .omnisphere file to other Omnisphere users and they can use Install .omnisphere to import the shared archive.
SHARING Publish Library The "Publish Library" feature was created for thirdparty developers of Omnisphere libraries. It allows developers to easily export or "publish" a library of Multis, Patches, and all associated Soundsources in a single .omnisphere package. Endusers can then install this package into their systems with a single step.
SHARING Creating a Library Libraries are directories in specific locations in your STEAM folder and they are displayed in the "Directory" menu in Omnisphere's browsers. The folders inside libraries are displayed as Categories. In order to create a library, you must create a directory using the Finder (Mac) or Explorer (Windows). Patches, Multis, and Soundsources are located in separate directories in your STEAM folder.
name. SHARING Creating a Patch Library To create a Patch library, make sure your host is not running and in the Finder (Mac) or Explorer (Windows), create a new folder here: Spectrasonics/STEAM/Omnisphere/Settings Library/Patches NOTE: Before uncompressing the Current Categories.zip archive, make sure you are up to date with the latest version of the Omnisphere 2 factory patch library. The official tags are constantly evolving, so it's important that you begin tagging with the most uptodate version.
SHARING Creating a Multi Library In order to create a Multi Library, make sure your host is closed and create a new folder here: Spectrasonics/STEAM/Omnisphere/Settings Library/Multis Give the folder a name, such as “My Library.” This new folder is next to ”User" folder. Create empty subfolders under "My Library,” one for each category you plan to have in your library. Once you save a Multi in one of its subfolders, the library will be displayed in the menu.
SHARING Soundsources If User Soundsources are used in Patches or Multis being published, they will be included as part of the exported package. User Soundsources are created by importing your own audio into Omnisphere and they are automatically stored here: Spectrasonics/STEAM/Omnisphere/Soundsources/User Omnisphere will not publish Factory Soundsources or Soundsources that are in a different location than the User folder specified above.
SHARING Adding Images Omnisphere's interface has several pages where images are shown as a visual representation of a sound. Patches, Multis, and Soundsources can have unique images displayed in different pages of the instrument. You can include images that are shared by an entire library or category, a unique image for each Multi, Patch, or Soundsource, or any combination thereof.
SHARING Adding Images to a User Soundsource To add images to a single Soundsource, you will need three JPEG files with the following naming convention and dimensions (replace "Soundsource Name" with the name of the Soundsource you want to add images to): Soundsource Name.jpg [300w x 300h] Soundsource Name_thumb.jpg [125w x 125h] Soundsource Name_land_thumb.jpg [125w x 50h] Place the JPEG images next to the Soundsource .
SHARING Adding Images to Patches Images can be shared by an entire library of Patches, by a Category or used by a single Patch. Adding images to a Patch Library An image can be shared by all the Patches in a library. You will need two JPEG files with the following naming convention and dimensions: default.jpg [300w x 300h] default_thumb.
NOTE: Patches that have unique images assigned to them will take precedence over category or library image. Adding images to a Patch To add images to a Patch, you will need two JPEG files with the following naming convention and dimensions (replace "Patch Name" with the name of the Patch): Patch Name.jpg [300w x 300h] Patch Name.jpg [125w x 125h] Place the JPEG files next to the Patch you want to add images to (Patch files have .
SHARING Adding Images to Multis A set of images can be shared by an entire library of Multis, by a Category, or used by a single Multi. Adding images to a Multi Library A set of images can be shared by all the Multis in a library. You will need two JPEG files with the following naming convention and dimensions: default.jpg [300w x 300h] default_thumb.
category or library images. Adding images to a Multi To add images to a Multi, you will need two JPEG files with the following naming convention and dimensions (replace "Multi Name" with the name of the Multi): Multi Name.jpg [300w x 300h] Multi Name.jpg [125w x 125h] Place the JPEG files next to the Multi you want to add images to (Multi files have .
SHARING Publishing a Library Published libraries can contain Multis and/or Patches and any User Soundsources contained therein. They can also contain images which will be displayed in Omnisphere's interface when those sounds are loaded. Once a library is ready to be published, optionclick/altclick on the Utility Menu and a "Publish Library" menu item will appear at the bottom of the list. This item contains a submenu displaying the libraries available for publishing.
After clicking Continue, an .omnisphere file will be created and is now ready to be shared.
SHARING Adding Sounds Adding sounds to your library that have been Shared by other Omnisphere users is simple! Omnisphere sounds that have been shared using the Sharing feature are conveniently collected into a single .omnisphere file. Files with the extension .omnipshere can be added to your library in a single operation, which automatically imports all the necessary components (Multis, Patches and User Soundsources) to play those sounds into your Omnisphere library.
After clicking OK, Omnisphere will display a confirmation where the new sounds have been installed.
FX System FX are an important part of Omnisphere’s sound palette, and are used to enhance the sonic character of Patches and Multis. They can add space, density, and movement, and alter the timbre and shape the sound in many interesting ways. Having highquality, builtin FX in Omnisphere means that the FX are integrated with the interface as well as with the sounds! Any FX you use are saved along with Patches and Multis.
FX Architecture & Signal Flow The FX in Omnisphere are organized into Racks, with each Rack containing up to four FX Units. PATCH FX: A Patch in Omnisphere can contain up to four racks of four FX Units each, for a total of sixteen FX Units in a single Patch. To access the FX racks for a Patch, select a Part in the header and then select the FX button. Each Layer (A & B) of a Patch has its own FX Rack. The FX in these racks affect the specific Layer into which they’re inserted.
Below is the effects signal flow to give you an idea how Omnisphere’s effects are chained. Signal Flow Each FX Rack has four FX Slots. The signal flow of every FX Rack type is in series feeding the audio from the top slot down.
• In this example, the audio first goes through Stompbox Modeler FX Unit in the top slot. • The distorted audio is then sent into the Analog Phaser unit in the second slot. • The distorted and phased audio is then routed into Innerspace for some creative ambient processing. • The output of Innerspace is sent to the ProVerb unit in the bottom slot. NOTE: The Master rack affects parts uses OUT A only.
