Logique et Omnisphere Tutoriel: Créez Votre FX propriétaire de In Space Designer

Space Designer is a powerful tool. Not only can it be used to load Impulse Responses for realistic reverbs but it can also load any .aif or .wav that can be convolved (merged) with any source you feed  

Logic Space Designer est un outil puissant. Non seulement il peut être utilisé pour charger réponses impulsionnelles pour Réverbs réaliste, mais il peut également charger des fonds alternatifs. Ou. Wav qui peut être convoluée (fusionné) avec n'importe quelle source vous nourrir en elle pour faire toutes sortes de sons nouveaux et passionnants et FX.

Im vais vous montrer juste un petit exemple de ce que vous faites avec avec cela.


Étape 1 - créer du contenu

Cet exemple commence dans Omnisphere avec un échantillon de bruit blanc simple appelé Moog Modular bruit blanc cru. Ive a appliqué la mise en unisson par défaut et un peu de Ring Mod.


Im va moduler l'ampli, filtre et Res avec certains des préréglages fournis enveloppe rythmique afin de créer une boucle d'effets. Je vous conseille expérimenter et voir ce que vous obtenez.


[Audio id = "6684"]


Une fois Im heureux Ill rebondir dans un fichier AIF 24 bits.


Étape 2 - Configuration à quelque chose pour effet

Ive fait d'une séquence de batterie 4 barres en utilisant le kit par défaut dans Ultrabeat. Son assez basique! Ill puis créez un envoi de bus pour les bus 1 sur ma chaîne Ultrabeat et le tourner à 0db.

[Audio id = "6683"]


Étape 3 - Chargez votre acoustique

Maintenant Im va charger boucle de bruit que je fis dans le Space Designer thats insérée sur le bus 1 et la transformer en un effet de retard?

Je fais cela en choisissant Charger IR et Init de l'échantillon IR déroulant et naviguer à mon fichier audio rebondi.


Dès jouer mon Ultrabeat séquence je peux entendre le résultat de la convolution entre les deux fichiers audio.

[Audio id = "6688"]


C'est un peu le bordel en ce moment et a besoin de quelques ajustements. Comme vous pouvez entendre le bruit de boucle joue tout le chemin à la fin à chaque fois de ses déclenchée et convoluée avec les sons Ultrabeat.

Im va prendre l'enveloppe de volume et de la rendre plus courte.


Ive a également ajusté le paramètre Start IR (ce qui peut produire quelques variations intéressantes!). Je viens expérimenté jusqu'au je suis venu avec un résultat j'ai été heureux avec. Ive a ajouté un peu de retard exemples d'élargir l'effet

[Audio id = "6689"]


Le résultat est un effet de retard subtile filtrée comme mes empreintes Concepteur de fichier audio lui-même de l'espace sur le Ultrabeat sons étant alimenté en elle.

À partir de maintenant vous pouvez simplement répéter le processus pour créer des effets vraiment sympa les sons qui sont autrement impossibles à réaliser. Voici une boucle avec deux designers d'espace supplémentaire sur les bus différents.

[Audio id = "6685"]


Conseils Sur utilisant cette technique

Utiliser pente RI

Vous pouvez remarquer que la boucle ci-dessus a pris une note. C'est parce que l'un des fichiers chargés dans Space Designer contient des informations pitch et toute les caractéristiques hauteur sera imprimée sur le signal entrant.

Utilisant un bruit comme une source pour votre RI va produire des effets non aigus que le bruit a pas de hauteur définissable.


Caractéristiques de fréquence

Ive a obtenu cet accord fait à partir d'un couple de formes d'onde en Omnisphere. Il a une large gamme de fréquences de faible à élevé.

[Audio id = "6682"]


Im vont nourrir ce fichier avec une boucle de bruit 16ème de note (qui a un filtre passe-bande sur elle modulée par un échantillon

[Audio id = "6686"]


La boucle de bruit se déclenche uniquement les fréquences correspondantes à l'intérieur du RI, la production de ce.

[Audio id = "6687"]


L'effet est très semblable à celle du vocoder. Remarquez comment l'enveloppe courte est à l'intérieur de Space Designer.


Longueur d'échantillon et d'enveloppes

Les choses peuvent devenir très floue en utilisant cette technique. Vraiment courts échantillons IR (je veux dire vraiment courte 1-100ms) va créer des effets de type plus EQ. Réglage de l'enveloppe de volume pour des temps plus courts peuvent aider à nettoyer l'effet et le rendre plus défini.

J'espère vraiment que cela a donné l'envie de faire preuve de créativité avec cela. Les possibilités sont illimitées et peuvent aller de la très troublant pour tout beau, tellement juste expérimenter!


