If more extreme sound design is your thing, the Granular options are for you.
This goes further, as you can modulate these effects, meaning that if you use the arpeggiatior as your source - for instance, you can create buzzy, gritty running sequences that are perfect for glitch music and darker TV-thriller type sounds in particular. These allow bit reduction and sample frequency reduction at the oscillator stage so the options for darker, harsher and grimier sounds built from scratch is extended. New effects are included in Omnisphere via the Reducer and Crusher options via the new Waveshaper module, too. Harmonia allows you to create monstrous patches of up to 10 sound sources but until v1.5, editing of these has been a touch fiddly - an independent, larger page is therefore very welcome. Omni TR allows for greater control than just Orb manipulation - you can latch sounds so that, for instance, animated sequence sounds keep playing, so if you're using Omnisphere live in mutli-mode, you can build up a sequence of sounds, all of which will sync, before moving on to control their tone qualities via the Orb.Īlso new is a zoom feature for existing Omnisphere pages that require greater screen acreage, such as the Harmonia page. Manipulating Orb parameters with your finger rather than a mouse makes sound design much more fun for starters, but the other appeal will be for live users - Orb is attractive and could easily be patched into a video display for real-time manipulation by DJs and performing producers.
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When installed, this seeks out Omnisphere over Wi-Fi and then allows for all Orb action, alongside functions such as patch browsing and loading to be carried out remotely. Orb is also available via the Omni TR (Touch Remote) iPad application, which can be downloaded for free. iPad supportįor iPad owners, the news gets even better.
Suffice to say that, while preserving the sonic start-point of any program, this feature alone provides hours of intuitive sound design capabilities. Indeed, you can keep doing this until you find a collection of parameters that allow you to create the variations you can hear in your head. What's great is that the Orb has been configured for every single patch in the library, with optimum settings to produce radical or subtle sonic manipulation depending on what seems most relevant for the sound you've loaded.īetter still, however, if you don't like the sonic variations offered by the default Orb parameters, you can click the Dice button, which 'rolls' in a set of replacements, providing a second collection of assigned parameters. The original patch lies at the centre of this target, so by moving the point which you'll find there away from the centre, around the circles, parameters relating to the loaded patch begin to change, producing a constantly evolving set of sonic variations.
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