FX Descriptions The Omnisphere FX Units are effects that exist within the Omnisphere plugin. There are 58 different professional quality internal FX Units to choose from. For moredetailed descriptions of the controls and operation, please click on the FX unit names. COMPRESSOR/LIMITER GAIN FX Tube Limiter Both a limiter and compressor modeled on the fat, warm sound of the worldfamous Fairchild™ 670 tube limiters from the 1960s.
Vintage 2band EQ Modeled after the Pultec™ EQP2A model tube equalizer, with a very warm and musical tone. Vintage 3Band EQ Modeled after the Pultec™ EQP series tube equalizers, renowned for their extremely musical and fat tones. Graphic 7Band EQ Useful for tailoring a full spectrum audio source with broad control of multiple bands. Graphic 12Band EQ Useful for tailoring a full spectrum audio source with fine control of multiple bands for precision control.
This FX unit is modeled after the mighty, mighty '59 Fender Bassman™ amplifier many guitarists' favorite amp. Comes with selectable, highend mic and preamp combinations. Controls for the head and the cabinet. Boutique This FX unit is modeled after the 100watt Dumble Overdrive Special™ amplifier, with selectable, highend mic and preamp combinations.
Analog Vibrato This FX unit is modeled after the vibrato of the onceubiquitous Roland JC120™ and of the Shinei UniVibe™ pedal, which imitated a Leslie (think Pink Floyd). Vintage Tremolo This unit recreates the classic vintage tube amp tremolo effect, in mono or stereo. Think 60's Surf music and 70s Should and R&B. CREATIVE Quad Resonators This unit is based on comb filters and adds tuned resonances to any input signal.
Yes! It's actually possible to have a huge number of simultaneous FX Units active at the same time in one instance of Omnisphere. Any of the FX Units can be put into one of the four slots in an Omnisphere FX Rack and depending in your computer's processing power, up to 37 FX Racks can be open at once.
FX BASICS Loading An FX Unit To load an FX Unit into a Rack, click the downward facing triangle on the desired slot. From the resulting dropdown menu, choose an FX Unit by selecting the FX category and then the FX name from the menu.
FX BASICS Changing An FX Unit To select a different FX Unit in the same FX Slot, click the same downward arrow and choose a different one from any of the categories from the dropdown menu list.
FX BASICS Bypassing FX Units It can be useful to audition sounds and Patches by bypassing one or more of the FX units. When an FX unit is bypassed it is removed from the audio chain, allowing you to hear how any particular effect (or group of effects) is changing the sound. Bypassing an FX Unit An FX Unit is active when the oval FX Name Window is lit up with a light blue color. To Bypass an FX Unit,click the oval FX Name Window. The name window darkens when bypassed.
Tip: You can globally bypass FX units and use Sound Lock to browse Patches without any FX enabled.
FX BASICS Drag and Drop The position of an FX unit in the audio chain will affect how it sounds and reacts. For instance, placing a reverb in the chain BEFORE a compressor will sound dramatically different than placing it AFTER. FX units can be easily repositioned in any of the FX pages by clicking on the rack ear’s handles and dragging the unit to the desired position. To move an FX unit to another rack, you can copy the effect preset from the Presets menu and paste it to another rack.
FX BASICS Removing An FX Unit To remove an FX Unit from the rack, click the downward facing triangle on the active slot and choose NO EFFECT from the top of the list. NOTE: Removing any unneeded FX Units saves memory when the patch is loaded. It is recommended to remove any unnecessary FX before saving Patches, Multis or Songs.
FX PRESETS Introduction The flexible FX Preset system offers rapid access to the full power of Omnisphere's FX. It's easy to create, copy, paste, save, and recall unique individual FX Units or entire Racks of FX. There are two kinds of FX Presets: FX Unit Presets and FX Rack Presets. FX Presets may be: • Saved with custom names • Loaded from a dropdown menu • Copied from any FX Slot or Rack • Pasted to any FX Slot or Rack • Freely shared across any platform or host.
FX PRESETS Unit Presets An FX Unit Preset consists of the complete customized parameter settings of a specific FX Unit, which allows for “total recall” of that one effect. It's very useful to build a library of FX Unit presets that you like and you can experiment by using Presets created for one purpose for a completely different application. FX Unit Presets are accessed by clicking on the downarrow next to the left on an FX unit. A menu will pop up displaying Presets relevant to that particular unit.
Omnisphere/Settings Library/User/Presets/Effects/name of the effect unit User Presets will appear up in the Preset menu below the Factory Presets, divided by a solid line. You can create as many subdirectories for presets as you like, as long as the folders are nested on your drive in the specific directory for that unit. FX Presets have the extension .
FX PRESETS Saving Saving an FX Preset allows you to give a Preset a custom name and recall it later from a list of Presets. This is a convenient way to build a custom library of FX that you like to use. To Save a Preset: • Select the dropdown arrow to the left of the unit. • A dropdown menu will appear. • Select SAVE EFFECTS PRESET. • A Save dialog box will appear allowing you to name the FX Preset. The Save dialog box defaults to the directory for that particular FX Unit.
FX PRESETS Copying & Pasting Units In addition to reorganizing FX units by dragging and dropping, you have the option to copy and paste them to alternate locations. Copying an FX Unit, along with all of its current parameter settings and Pasting it into a different slot or rack is another way of changing the order and placement of FX Units. It's not required to Save a Preset in order to use it in another other FX Slot.
FX PRESETS Racks A Rack Preset saves the settings of all four FX Slots into a single Preset. Any combination of up to four FX Units and their respective settings is saved. This feature gives you instant “total recall” of a whole FX Rack to try on anything in Omnisphere. The possible combinations of Effects and settings are an endless source of inspiration. Selecting the PRESETS menu in the upper left of the FX Rack accesses FX Rack Presets.
