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Spectrasonics Tutorial

Omnisphere Explained

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33 Videos
Length: 4hr 6min 7sec
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Working with the Presets

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    Tutorial 1

    The Big Picture

    8:35

    Learn how the hierarchy of Omnispheres sound structure and how the main interface elements are set up.

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    Tutorial 2

    Browsing the Browsers

    6:11

    See how the browser functions are a sophisticated data base with options to display, sort, and return search results based on various attributes, key words and tags.

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    Tutorial 3

    Navigating the Patches

    9:45

    Discover some of the ways of sorting and navigating through the Patch Browsers search results field.

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    Tutorial 4

    Custom Navigation

    8:19

    Explore ways of customizing the browser displays, and organizing sounds in custom projects.

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    Tutorial 5

    Save Patches & Edit Tags

    9:53

    Learn how to create a new category and save an edited patch as well as assign and edit custom tags.

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    Tutorial 6

    Sample Thinning

    4:14

    See how the Lite Version function is used for custom sample thinning to free up memory by loading in a subset of the complete sound source sample mappings.

Patch Control

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    Tutorial 7

    Main Page: Patch Controls

    7:25

    Explore the patch wide functions on the Main page Controls tab, and how they can be used to influence how the overall response of the patch reacts when notes are triggered.

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    Tutorial 8

    Main Page: Layering Controls

    8:11

    See how to easily modify and sculpt sounds form the filter and layer specific controls found on the Main Controls page.

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    Tutorial 9

    Patch Common Parameters

    8:36

    The Edit Page is Santas Workshop, the belly of the beast where patches are conceived, born, and grown. Learn how to use the parameters common to an overall patch here as a gateway into designing and sculpting your own unique sounds.

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    Tutorial 10

    Anatomy of a Patch

    7:51

    The basic model of all synthesis is to set up a sound, run it through filters to shape the frequency response, and modulate the filter, amplitude, or other aspects of the sound to create motion. Here well take a simple oscillator waveform, run it through a filter, and use an envelope to create some modulation; as a means of demonstrating the basic anatomy of a patch.

Sound Sculpting

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    Tutorial 11

    Synth Oscillator Controls

    7:52

    See how the main synth oscillator controls are used to shape the sound either statically or dynamically over time, and how the analog and phase knobs are used to introduce pitch and phase discrepancies between the two layers.

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    Tutorial 12

    Sample Mode Parameters

    7:38

    Learn how the Main controls are used for shaping sample based sound sources.

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    Tutorial 13

    FM Synthesis

    7:00

    Explore how the FM synthesis parameters are used to generate wildly oscillating pitch sweeps, gentle vibratos, and add musical grit and bite to your sounds.

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    Tutorial 14

    Ring Modulation

    8:09

    See how the ring modulation parameters are used to multiply and modulate the amplitude of a sound source in interesting ways.

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    Tutorial 15

    Waveshaper

    8:54

    Discover the unique ways Omnisphere can incorporate polyphonic distortion into a patchs signal flow with the waveshaper parameters.

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    Tutorial 16

    Unison Mode

    6:49

    Learn how to use the Unison mode controls to generate subtle, and not so subtle, thickening chorusing effects by adding up to eight automatically generated detuned voices.

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    Tutorial 17

    Harmonia

    6:56

    See how the harmonia zoom functions take the Unison mode multiplier features to the next level by offering unique controls for each of the additionally generated voices.

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    Tutorial 18

    Granular Synthesis

    7:04

    Learn how the granular synthesis parameters are used to split samples into thousands of tiny grains, and then edit their lengths, pan positions, pitches, and order.

Adding Motion

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    Tutorial 19

    Filter Basics

    10:06

    See how Omnispheres filter and filter envelope controls work, and three built-in modulation pathways are used to vary the characteristics of the filter cutoff parameter.

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    Tutorial 20

    Working with Dual Filters

    7:31

    Learn how Omnispheres dual filter system works, and how it can be used to generate complex frequency dependent rhythmic filter patterns.

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    Tutorial 21

    Working with Envelopes

    8:03

    See how to create and edit ADSR and complex envelope patterns in the Envelope Zoom window.

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    Tutorial 22

    Chaos & Groove Lock

    4:31

    Watch how to import and lock an envelope pattern to an external MIDI file or RMX groove, and how to use the chaos and auto chaos features to create variations.

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    Tutorial 23

    Modulation Routings

    5:58

    See how modulation routings are created, managed, and edited on the Edit page and in the Modulation matrix zoom.

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    Tutorial 24

    Morphing Modulation

    6:13

    Discover Omnishperes unique modulation feature that allows for cross fading between two modulation sources feeding the same target.

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    Tutorial 25

    LFO Basics

    5:48

    Explore the various ways to control the repeating cyclical waveforms called LFOs as they are used as modulation sources.

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    Tutorial 26

    LFO Phase Offset & Triggers

    3:48

    See how the phase offset and various trigger modes are used to control where in the waveform and when, in relation to the notes played, the LFO patterns are triggered.

Post Patch Movement

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    Tutorial 27

    Enabling Host Automation

    4:35

    Learn how to enable parameters for automation within your host sequencer, and how to view a master list of all automation assignments.

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    Tutorial 28

    The Arpeggiator

    10:20

    Explore the features of Omnispheres arpeggiator and see how it is used to take incoming MIDI notes and output them in customized sequenced patterns.

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    Tutorial 29

    The Orb

    8:46

    Explore the wild sonic manipulation possibilities available with Omnisphere's Orb. Learn how to record and control its movements externally as you mangle patches in interesting and unexpected ways.

