– Bowing 2-note legato. 1911 192kHZ 1946 1959 1973 1973-Pre 1979 1980s 1982 Art 1983 1987 1990 1990s 1993 1998 1HUNNID 1NghtOnly 1st Studio 2 2 AM 2 Bytes 2 Deep 2 piano 2 Skins 20 20 Beautiful 20. Omar Omar's Omari Omatic Omega Omen OMG Omni Omni-X Omnibook Omnipshere OmniPulse 2 OmniPulse 3 Omniscient Omnisphere Omnisphere 2. In Trilian Soundsources where Legato Soundsources are available, the Use Legato SS feature enables very realistic hammer-on, pull-off and other types of performance phrasing. It allows for a very natural playing style, and great sounding Legato trills! Enabling Use Legato SS will change the way the instrument responds to notes that are played. Slicing the piano part with the chords should give interesting results youll get a chord on each key of your keyboard, good for a blatantly sampled chord sound. Add Auto Filter for extra cool points. Try slicing the delayed piano clip with the note values at 32nds, for a more samply/glitchy vibe as you play it across your MIDI keyboard. Use Legato SS / Legato Rules: When Legato Soundsources are available and loaded, enabling the Use Legato SS button will automatically trigger these Special Articulation samples when playing legato-phrased notes a half step or a whole step apart, providing added realism and nuance to the Bass sound. Spectrasonics Omnisphere 2 is one of the most popular plugins among Splice users – Sign up for a free Splice account to download full Abelton Live, FL Studio, and Logic projects that make use of Omnisphere 2’s features and read on to discover some of the ways that it can contribute to your production toolkit.

This week we were pleased to welcome Strezov Sampling to the Time+Space fold. Established and run by Bulgarian orchestrator and film composer George Strezov, the company has become particularly renowned for its high-quality virtual choirs and its sounds can be heard in countless high profile movies. We caught up with George to find out more…

Hi George, so, tell us about Strezov Sampling – who are the people behind the company and how did SS come to be established?

We started our sampling endeavours in December 2012. Since that time we’ve had more than 4 years of constant experimenting, recording and tweaking till 2016, which in our humble opinion, is the year when we finally managed to do the virtual instruments we were always imagining – Freyja,Wotan and Arva.

As we like to point out, Strezov Sampling is a company made by composers for composers. I personally am a composer for TV, cinema and video games, our brilliant core team also includes Alexander Kostov (also a composer for video games and cinema), pianist and arranger Simeon Edward, sound designer Lyubomir Goshev (working for “Haemimont Games” Sofia), Alexander Koev (scripter and arranger), Plamen Penchev (recording and mixing engineer, owner of Sofia Session Studio) and last but not least all the collaborators we are working with across the globe and the wonderful musicians who agree to our crazy ideas.

We established the company mostly because we wanted to create instruments that will serve us in our daytime jobs – imagine our surprise when we saw so much enthusiasm and positive feedback from tons of musicians! And it has been a constant development of our craft since that time.

Tell us about your range of libraries

We are most popular for our choir range, however we have made really cool libraries like for instance “Macabre Solo Strings“, used by Imogen Heap on Harry Potter and the Cursed Child theatre play, as well as our percussion line Thunder X3M and Tupans X3M, used for instance in Battlefield 1 and many other soundtracks.

One thing that is important is that we try to keep the samples as close to the recording stage as possible, making them feel lively and unique. Also, for us, music is mostly connected by emotion – and heavily processing the samples will just result in the lack of said emotion.

What makes your choir libraries unique compared to other virtual choir libraries?

The sound. I have a Masters degree in choral conducting by the National Academy of Music in Sofia and these past 10 years I have sung in choirs – from church music to concerts of Ennio Morricone’s music and classics by John Williams. The way Eastern European choirs perform is very different than the Western tradition – we have female throat singing, orthodox singing in the Byzantine tradition, singing heavily influenced by the Russian traditions. I personally care very much about the recording process of our samples, especially the choral libraries – and conduct them personally, because the tone is very important for the end product.

Can you tell us more about your Syllabuilding feature?

That’s a pretty cool feature that we worked lots of time on. First, we started our experiments with the first Rhodope library – there, we allowed people to create their own words. However, it became clear that this approach – although very detailed – takes too much time, especially for people who are constantly fighting deadlines. That is what brought the concept of Wotan – a library that will allow you to connect pre-recorded syllables, to morph between them, to combine staccato and sustain samples thus creating new words and even textures. The possibilities are countless because you also have specific control over attack, release, offset of each syllable. Also, there’s an option to save and load presets – merge between projects, quickly import “lyrics”.