FX PRESETS Saving Racks Saving a full Rack Preset allows you to give the Preset a custom name and recall it for future use. This is a convenient way to build a custom library of Rack Preset sthat you like to use. To Save an FX Rack: • Select the PRESETS menu arrow above the FX rack. A dropdown menu will appear like the one below. • Select SAVE EFFECT RACK PRESET • A Save dialog box will appear allowing you to name the FX Rack Preset.
FX PRESETS Loading Racks Loading FX Rack Presets from the menu is an easy way to use your favorite FX combinations at any time. Also, it allows you to quickly experiment with many combinations of different settings in different musical contexts. To Load an FX Rack Preset: • Select the PRESETS menu arrow above the FX rack. • A dropdown menu will appear. • Select a Rack Preset from the menu to load the new Rack.
FX PRESETS Copying & Pasting Racks asdf Copying an FX Rack along with all of its current parameter settings and pasting to a different Rack is a quick and useful way of working with FX Racks. It's not required to Save a Preset in order to copy it to another Rack. You can simply Copy the Rack with its current settings and Paste it into any other Rack. You can also Paste over an existing Rack. To Copy and Paste an FX Rack: • Select the PRESETS menu arrow above the FX rack. • Select COPY EFFECT RACK.
FX Tube Limiter The Tube Limiter FX Unit in Omnisphere is both a limiter and compressor. It was modeled on the warm sound of the famous Fairchild™ 670 tube limiters of the 1960's. The Tube Limiter has a slower and smoother response than the other compressors in Omnisphere, that not only works great as a stereo buss compressor/limiter, it also works well for individual instruments. It has a fixed internal compression ratio that matches the character the old Fairchild™ units.
FX Tape Slammer The Tape Slammer FX Unit is designed to simulate the effects of different types of analog tape compression, saturation and age. It's very versatile and is the perfect unit to add when you need a little more edge, grit or warmth. It's also ideal to make something sound more retro, and even works well as a normal compressor/limiter too! • PAGE ONE CONTROLS SATURATE Controls the amount of the tape saturation/distortion effect.
FX Modern Compressor The Modern Compressor FX unit has a bright, “solidstate” sound character with a very fast and snappy response curve. The Modern Compressor was modeled after the legendary SSL™ compressors found in their renowned consoles that are responsible for many hit records. This compressor is great for the stereo master buss if you want a very clear bright sound, or works equally well in bringing out the presence of any individual element in a mix.
FX Vintage Compressor Although the Modern and Vintage Compressor units have nearly identical controls, the sound and response characteristics couldn't be more different. The Vintage Compressor was modeled on vintage UA LA2A™ and 1176™ style response curves, but given more flexibility to tailor the sound. This unit is very warm and musical sounding and works best with individual elements. THRESHOLD Sets the audio level at which the unit starts to compress the signal.
FX Precision Compressor The Precision Compressor is superclean, versatile and modernsounding. It's an ideal hifi studio compressor and works well for mastering. INPUT Sets the input level to the compressor. RATIO The compression ratio can be set from 1:1 (no compression) to 10:1. SUSTAIN Controls both the threshold and output gain of the compression effect. Higher settings lower the threshold and make up more gain, while slowing the attack.
FX Stomp Comp The Stomp Comp is modeled after the vintage Ross Compressor guitar pedal. This pedal is extremely hard to find and very expensive, hence it's one of the mostcloned compressor pedals on the market. It is known for its warm and full tone, but also for its soughtafter tough, gritty character. It's not just for guitars! INPUT Sets how hard you are hitting the compressor. SUSTAIN Controls both the threshold and output gain of the compression effect.
FX Gate Expander The Gate Expander FX unit is a traditional Noise Gate type of effect. It also works well as a Dynamic Expander, which is the inverse of a compression effect. THRESHOLD Controls the audio level at which the Gate starts to open. Range: 0 to 35db ATTACK Adjusts the speed at which the gate opens. Range: 0.1 ms to 400ms HOLD Adjusts how long the gate remains open. Range: 0 to 2000ms RELEASE Adjusts the speed at which the gate closes. 0.
FX Studio EQ This clean, versatile 2band parametric EQ provides multiple modes for each band. In addition to Peaking mode, where you choose which frequencies to scoop or boost, the controls include High and Low shelving and highpass / lowpass filtering. [BAND 1] [BAND 2] GAIN Adjusts the gain of Band 1 and Band 2. [BAND 1][BAND 2] FREQ Selects the Frequency of Band 1 and Band 2. [BAND 1][BAND 2] Q Controls the Resonance or EQ Bandwidth of Band 1 and Band 2.
FX Vintage 2Band EQ The Vintage 2Band Equalizer FX unit was modeled after the great fixed frequency design of the vintage Pultec™ EQP2A model tube equalizer. The unique characteristic of this classic design is that on each EQ band, the same frequency can be broadly cut and boosted simultaneously. It also includes a gentle low pass filter for the hiband, which results in very warm and musical tones that can have a lot of gain without getting harsh.
FX Vintage 3Band EQ The Vintage 3Band Equalizer FX unit was modeled after the great fixed frequency design of the vintage Pultec™ EQP series tube equalizers, which are renowned for their extremely musical and fat tones that can have a lot of gain without getting harsh. [LOW] FREQ Dropdown menu that provides Frequency options of 20, 30, 50, 60, 75, 100, 200 Hertz [LOW] GAIN Adjusts the gain of the Low Band. Range: 20 to +20 dB [MED] FREQ Dropdown menu that provides Frequency choices.
FX Graphic 7Band EQ The 7 Band Graphic Equalizer is very useful for tailoring a full spectrum audio source with broad control of multiple bands. With the Q control, it is much more versatile than an average graphic EQ capable of achieving comb filter FX and even basic speaker simulation effects. • PAGE ONE CONTROLS 50Hz, 100Hz, 500Hz, 1k, 5k, 10k, 15k Each knob controls the gain of the corresponding frequency.
FX Graphic 12Band EQ The 12Band Graphic Equalizer is very useful for tailoring a full spectrum audio source with fine controls of multiple bands for precision control. With the Q control, it's much more versatile than an average graphic EQ capable of comb filter FX and even basic speaker simulation effects. 63Hz, 125Hz, 250Hz, 400Hz, 630Hz, 1k, 1.6k, 2.5k, 4k, 6.3k, 10k, 16k Each knob controls the boost or cut gain of the corresponding frequency.