Multitimbral Techniques

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    Tutorial 30

    The Mixer

    7:25

    Explore Omnispheres mixer and FX sections, and learn how to set up the parts for multi-timbral and multiple output usage in Apple Logic Pro.

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    Tutorial 31

    Live Mode

    8:18

    See how Live mode is used to override the individual part MIDI channel assignments, and allow for freely changing between parts via the mouse, key switching, and MIDI CC or program change messages.

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    Tutorial 32

    Latch & Trigger

    6:14

    See how latch and trigger modes are used on the fly in Live mode to create real-time soundscapes.

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    Tutorial 33

    Stack Mode

    9:09

    Learn how to set up note, velocity, or MIDI CC based splits, layers, and cross fades using Omnispheres Stack Mode.

Eli Krantzberg is back with a new series on the mind blowing Spectrasonics Omnisphere virtual synth. Eli covers it from beginning to end, demystifying all of its features and functions as well as ways to get creative with its awesome power.

Eli starts with detailed overviews of the Omnisphere user interface and then covers the basics such as navigating, browsing patches, saving your own patches and edit tags. He then goes into sound sculpting with the different types of synthesis available in Omnisphere, as well as ways to modulate, morph, filter and groove lock your sounds for even more creativeness. Next, Eli dives into the powerful arpeggiator, the Orb, the mixer section, Live mode, Stack mode and so much more.

If you use Spectrasonic Omnisphere in your studio or live rig, why not get the most out of it? New sounds equals new inspiration, and who doesn't need that? Enter Omnisphere Explained today...

Nega1980
Submitted 9 months ago

Really good and complete

Well done Tutorial. With Basic and advance features of this HUGE and complex Synth.

I am a: Semi-Pro, Musician, Sound Designer, Beat Maker

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1. When did you start dabbling in music?

I started playing drums in high school at age fourteen. Like most kids my age around then, I was into progressive rock. Genesis, Emerson Lake and Palmer, and Yes. They rocked my world. A few short years later though, my musical life changed. While studying music in college I discovered Charlie Parker, Milt Jackson, Sonny Stitt, and John Coltrane. Milt Jackson spoke to me in such a profound way that it left me no choice but to take up vibraphone.

These great players, along with  drummers like Philly Joe Jones, Max Roach, Art Blakey, and Elvin Jones changed not only the way I thought about drumming, but also music - and by extension, life - as a whole. I realized life was meant to be a creative endeavor. The idea of improvising based on a loose set of guidelines and rules permeated into my psyche even when I wasn't holding a pair of drumsticks or mallets. But if I am going to be perfectly truthful, I have to hold Henry Miller and Woody Allen equally responsible for shaping the way I view and experience the world around me. 

2. What training have you had?

I am currently an Apple certified Logic Pro. Young and cocky, and armed with only a partial University degree, I dropped out of school and  began playing steady commercial hotel engagements and jazz gigs when I could. This went on for many years until I decided it was time to complete my degree - which I ultimately did with a major in Political Science and a minor in music. 

It was at this point that I formed my current band Nightshift. We are going in to our twenty third year now - playing commercial one nighters like weddings, corporate events, etc. Don't turn your nose up at it though - it has allowed me a wonderful quality of life. It gave me the freedom to go back to school and complete a post graduate degree in Communications Studies - all the while supporting myself by playing weddings.

3. When did you get into recording?

It was in this graduate program - in the early nineties - that I found myself drawn to the fledgling emerging universe of hard disc recording and midi sequencing. Based on nothing more than the recommendation of one of my band mates who had an old Atari, I jumped in head first and bought a Mac LC ll, along with a version 1.1 of what was then Notator Logic. I had no idea what I was getting myself into. But, in hindsight, it was a decision of epic importance in my life - shaping my future as much as the music of Milt Jackson and Charlie Parker did fifteen years prior. 

I opened up my own commercial home studio in 1998 and began doing a variety of projects, working on radio jingles, artist CD projects, and whatever came my way. A couple of years later a colleague called me up - desperate. He was working at a post production house and one of the editors had just quit. They were doing audio post for a weekly TV series and needed a Pro Tools editor - and fast! And so, once again, I jumped in head first into what would ultimately open up my world even more - the world of Pro Tools. 

4. People you have worked with/for?

Focusing on Logic, I built up a small but loyal client base and my phone kept ringing for Logic tech support and instruction. Film composers and studio owners all over the city were calling me. Even the music stores were giving out my phone number at this point! This kind of stuff becomes a self fulfilling prophecy. The more of it you do, the more calls you get to keep doing it. At least that's the way it should be!

As my Logic chops kept growing, I was hired by an old buddy of mine, Len Sasso, who was then an associate editor at Electronic Musician magazine, and began writing some columns for them. I had a blast doing them - and really learned to focus and express my thoughts in a concise and clear manner. This lead to a collaboration with LA based composer Terry Michael Huud on the 2006 film called Civic Duty - which was certainly one of the highlights of my professional life as a composer. 

5. Why are you so good at training people?

I wake up every day excited to boot up, and create. Whether it's instructional videos, creating music, working with a studio client, performing with my band, or teaching at the schools - my days are filled with what I love doing. Enriched by the stimulation and creative freedom this modern music making software brings to my life. I bring that excitement and passion to each and every training product I create. My years of experience both using and teaching these programs has taught me the best way to make the user comfortable with these complex programs.

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Omnisphere Explained is rated 5.0 out of 5 by 1.
Rated 5.0 out of 5 by from Really good and complete Well done Tutorial. With Basic and advance features of this HUGE and complex Synth.
Date published: 2016-06-22