Omnisphere bank sellfycom mod#

Technically, the VCM in the oscillator section results in a bunch of natural phasing that is present in all VCO poly synths, and acoustic ensembles. Quote from: creativespiral on January 27, 2020, 09:36:25 AM Hey Guyaguy, glad you got a chance to check it out! Yeah, it definitely does alter the harmonic content hitting the filter section. But, yeah, its a good option to have in the bag of tools! also, as you mentioned, it doesn't capture the voice rotation aspect. although, the effect is extremely pronounced for very soft (ff) and and very strong (pp) strikes, even with using the minimum '1 amount' scaling trick in the matrix and counterbalancing the tuning in the osc section to medium velocity hits (mf/mp).

Omnisphere bank sellfycom mod#

That's a good workaround to keep access to gated seq with velocity, using the fine tune scaling via mod matrix. but if you want to really 'virtually age' the Rev2 filter section, its definitely possible by routing directly to cutoff, or to attack/decay/release of the filter. that's why you have to re-calibrate sometimes. Note: the Rev2 does have VCFs, so this does occur naturally to some extent. You can also route VCM to filter envelope attack/decay, which produces a similar effect, where the moving cutoff peaks are slightly offset on a voice by voice basis. It's very noticeable playing chords with high resonance patches, or binaural stereo layered patches, as each voice/layer will have slight offsets in pronounced cutoff frequencies. In addition, I've found that applying VCM routings to the Filter Cutoff Destination further creates that sort of classic analog sound, as each voice's filter has slightly different cutoff position. If you analyze the combined oscillator output after the osc section, but before the filter, you can see it creates more complex / less sterile waveform with movement, and all of its harmonic peculiarities. Thanks again for the work on this and for sharing it, Guyaguy, glad you got a chance to check it out! Yeah, it definitely does alter the harmonic content hitting the filter section. Just for fun I set up a voice model where the 5th note produces no sound to model a Juno 106 with a dead voice chip! So I'll probably use 2 Init presets-one for patches I plan to use without other gated sequencer modulation and one for patches in which I plan to use the gated sequencer. But it will provide enough richness for patches where you want to use the gated sequence for other things like notes, filter cutoff, effects, etc. Of course it won't replicate the modeling effect of the round robining of voices pitched slightly differently. Since invariably each strike of a key will have slightly different velocity (at least it will with my limited ability!), each note played will vary in its jitter amount.

But there are some workarounds: Use Velocity as Source instead of the Sequencer and route the destination LFO Amount in the Matrix. The only drawback for me is that it eats up the gated sequencer, which I like using for synced stepped modulation. That may be my imagination but it wouldn't surprise me since there's more harmonic content hitting the filter-sort of like the overtone effects Kevin Shields gets by using vibrato while playing.

It seems like the filters react differently as well. (I had been playing more with mono synths.) This really does make for richer, fuller vintage synth-type sounds. I finally spent some time playing around with this.