FX Parametric 2Band EQ The 2Band Parameter Equalizer has the benefit of precision frequency control, with two fully sweepable, overlapping bands. This type of EQ is best suited for “surgical” equalization, particularly in pinpoint cutting or reducing of an undesirable frequency in the source audio. [LOW] FREQ Selects a Frequency. Range: 30 to 7000 Hz [LOW] Q Controls the Resonance or EQ Bandwidth. Range: 1.9 to 0.1 [LOW] GAIN Adjusts the gain of the Low Band.
FX Parametric 3Band EQ The 3Band Parameter Equalizer has the benefit of precision frequency control, with three fully sweepable, overlapping bands. This type of EQ is best suited for “surgical” equalization, particularly in pinpoint cutting or reducing of an undesirable frequency in the source audio. [LOW] FREQ Selects a Frequency. Range: 30 to 600 Hz [LOW] Q Controls the Resonance or EQ Bandwidth. Range: 1.9 to 0.1 [LOW] GAIN Adjusts the gain of the Low Band.
FX Envelope Filter This FX Unit uses Omnisphere's filters with an envelope follower, adding sonic animation to the envelope of a sound. Includes a cool compressor on Page 2 to squash those filtered sounds! Great for use with Clavinets and electric guitars, and anything else you want to liven up. MINISLIDER Controls the mix of the dry signal and the processed (wet) signal. The percentage indicates the amount of the signal that is wet.
The SPREAD control moves the cutoff frequency in one direction on one side of the stereo field while moving it in the opposite direction on the other side of the stereo field. [COMPRESSOR] ON/OFF Engages and disengages the compressor through which the filter is fed before the output. [COMPRESSOR] INPUT Sets the input level to the compressor. [COMPRESSOR] SUSTAIN Controls both the threshold and output gain of the compression effect.
FX Formant Filter The Format Filter adds characteristics of the human voice to a sound. It accomplishes this by chaining a narrow set of bandpass filters, set at specific frequencies, which reflect the formants of the human voice. • PAGE ONE CONTROLS HEADSIZE Simulates the resonating qualities, based on the size of a human head. Higher values will have a deeper resonance. Range: 0.00Cm to 1.00Cm VOWEL Selects the type of vocal formant, or vowel character, that will affect the sound.
Unsynced: 0.00Hz to 15.000Hz [HEADSIZE] DEPTH Controls the amount of the modulation. Range: 0 to 1 [HEADSIZE] SYNC There are two ways to control the rate of the Headsize modulation, by Hz and by various sync rates with the host. When the Sync button is enabled, the values will change to musical rates. [VOWEL] RATE Controls the speed of the Vowel modulation. The rate types are either in Hz or in rhythmic values depending on whether the Sync button is enabled or not.
FX Power Filter The Power Filter is a brand new filter developed in cooperation with GMedia, which is based on their famous impOSCar filter design. This rich sounding filter requires a fair amount of CPU power and should be used sparingly on slower computer systems. It's the same Power Filter as the one on the Filter section, but with more filter types and an additional dedicated LFO for sweeping the width, which is useful for producing formant and vowel sweeps.
Range: Synced: 32x,16x, 8x, 7x, 6x, 5x, 4x, 3x, 2x, 1/1, 1/2, 1/4, 1/8, 1/16, 1/32, 1/64, 1/96, 1/1dot, 1/2dot, 1/4dot, 1/8dot, 1/16dot, 1/1triplet, 1/2triplet, 1/4triplet, 1/8triplet, 1/16triplet. Unsynced: 0.00Hz to 15.000Hz [CUTOFF] DEPTH Controls the sweep range of the cutoff modulation. Range: 0 to 1 [CUTOFF] SYNC Engages and Disengages synchronization of the LFO rate with the host's tempo. [WIDTH] RATE Controls how fast or slow the filter width cycles.
FX Valve Radio The Valve Radio FX unit is a unique device, which functions equally well as a dual filter and also a distortion device. The combination of these two effects can product many types of vintage radio and telephone speaker simulation effects. This unit also includes a simple noise gate on Page 2. MINISLIDER Controls the mix of the dry signal and the processed (Wet) signal. The percentage indicated is the amount of the signal that is Wet.
FX WahWah The WahWah FX unit was modeled after classic wah pedals of the 1970's. It's a fun and versatile effect that doesn't sound like any of the other Omnisphere Filters. This FX unit works both as a sweeping wahwah and also as an “autowah” envelope filter effect by using the controls on Page 2. • PAGE ONE CONTROLS [SWEEP LFO] RATE Controls how fast or slow the LFO Sweeps.
[AUTO ENV] RELEASE The time of the Envelope Follower modulation ending slope. Range 25 to 1500 ms [AUTO ENV] POLARITY The polarity of the Envelope Follower modulation. Choices: HIGH/LOW, LOW/HIGH SOURCE Dropdown menu that allows a choice between LFO and AUTOENV as source of Wahwah modulation. LEVEL Adjusts the overall output volume. Range: 0 to 13 dB.
FX Crying Wah This FX unit is modeled after the classic Vox™ Cry Baby wahwah pedal, used by Clapton and Hendrix, and pretty much everyone else! Includes a nice compressor at the end of the path to compress the filtered signal. PEDAL Control the frequency (wah) of the filter. [AUTO WAH] SENS Controls the depth of the envelope applied to the filter. [AUTO WAH] ENV Controls the response of the envelope follower. The envelope reacts faster at slower settings and slower at higher settings.
FX Stompbox Modeler This FX unit recreates 11 of THE BEST classic fuzz, overdrive, and distortion pedals, including Boss, Ibanez, DOD, Arbiter, Sola Tone, MXR, Pro Co, and Big Muff. DRIVE Sometimes referred to as overdrive, Drive represents the amount the amplifier is overloaded, causing distortion. The higher this control is set, the more distorted the signal will be. TONE Controls the tone of the distortion, creating darker results at low settings and brighter results at higher settings.