With the release of Freyja, we added a, in our opinion, revolutionary feature to the Syllabuilder Engine: Agile Legato. It allows the user to play polyphonic legato with every syllable available by just pressing and holding the sustain pedal. That way the sample content behaves as playable as possible and there are no limitations left. In December 2016 we released a free update for Wotan adding this exact feature, so all three of our Next Generation Choir libraries are on the same level. Producing choir mockups has always been a huge hassle in the past. The Syllabuilder Engine is our way to make this process easier as well as more accessible and inspiring.

How do you decide which type of library you’re going to create?

Well, speaking of Wotan, I will give the male choir as an example. Lots of our libraries come after careful examination of the market and searching for the exact niché that needs filling. But some of the libraries we make because we need them ourselves! By that time I was working on a video game called “Victor Vran” – a hack’n’slay RPG with gothic elements that just required that ultra-low bass profundo timbre! However there was nothing like this on the market! So I just began searching for the lowest possible voices in Bulgaria and had the honour of conducting those rare voices!

What’s been the most challenging library to create and why?

Definitely “Arva” – mostly because we have never worked with children before that and the recording process was really hard. We also recorded two ensembles – boys’ choir and girls’ choir – and it turned out that the approach is also quite different between them. We had to give up on quite a lot of the material we recorded because it just didn’t work all right within the library – and we have been recording the library for about a month – every weekend plus a couple of days during the week.

After that we had about two months of tiring production almost till Christmas – after that I am sure all of us despised Christmas carols (sung by children choirs of course!) for a while!

Omnisphere 2 static crackle. What’s your most popular library?

I would say it is Storm Choir 2 – it has been used on almost all trailers these past few years! It is crazy how often I go to watch a movie and hear the samples we’ve recorded. This is why it’s a very important library for us – and for almost half a year now we’ve edited and optimised it for a new upcoming title – Storm Choir 3 – that will have the wonderful features of Arva/Freyja/Wotan and the “epic” content of Storm Choir.

Your samples feature in numerous TV, video game and film soundtracks – can you give us some more examples of where they’ve been used?

As I’ve mentioned before our libraries have been used on many projects – from video games to theatre plays or trailer music. We have a large set of customers that include renowned composers like John Powell (he uses our ethnic choir library Rhodope in his template), Tom Salta (he used Storm Choir and Wotan on the latest Killer Instinct), Jesper Kyd, Imogen Heap (“Harry Potter and the Cursed Child”) and even the great Thomas Bergersen (who I think all of us sample-library nerds adore!).

What can we expect from Strezov Sampling this year (that you can tell us about!)?

As I’ve mentioned before, we’re planning a large update on the Storm Choir series, which will include optimised sample content and fantastic programming, as well as template integration between Storm Choir, Freyja, Wotan, Arva and Rhodope. Speaking of Rhodope, we’re also doing an expansion of that which is really unique. We’ve pushed the singers a bit during the recording, but in the end we’re very happy with the results – definitely a few steps above what we’ve done before!

One new venture is our upcoming library “Vibe”, which we produced together with the great E-Drum guru Michael Schack. This library will feature a huge array of drum loops played with an amazing DW drumkit inside the Sofia Session Studio hall space (the sound was huge!) that will be made especially for contemporary pop music producers – a wonderful addition to splice the drums of your EDM track.

Also, we have a couple of other products that is a bit too early to announce yet. But we’re sure that 2017 will be an exciting year! Stay tuned!

on Oct 23, 2015 in Synths & Sound Design 0 comments

Spectrasonics Omnisphere is known as one of the most powerful and best sounding software synthesizers on the market. It has just received another boost into the audio production stratosphere with its extensive 2.0 update, attracting new users and fans for its sound quality and design. It’s easy to get wrapped up in exploring and playing the thousands of patches available, especially the new additions. And without fault, there are so many usable sounds right of the box that can be used to enhance any production. Producers and composers alike should indulge!

That said, the purpose of this article is to explore the basics of custom synth patch creation using the powerful and easy to use interface in Omnisphere. Not only is the interface design intuitive, but also the complexity of what’s possible can keep the most seasoned music producers busy for months, if not years! If you do a search for custom Omnisphere patches, there are gurus out there selling their wares or offering free downloads of their creations. For those of you starting out with software synth programming, Omnisphere is a worthy investment and a good place to start.

In this article, I will give an overview of how to begin to program synth patches and very quickly find unique and inspiring sounds. I’ll go over types of waveforms, routing and using the modulation sections, where all the magic happens. Along the way, I’ll share some audio clips of my progress. By no means will I be able to cover everything is this short article, but I hope it inspires you to explore Omnisphere or another favorite software synth in your DAW. Come along for the ride as I lead you through my process.

