Merging synthesis and samples

Blend the natural with the artificial for out-of-this-world timbres

When crafting patches, having the ability to combine synthetic timbres with unique samples will exponentially increase your sound design possibilities. Synthesised tones bring the power and solidity, while samples provide real-world textures and human flavours. Interweaving these disparate worlds is where the real magic happens – and ‘power synths’ such as the ones above allow you to do this with ease.

In the below tutorial, we’ll exploit Omnisphere 2’s dual-layer architecture by blending a sampled vocal note with a modulated wavetable oscillator. Sometimes, as in this case, the two layers might sound a bit too experimental in their raw state, but that’s where your instrument’s effects come into play: by melding the vocal and synth sound together with processing, you can create a completely unique timbre that would be almost impossible to design via other means.

Each of Omnisphere 2’s two layers can be a synthetic waveform or sample. For our layer A, we’ve selected a sample of a throat singer. By frequency-modulating this signal via the FM section’s internal sine modulator, we’ve created a gritty, alien-like tone.

Over in the B section, we call up a wavetable oscillator, then modulate WT position with a fast saw-shaped LFO. Omnisphere’s sequencer-style Arpeggiator is then called into play, creating a rhythmic 16th-note sequence when a note is held down.

Our two-layer signal is OK, but it properly comes to life once we call up four of Omnisphere’s internal effects: bitcrushing, flanging, the unique Innerspace and delay all merge the two signals into a unique synthetic sequence with a human touch.