Big Muff Pi™ ElectroHarmonix developed this from earlier models called Axis Fuzz and Foxey Lady, obvious nods to Hendrix. Boss DS1 Distortion™ Similar to the Pro Co RAT, this simple overdrive pedal was popular with Prince, Nirvana, Steve Vai, and the Red Hot Chili Peppers.
FX Flame Distortion Flame is an extremely versatile distortion unit capable of anything from mild tube overdrive to nasty bit crushing and radical fuzzbox effects. The Driver has many different types of waveshaping types and the unique structure of not only pre/post gain, but pre and post filtering with mixable LP/HP filters on each side of the Drive circuit. All of which makes for a killer distortion processor! MINISLIDER Controls the mix of the dry signal and the processed (Wet) signal.
FX Metalzone Distortion This FX unit is modeled after the Boss MT2 Metal Zone™ distortion pedal. Huge lowend and midrange, with a supersmooth highend, this distortion unit's overdrive ranges from warm to insane. Excellent, musical tone controls for shaping the perfect sound. DRIVE Sometimes referred to as overdrive, Drive represents the amount the amplifier is overloaded, causing distortion. The higher this control is set, the more distorted the signal will be.
FX Toxic Smasher This FX unit combines Omnisphere's Waveshaper with different filter types. It provides the same effect as the existing Waveshaper in Omnisphere, but with the flexibility of using it anywhere in an FX chain. MINISLIDER Controls the mix of the dry signal and the processed (wet) signal. The percentage indicates the amount of the signal that is wet. • PAGE ONE CONTROLS CRUSH ntroduces distortion by reducing the resolution of digital audio.
The Animation slider adds a dynamic, timevariant character to the sample rate reduction. This parameter will have no effect if the REDUCE knob is set to zero. FILTER Dropdown menu for selecting the filter type: LPF, BPF, HPF or OFF. [FILTER] CUTOFF Controls the filter Cutoff frequency. [FILTER] RESO Controls the filter Resonance. [FILTER] PRE/POST Controls where the filter sits in the audio path: "PRE" places it before the crushed/reduced/waveshaped signal, POST places it after.
FX Foxxy Fuzz This FX unit is modeled after the Foxx Tone Machine™ fuzz pedal, available from 19651975. Known for its long sustain. SUSTAIN This knob controls the distortion and the famous sustain level. MELLOBRITE This knob controls the tone and ranges from (you guessed it!) mellow to bright! VOLUME Adjusts the overall output volume. OCTAVE This switch acts like an octaver adding harmonic distortion an octave above.
FX Bassman This FX unit is modeled after the mighty, mighty '59 Fender Bassman™ amplifier many guitarists' favorite amp. It has a full set of amplifier controls, along with a selection of impulse responses from the speaker cabinet using different highend mic and preamp combinations. Includes controls for the head and the cabinet, which can be used separately or in combination with other amps. • PAGE ONE CONTROLS BASS Bipolar control which cuts or boosts low frequencies.
with other amp heads. CABINET MIC Dropdown menu for selecting impulse responses of the speaker cabinet using a variety of highend preamps and mics.
FX Boutique This FX unit is modeled after the 100watt Dumble Overdrive Special™ amplifier. It has a full set of amplifier controls and a selection of impulse responses from the speaker cabinet using different highend mic and preamp combinations. • PAGE ONE CONTROLS GAIN The Gain switch introduces a gain boost into the guitar amp, like a “High Gain” switch. AMPLIFIER Enables or disables the amplifier model. If the switch is off, none of the amplifier controls will be active.
CABINET MIC Dropdown menu for selecting an impulse response of the speaker cabinet using a variety of preamps and mics.
FX Brit Vox This FX unit is modeled after the Vox AC30™ amplifier. This amp led the British Invasion of the 1960s! Comes with selectable, highend mic and preamp combinations. Controls for the head and the cabinet which can be used separately or in combination with other amps. Mix and match heads and cabinets! • PAGE ONE CONTROLS BASS Bipolar control which cuts or boosts low frequencies. MID Bipolar control which cuts or boosts midrange frequencies.
EQ Enables or disables the tone controls on Page One. CABINET MIC Dropdown menu for selecting an impulse response of the speaker cabinet using a variety of preamps and mics.
FX Classic Twin This FX unit is modeled after the classic (and we mean CLASSIC!) 1965 Blackface Fender Twin™ amplifier. The unmistakable sound of this 85 watt / 212 combo has been heard on virtually every record in the past 50 years. Comes with selectable, highend mic and preamp combinations, as well as controls for the head and the cabinet which can be used separately or in combination with other amps. • PAGE ONE CONTROLS BASS Bipolar control which cuts or boosts low frequencies.
AMPLIFIER Enables or disables the amplifier model. If the switch is off, then none of the amplifier controls will be active. The only active control will be the Cabinet Mic menu and you can use the cabinet with other amp heads. CABINET MIC Dropdown menu for selecting an impulse response of the speaker cabinet using a variety of preamps and mics.
FX Hiwattage This FX unit is modeled after a custom 100watt 1974 Hiwatt™ amplifier is an alltime classic British tonemonster! Comes with selectable, highend mic and preamp combinations. The controls for the head and the cabinet can be used separately or in combination with other amps. Mix and match heads and cabinets! Excellent for creating heavy rock tones. • PAGE ONE CONTROLS BASS Bipolar control which cuts or boosts low frequencies. MID Bipolar control which cuts or boosts midrange frequencies.
Enables or disables the amplifier model. If the switch is off, then none of the amplifier controls will be active. The only active control will be the Speaker Mic and you can use the cabinet with other amp heads. CABINET MIC Dropdown menu for selecting an impulse response of the speaker cabinet using a variety of preamps and mics.
FX Rock Stack This FX unit is modeled after the seminal and iconic '64 Marshall JTM45™ amplifier. Originally based on the Fender Bassman™, it used 12AX7 tubes for more distortion and had an aluminum chassis, to reduce hum. It would be easier to list who has NOT used this amp, than who has! Complete with a full set of amplifier controls, it comes with selectable, highend mic and preamp combinations. Controls for the head and the cabinet which can be used separately or in combination with other amps.
