OMNISPHERE

COURSE NOTES
MODULE 6
ADVANCED OSCILLATOR CONTROLS
This module goes through some of the more advanced controls in the oscillator
section, such as those allowing you to sync the oscillators, as well as apply frequency-
and ring- modulation. There is also a guide to waveshaping and how to use the Multi
section in harmonia mode to create intervals and chords.

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 OMNISPHERE
COURSE NOTES
MODULE 6
2
SYMMETRY AND HARD SYNC
The Symmetry slider changes the span of the waveform,
which has a different effect with each waveform type. The
most noticeable effect is with a square wave as it changes the
waveform into a pulse wave (this is like a square wave, only
the up and down pulses aren’t equal). Increasing the symmetry
slider changes the pulse width so that the sound becomes more
pinched and nasal - this is a good control to modulate! The
Hard Sync slider is another great control for adding character
and coloring the sound with harmonics. Turning it up adds an
additional oscillator to the signal, that is sync’d with the main
oscillator on the layer, with the sync’d oscillator’s frequency < Home
increasing with the hard sync level. Although the sync’d
oscillator’s frequency is different from the main oscillator, as Next >
they are sync’d, its waveform is forced to restart each time the < Back
main oscillator completes a waveform cycle, so the basic pitch
or fundamental generally stays the same. However, the higher
the sync’d oscillator’s frequency goes, the more harmonics are
added, to the point where they take over the sound. In the
module movie, there are two modulations applied to these
sliders, with an LFO on the symmetry slider, to shift the pulse
width back and forth, and an envelope on the hard sync slider,
which creates a really interesting sound.

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 OMNISPHERE
COURSE NOTES
MODULE 6
3
FREQUENCY MODULATION
Frequency modulation is a synthesizing technique from the 70s, Frequency modulation is the technique used on a lot of
which was discovered whilst experimenting with Vibrato. Vibrato instruments to create bell sounds. This is done simply by having
is the modulation of pitch or frequency by an LFO, which creates a brief amount of frequency modulation at the start of the sound,
a slow warbling, like you hear when an operatic singer or virtuosic to produce the metallic, clangy noise of the bell being struck. The
instrumentalist performs. Frequency modulation is the same waveform being modulated is a sine wave, which produces the
process, only rather than using an LFO, the modulating oscillator ringing tone that continues to sound after the strike sound has
typically has a much higher frequency, so that the sonic result is stopped. To make this sound with Omnisphere, simply set a layer
totally different. Instead of there being an audible shifting up and to synth mode and choose sine wave as the waveform. Then, turn
down of pitch, you get sidebands, which are additional frequencies on the FM section, and turn the depth slider right down. Then,
on top of the signal, which create extra coloration. right-click/ctrl-click on the slider and choose an envelope as the
modulation source, making the envelope ‘just one spike’, or in < Home
Frequency modulation is applied by turning on the section,
other words just a brief decay with no attack or sustain. This will
setting the depth to the appropriate amount (the higher the Next >
mean that the depth dial is at max when a note is played, and
depth, the more modulation is applied) and then setting the
then quickly fades out. The length of the decay sets how long the < Back
modulator frequency accordingly. The important thing here isn’t
striking sound lasts, with the frequency slider setting the pitch of
the modulator frequency on its own, but the relationship between
the overtones - I normally set it somewhere around 0.75. Then,
the modulator and carrier frequencies. When the frequencies
the layer’s amplitude envelope sets how long the bell continues
are related (in tune with one another), the resulting frequency
to ring for. This should be given a slightly longer decay amount
modulation is more tuneful, whereas at unrelated frequencies,
to the modulation envelope, so that the ringing bell fades out
the effect is much more
shortly after the striking sound does, also with no attack or sustain.
dissonant and out of
I normally set the release times to similar amounts to the decay
tune. The markers along
times so that the sound lasts for the same amount of time whether
the frequency slider
a note is held down or pressed briefly.
(0.25, 0.5, 0.75 and
either end) indicate the
related frequencies, at
which points the sound is
more tuneful.

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 OMNISPHERE
COURSE NOTES
MODULE 6
4
RING MODULATION
Ring modulation is a similar process to frequency modulation, with
an additional oscillator being used to modulate the main oscillator,
in order to create additional frequencies. However, with ring
modulation, you just get two frequencies created, by working out
the sum and difference of the two oscillators. Like with frequency
modulation, the result is more tuneful when the modulator is at a
related frequency to the main oscillator, so at the marked positions
along the frequency slider.
With both frequency- and ring- modulation, you have the option of
using a more complex waveform for the modulator, set using the
switches at the bottom. Typically, a sine wave produces the best
< Home
result, but sometimes a different selection can make the sound Next >
more interesting, when additional character is required.
< Back

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 OMNISPHERE
COURSE NOTES
MODULE 6
5
WAVE SHAPING
Waveshaping is a synthesis technique that can be used to make
a signal more distorted. It’s easy to apply, with a depth slider
for setting the amount once again. However, Omnisphere’s
waveshaper has 4 different algorithms, with increasing intensity.
The important thing to remember with waveshaping is that it
works most effectively on less complex signals. So, if a sound
is already distorted and rich in harmonics, then waveshaping
is likely to make the sound too messy and lacking in clarity.
Whereas, waveshaping a sine wave produces much more
preferable results as the initial sound is so clean. Therefore,
if waveshaping a sawtooth or square wave, the algorithm < Home
and depth probably want setting fairly low, so that the signal
doesn’t become too distorted. Next >
< Back

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 OMNISPHERE
COURSE NOTES
MODULE 6
6
HARMONIA
The Multi section can be set to one of two modes for adding Up to 4 voices can be activated using the numbered switches,
additional voices to a layer. Unison mode, which we’ve already with their pitch set on the right hand side. This is set in relation
looked at, is normally used to apply only slightly detuned to the oscillator pitch, so +7 will mean that the voice is 7
voices, in order to thicken the sound. Harmonia mode however, semitones (or a fifth) above. Then, the dials can be used to set
selected using the menu at the top, is used to add voices at the level, pan or detune the voices, with an additional page
different pitches, in order to create an interval or chord. toggled with the arrows above the dials, where individual
shape, symmetry and sync amounts can be set. The box at the
end of this additional page also allows the waveform of the
voices to be changed, or left the same as the main oscillator
when set to OSC.
< Home

< Back

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