In the Beginning: The Default Patch

When you load up Omnisphere into your DAW, the Default patch is loaded with a ‘SawSquare Fat’ waveform in the Synth window in the Oscillator section. This is the place where we can first select the basic waveform to build from or use a sample instead. For this article, we will be building from the synth generator. There are dozens of different waveforms to choose from including waveforms from Classic hardware synths, analog timbres and digital wavetables. I chose a classic Triangle wave from the top menu.

More Fun in the Oscillator Section

In the expanded oscillator section you have the option to add additional synthesis including FM (Frequency Modulation), Ring Modulation, Waveshaper and choose between Unison, Harmonia and Granular. They all change in the sound in different ways depending on your starting waveform so I would suggest staying in this area for quite a while and explore the options within each section. For my simple triangle wave, I chose to use the Unison section to fatten up the sound a bit. The Unison function makes slightly detuned copies of the original waveform and layers them to create the bigger sound. The spread slider widens the stereo field beautifully. Harmonia is great for creating chords by just pressing one note and Granular, a new synthesis feature in Version 2, is another specialized, but beautiful sound design option.

Legato Ss Piano Omnisphere 2 1

Synth Design Example 1—‘SawSquare Fat’, ‘Triangle’ and ‘Triangle with Unison’:

Playing with Modulation

Figure 4 – Quickly access Modulation drop down menu by right clicking on any parameter.

Back in the A section overview, I decided to play around with The Shape, Symmetry and Hard Sync sliders in the Oscillator section to bring more character to the sound. I also experimented with modulating each of these parameters through different LFOs operating at slightly different, slow rates. I quickly discovered that I was starting to create an interested Pad sound with evolving character. At this point I also went to my Amp Envelope section and adjusted the attack and release so that it was smooth on both ends when changing between chords. I also turned on the main Filter and modulated the Cutoff through LFO 4. I’ve included both samples with and without the Modulating filter cutoff so you can hear the difference. All these adjustments changed the sound dramatically from the previous ‘Unison’ example, as you’ll hear below.

Synth Design Example 2—Designing a Dynamic Pad Sound with Modulation routing, Filter and Amp Envelopes:

Figure 5 – Modulation Matrix Window in Omnisphere.

The Modulation section matrix window is a great place to try different sources and targets. Anything in the Oscillator section can be modulated with LFOs, envelopes and assigned to controllers like mod wheels. I felt more comfortable navigating this Mod section in particular compared to other software synths I’ve worked with.

Save and Tag your Custom Patch

One of most important steps in Synth patch creation is to save and tag your new sound so you do not loose all your hard work and time. You may find a few different variations of a patch during your synthesis process that warrant saving, naming and tagging for different musical purposes. The First step is to save your sound in the ‘User’ directory, make a Category for (in this case ‘Pad Sounds’) and then name your patch. In the ‘Edit Tags’ Screenshot below, I assigned some adjectives to the various attribute types available. I also added my name to the list as an author of that particular patch. It is important to be as detailed as possible so you can find the patch later when searching for similar sounds.

Legato Ss Piano Omnisphere 2 Download

Figure 6 – Creating Tags for Custom Patches in Omnisphere.

Fun with Effects and Arpeggiation

Having completed one pad sound, I used it as a starting point to design another usable sound. I didn’t touch on the FX or Arpeggiator sections in the previous example, so I experimented with those to come up with another synth sound. I was interested in doing something more rhythmic and staccato. First, I made adjustments to my Amp envelope so I had a shorter Attack and Release. Then, I tried out some Arpeggiator presets, selected something close to what I was looking for, and then edited the timing and velocity. In the FX section, there are tons of directions to go with the sound. In this patch, I settled on using one of my favorite new FX in Omnisphere called Innerspace, an Envelope filter and Stereo Imager. My new result is featured below:

Virtual dj download free softonic. Synth Design Example 3—with Arpeggiation and FX:

Figure 8 – FX Section Rack with Innerspace, Envelope Filter and Stereo Imager.

A World of Possibilities… Guided by You!

The world of synth programming is open to all producers and musicians regardless of experience. Software synths in particular are becoming so accessible that anyone can start to create unique sounds quickly. As I discovered on my journey, my custom patches started with a simple triangle wave and become so much more with just a few adjustments to various parameters. Whether you use Omnisphere or another synthesizer, I hope you feel encouraged to spend time exploring what’s possible.

Legato Ss Piano Omnisphere 2 0

Legato Ss Piano Omnisphere 2 0