Enables or disables the amplifier model. If the switch is off, then none of the amplifier controls will be active. The only active control will be the Speaker Mic and you can use the cabinet with other amp heads. CABINET MIC Dropdown menu for selecting an impulse response of the speaker cabinet using a variety of preamps and mics.
FX SanZ Amp This FX unit is modeled after the trendsetting SansAmp GT2™ tube amplifier emulation pedal. It has a full set of amplifier controls and a selection of impulse responses simulating selectable, highend mic and preamp combinations DRIVE Sometimes referred to as overdrive, Drive represents the amount the amplifier is overloaded, causing distortion. The higher this control is set, the more distorted the signal will be. LOW Bipolar control which cuts or boosts low frequencies.
FX Smoke Amp The Smoke Amp Simulator has a full set of amplifier controls, speaker combinations and modeled versions of several classic guitar amplifiers. • PAGE ONE CONTROLS (AMP) AMP Enables or disables the amplifier model. If the switch is off, then none of the amplifier models will be active (although the Speaker, Gain, Drive and Master controls will still be operational).
The Gain switch introduces a XXdB boost into the guitar amp, like a “High Gain” switch. DRIVE Sometimes referred to as Overdrive, Drive represents the amount of overloading of the amplifier – which is what creates distortion. The higher this control is set, the more distorted the signal will be. Range: 0100 MASTER This is the output level of the amplifier. When set to a minimum setting, no signal will be heard. Range: 0100 • PAGE TWO CONTROLS (TONE) TONE This switch enables the four tone controls.
FX Thriftshop Speaker Designed to trash your audio by running it through old funky speakers/telephones/megaphones that you might find in a thrift shop. This unit uses different kinds of distortion models and then superimposes the ambiences of a wide variety of devices (ranging from tube radios, computer speakers, and headphones, to children toys, intercoms and much more) onto the sound.
FX Analog Chorus This FX unit is modeled after the Boss CE2™, the Boss CE5 Chorus Ensemble™ and the TC Electronic Chorus™. All three of these chorus pedals are still soughtafter for the unique tones they bring to a track. MINISLIDER Controls the mix of the dry signal and the processed (wet) signal. The percentage indicates the amount of the signal that is wet. RATE This control sets the cycle speed of the LFO.
FX Ultra Chorus Chorus is a pitch and delay effect that adds a rich, shimmering quality to a sound by detuning and delaying the incoming signal and combining it with the unaffected signal. The Ultra Chorus has a dedicated LFO, a ‘Lush’ control, which gives this unit a very dense, rich character compared with other Choruses. • PAGE ONE CONTROLS MINISLIDER Controls the mix of the dry signal and the processed (Wet) signal. The percentage indicated is the amount of the signal that is Wet.
INVERT Reverses the phase of the Chorus. WIDTH Pans the chorused signal to left and right, widening up the stereo image. Range: 0.001.00 TONE Tone is a combination HighPass and LowPass filter. When set at 12O’Clock (.500) the Tone is neutral. When shifted clockwise, a highpass filter is applied, when changed counter clockwise, a lowpass filter is applied. Range: 0.001.00 LEVEL Adjusts the overall output volume. Range: inf to 0.
FX Solina Ensemble This FX unit is modeled after the Ensemble effect in the ARP Solina String Ensemble™. This keyboard was used on records in practically every genre in the Seventies and its signature sound came from the internal chorus effect. That iconic, swirling chorus is faithfullyreproduced here. MINISLIDER Controls the mix of the dry signal and the processed (wet) signal. The percentage indicates the amount of the signal that is wet. RATE This control sets the cycle speed of the LFO.
FX Analog Phaser This FX features models of the incredible Oberheim Phasor™, the classic MXR Phase 90™, and a boutique, customdesigned chorus/phase shifter. MINISLIDEr Controls the mix of the dry signal and the processed (wet) signal. The percentage indicates the amount of the signal that is wet. RATE This control sets the cycle speed of the LFO. Minimum settings will produce a sweeping effect, higher settings will create a more warbling effect.
FX Retro Phaser A Phaser with a vintage, lowfi vibe, the Retro Phaser. On the surface it looks similar to the EZPhaser, but has more features, and a dedicated page for tone shaping. • PAGE ONE CONTROLS MINISLIDER Controls the mix of the dry signal and the processed (Wet) signal. The percentage indicated is the amount of the signal that is Wet. Range: 0 to 100% RATE Controls how fast the LFO cycles. The value of the Rate control is determined by the Sync control.
Phasing. • PAGE TWO CONTROLS DIRT Adds subtle overdrive to the Phaser’s signal TONE This control is a simple tone filter control. Range: Tone Dark Tone Bright TONE FX Applies the Tone setting to both the wet and dry signals, or just the wet signal. Range: WET/DRY or WET WIDTH Controls the width of the stereo image of the phasing signal. Range: 0100% LEVEL Adjusts the overall output volume. Range: 0 to 13.0 dB.
FX PRO Phaser The PROPhaser FX unit is one of the most versatile and richest phaser designs ever. It is also capable of producing a wide array of unique sounds beyond traditional phaser effects including tuned resonances, strange pitch bending effects and envelope followed phasing to name a few! MINISLIDER Controls the mix of the dry signal and the processed (Wet) signal. The percentage indicated is the amount of the signal that is Wet.
Range: 0 to 100% • PAGE TWO CONTROLS SOURCE Continuous mix control to blend between LFO and Envelope Follower modulaion sources. Range: 0 to 100% [ENVELOPE] ATTACK The time of the Envelope Follower modulation beginning slope. Range: 0 to 400ms [ENVELOPE] RELEASE The time of the Envelope Follower modulation ending slope. Range: 0 to 1000ms [ENVELOPE] MIN Controls the minimum point of modulation depth of the Envelope.
