Merg­ing syn­the­sis and sam­ples

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

Future Music - - TOOLKIT -

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.

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