FX EZ Phaser Contrary to what you might expect, EZPhaser is not a simplified version of the PROPhaser, but an entirely different phaser design with it's own unique sonic character. EZPhaser is best suited to recreating classic phaser effects and it is very simple to use and understand. MINISLIDER Controls the mix of the dry signal and the processed (Wet) signal. The percentage indicated is the amount of the signal that is Wet. Range: 0 to 1 RATE Controls how fast or slow the Phaser cycles.
FX Analog Flanger This FX unit is modeled after the builtlikeatank A/DA Flanger™ pedal. Famous for its road worthy construction and superversatile tone, this flanger gives you fantastic musical effects (not to mention cool jet engine sounds!). MINISLIDER Controls the mix of the dry signal and the processed (wet) signal. The percentage indicates the amount of the signal that is wet. RATE This control sets the cycle speed of the LFO.
FX RetroFlanger Flanging is a sweeping, combfilter type effect. The RetroFlanger has special features that give the sound a more lofi, vintage character. MINISLIDER Controls the mix of the dry signal and the processed (Wet) signal. The percentage indicated is the amount of the signal that is Wet. Range: 0 to 1 • PAGE ONE CONTROLS RATE Controls how fast or slow the Flanger cycles. This is the RetroFlanger’s LFO rate control.
DIRT Adds overdrive to the RetroFlanger’s signal TONE This control is a simple tone filter control that adjusts the brightness of the signal. Range: Tone Dark Tone Bright TONE FX Applies the Tone setting to both the wet and dry signals, or just the wet signal. Range: WET/DRY or WET WIDTH Controls the width of the stereo image of the RetroFlanger signal.
FX Flanger The simple to use Flanger unit provides many types of traditional flanging and tuned resonance effects. The invert switch allows for a wider range of sound characteristics than most flangers offer. MINISLIDER Controls the mix of the dry signal and the processed (Wet) signal. The percentage indicated is the amount of the signal that is Wet. Range: 0 to 1 RATE Controls how fast or slow the Flanger cycles.
FX Analog Vibrato This FX unit is modeled after the vibrato of the onceubiquitous Roland JC120™ and of the Shinei UniVibe™ pedal, which imitated a Leslie (think David Gilmour). RATE This control sets the cycle speed of the LFO. Minimum settings will produce a sweeping effect, higher settings will create a more warbling effect. DEPTH The Depth control adjusts the amount of pitch modulation from the LFO. SYNC Engages and disengages synchronization of the LFO rate with the host's tempo.
FX Vintage Tremolo This unit recreates the classic vintage tube amp tremolo effect. Tremolo was popularized in the 1960s, first with Surf Guitar, and later with keyboards, such as the Wurlitzer and Rhodes electric pianos. The blackface Fender amps from that time were considered the best for this kind of "creamy" tremolo. It was originally (and ingeniously) achieved by using an optoisolator (opto for short) circuit.
FX Quad Resonator This unit is based on four parallel comb filters that can add tuned resonances to any input signal. Comb filters create a "metallic" ringing effect and are created by feeding a sound back into itself and mixing the two signals. The positional relationship of the mixed signals effects the resultant pitch, resonance, and "springiness." • PAGE ONE CONTROLS WET MIX SLIDER Controls the mix of the dry signal and the processed (wet) signal.
and at higher settings, brighter. FX Innerspace Designed to apply acoustic resonances and unique spaces to any sound in Omnisphere, Innerspace superimposes the characteristics of one sound onto another. Sounds range from pills being dropped in a glass, scraped piano strings, crushed sugar grains, cymbal sweeps, to liquid streams, vinyl noises, and tons more.
FX Chorus Echo Inspired by the classic Roland ChorusEcho units from the 1970s, this unit combines both analogstyle delay and chorusing, but includes new features, like stereo width control and a dedicated ‘Dirt’ control for a more gritty sound. • PAGE ONE CONTROLS MINISLIDER Controls the mix of the dry signal and the processed (Wet) signal. The percentage indicated is the amount of the signal that is Wet.
INVERT Inverts the delayed signal, so it’s out of phase with the original signal • PAGE TWO CONTROLS DIRT Adds a warm distortion to the signal. TONE A boost/cut control which adds higher or lower frequencies to the sound. Range Tone Dark – Tone Bright TONE FX A single tone filter which controls the brightness of the signal. Range: WET/DRY or WET WIDTH Controls the width of the stereo image of the ChorusEcho’s signal. Range: 0100% LEVEL Adjusts the overall output volume. Range: 0 to 13.0 dB.
FX BPM Delay The BPM Delay offers a single “truestereo” delay unit that is always insync with the host's tempo. The feedback and drive controls can produce some cool sounds with the builtin resonant filtering. MINISLIDER Controls the mix of the dry signal and the processed (Wet) signal. The percentage indicated is the amount of the signal that is Wet. Range: 0 to 100% • PAGE ONE CONTROLS LEVEL Adjusts the overall output volume.
[OVERDRIVE] FEEDBACK LOOP Inserts the Overdrive and Tone Filter into the Feedback Loop. This is useful for producing echoes that get darker with each successive repeat, and also for creating infinite dubstyle echo feedback. CAUTION: Turning this switch ON can produce extremely loud and powerful howling feedback signals which can damage your ears and your speakers�so watch out! [OVERDRIVE] TYPE Selects between Odd or Even harmonic distortion for the delayed signal.
FX BPM Delay X2 The BPM DelayX2 offers dual monoaural delays that are always synchronized to the host's tempo. The feedback and drive controls can produce some cool sounds with the builtin resonant filtering. MINISLIDER Controls the mix of the dry signal and the processed (Wet) signal. The percentage indicated is the amount of the signal that is Wet. Range: 0 to 100% • PAGE ONE CONTROLS [DELAY1] LEVEL Controls the volume of the delayed audio.
Controls whether the delayed audio goes through a highpass or lowpass filter. In the center, the filter is turned off, similar to the Master Filter on the Edit Page. Range: 0 to 1 [COLOR] EMPH Controls the resonance of the Tone control cutoff frequency in the delayed signal. Range: 0 to 1 [COLOR] FEEDBACK TONE Inserts the Overdrive and Tone Filter into the Feedback Loop. This is useful for producing echoes that get darker with each successive repeat, and also for creating infinite dubstyle echo feedback.
FX BPM Delay X3 The BPM DelayX3 offers triple LCR mono delays that are always synchronized to the host's tempo. The feedback and drive controls can produce some cool sounds with the builtin resonant filtering. MINISLIDER Controls the mix of the dry signal and the processed (Wet) signal. The percentage indicated is the amount of the signal that is Wet. Range: 0 to 100% • PAGE ONE CONTROLS [LEFT] LEVEL Controls the volume of the delayed audio.
• PAGE TWO CONTROLS [COLOR] TONE Controls whether the delayed audio goes through a highpass or lowpass filter. In the center, the filter is turned off, similar to the Master Filter on the Edit Page. Range: 0 to 1 [COLOR] EMPH Controls the resonance of the Tone control cutoff frequency in the delayed signal. Range: 0 to 1 [COLOR] FEEDBACK TONE Inserts the Overdrive and Tone Filter into the Feedback Loop.
FX Retroplex The Retroplex delay unit is specially modeled after the old Tape Echo units of the 60's and 70's like the Echoplex™, with some modern enhancements. It's a lot of fun and unpredictable! MINISLIDER Controls the mix of the dry signal and the processed (Wet) signal. The percentage indicated is the amount of the signal that is Wet. Range: 0 to 100% • PAGE ONE CONTROLS VARISPEED Smoothly controls the tape speed/delay time of the echoes.
Adjusts the bit resolution of the delayed audio for additional distortion. Range: 32bit to 4bit FREEZE Locks the echo buffer for a continuous playback loop of what is in the echo buffer. Useful for simulating sound on sound style tape looping techniques. NOTE: The Freeze buffer is cleared when Omnisphere is closed. To save the Freeze buffer, you need to render Omnisphere to an audio file. GAIN Adjusts the overall output volume.
FX Radio Delay Radio Delay is essentially a hybrid of a Dual mono BPMstyle delay, but with the delayed signals running through the Valve Radio distortion filter. This produces cool, dualfiltered echo effects that sound like they are coming from distorted old speakers or radios. Another cool trick with this delay is that it can be “desynced” from the host's tempo and set to a completely different tempo, so that the delays don't always have that “perfect” sound to them.
FEEDBACK Feeds the delay signal back to the input for echo repeats. Range: 0 to 100% • PAGE TWO CONTROLS FEEDBACK LOOP Inserts the Overdrive and Tone Filter into the Feedback Loop. This is useful for producing echoes that get darker with each successive repeat, and also for creating infinite dubstyle echo feedback.
FX Spring Verb The Spring Verb unit was included in the Omnisphere FX family because we felt that our other reverbs in Omnisphere were sounding too good! This unit faithfully recreates the cheesy vibe of the ancient spring reverbs of 1960's era guitar amplifiers. It's a limited effect to be sure, but when you have need of a retrosonic blast from the past this baby's more than up to the challenge! MINISLIDER Controls the mix of the dry signal and the processed (Wet) signal.
FX PRO Verb PROVerb is the premier, studioquality reverb unit in the Omnisphere FX arsenal. It's very versatile and can achieve not only great Room, Plate and Hall simulations, but it's also capable of producing unusual metallic resonances and special effects. Be sure to check out the large array of Factory Patches for PROVerb, as they demonstrate the range of possibilities very well. MINISLIDER Controls the mix of the dry signal and the processed (Wet) signal.
Chooses the low crossover frequency of the reverb signal. Range: 25 to 1000Hz [REVERB SHAPING] LO TIME Controls the specific length of the reverb's Low Frequencies. Range: 10 to 400 [REVERB SHAPING] HI FREQ Chooses the high crossover frequency of the reverb signal. Range: 500 to 22000Hz [REVERB SHAPING] HI TIME Controls the specific length of the reverb's High Frequencies. Range: 10 to 400 WIDTH Adjusts the stereo width of the Wet signal.
FX EZ Verb The EZVerb is a simple to use, basic reverb unit with tone controls. MINISLIDER Controls the mix of the dry signal and the processed (Wet) signal. The percentage indicated is the amount of the signal that is Wet. Range: 0 to 100% TIME Controls the length of the Reverb. Range: 0 to 0.98 PREDELAY Controls the amount it takes for the first reflection to appear. Range: 0 to 100ms HF DAMP Controls the amount of High Frequency Dampening of the Wet signal. Range: 1 to 0.
FX Imager The Imager is a very useful “swiss army knife” utility device that can be used as stereo image widener, phase corrector, monoizer, panner, channel inverter, leveler, gain booster and more! PAN Controls the spatial placement and stereo balance of the audio within the stereo field. Range: 100%Left to 100%Right. IMAGE Controls the stereo width of the audio. Center is normal stereo. Range: Mono to Wide Stereo +100% SWAP L/R Allows you to swap the Left and Right Channels of a stereo audio source.
FX Technology Partners Spectrasonics FX Technology Partners We are proud to have collaborated with the following partners in developing the custom FX used in Omnisphere: Overloud Audio Tools www.overloud.
Vintage Compressor Gate Expander Vintage 2band EQ Vintage 3Band EQ Graphic 7Band EQ Graphic 12Band EQ Parametric 2Band EQ Parametric 3band EQ Power Filter WahWah Smoke Amp RetroPhaser RetroFlanger Chorus Echo Radio Delay Retroplex GForce Software www.gforcesoftware.com Technology from GForce Software was used in the following FX units: Valve Radio Power Filter Bram at Smartelectronix www.smartelectronix.
Formant Filter Sinevibes www.sinevib.es Technology from Sinevibes was used in the following FX unit: Toxic Smasher LEGAL NOTICES Trademarks All other manufacturers' product names used in this instrument are trademarks of their respective owners, which are in no way associated or affiliated with Spectrasonics. These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Spectrasonics sound development.