Ne pas avoir Omnisphere? Visitez le site Spectraonsics pour plus de détails sur la façon de l'acheter et vérifier les macProVideo.com Omnisphere 101 tutoriel .

For the past 20 years Toby has worked as a professional guitarist, programmer and producer. Clients include Sir Paul McCartney, George Michael, Shirley Bassey, Yusuf Islam, Giles Martin as well as the London 2012 Olympic Ceremonies. He has also worked extensively in TV, Advertising and Film. As well as composing himself he has also ... Read More

Discussion

Pat Buckna
Very cool technique - thanks
Peter Schwartz
Beautiful technique! I may never leave the house playing with this. Cheers!
Rounik
Really love this tutorial Toby! Thanks for sharing.
Richy
Hi, can anyone tell me how to do the sample and hold LFO bit (frequency characteristics) within massive?
Jeff C
Hey there,

Apple includes a large (~ 400MB) library of material very similar to this with Logic Studio 2. Its an optional installed named Warped Effects for Space Designer.

Its really great that Toby is walking you through the process of making your own. I worked on the development of the Warped Effects library and had a blast making them. Convolution Reverbs like Space Designer can be so much more than high quality reverbs.
Rounik
Hi Jeff,

Well the Space Designer Warped Library is one of my go-to places for weird and wonderful sound design in Logic... So Thank You!!

I second that. Love the way Toby walks us through making our own "warped" additions ;-)
Jeff C
We definitely learned a lot in the process and used so many sound sources. Turns out Omnisphere is totally ideal for this work. If only it had been available then, we might have made even more compelling files.

Which parts of the collection do you gravitate towards the most?
Rounik
Yup... Omnisphere makes the world a better place IMHO!

Can you reveal any of the sound sources you used in certain presets?

I find myself hanging out mainly in the Drone Tones and Textures area. (I love making ambient soundscapes).

:)
Jeff C
hmm, its been a while.

It was a collaborative effort with several designers involved, so I can't speak to it all. I do know several analog modulars and a Kyma Capybara. I think an Access Virus provided some useful source too.

I feel like I'm still learning what will and won't work well with some material. It was quite a learning process.

Also, wish that we could have delivered content that worked at arbitrary tempos.
Rounik
Thanks Jeff,

That's really interesting to know. Seems like the Access Virus finds its way into all sorts of sound design realms.

I imagine you must've created a fair few presets that never made it to the final release?

So do you have a favourite category in the Warped Effects or even a preferred preset?
Jeff C
Indeed, we love Access.

There is always left overs. Sometimes they are planned for future releases, sometimes just because we end up with too much of a specific class of texture or rhythm. If there's too much of a thing that's too similar it kind of slows the review and selection process. I find people don't have much patience and if they don't make a decision in the first 15-30 previews, they may give up. So, keeping it lean and well differentiated is something that helps improve hits.

I think its all pretty great, so its hard to say.

Textures was designed with sustained sounds like pads in mind. I love those. That might be my favorite.

That said, the rhythmic stuff discussed above is somehow very satisfying. So, our Ghost Rhythms are quite fun.

It tough to pick a favorite because the beauty of these is that the source content is key. The same SDIR can sound very different on 3 different sound sources.

haa haa.. just reviewing these, I am having flashbacks to very challenging file naming work. Its not easy naming files like this.
Rounik
Well, I've just been looking at Kyma again... it gets mentioned with hugh regard a lot in the circles I frequent, but I've never tried it out myself.

Well, you inspired me to spend some more time exploring the Ghost Rhythms again.

But you know I was going to mention that you've done a great job not only designing the preset but also naming them! Honestly, the names have worked well for me when browsing through.
tobypitman
Hi Jeff,

Thanks for the comment mate. I'm more than familiar with the Warped library (great job!) as they not only make great content for Sound Designer but they also make an insanely good FX Loop library as well.

I use them all the time as raw AIF files in productions especially 'Ghost Rhythms'. Nice and tasty bit crushed loops!! :)

I've been using libraries like Kalideskopy and Spectral Relativity for years so to see Apple include this kind of content was a bonus for me!

All the best :)
Jeff C
Its always a pleasure to hear positive feedback about work like this. I love how well it demonstrates that there's more to Space Designer than great sounding reverb.
sammydave
Nice technique. In your last example, why aren't we hearing the beat? Is the rhythmic loop on a muted track, triggering Space Designer on a buss?
tobypitman
Hi sammydave,

If you look at the image above the audio you'll see the dry signal is at 0% so you only hear the effect.

:)
sammydave
Gotcha. Now I get it. Thanks!
sunbambino
Jus wanna thank Toby and Jeff, this is stellar info,

The Ghost Rhythm library is one of the most original and compelling aspects of LPX imo, an experimental goldmine no less, and here we are being showen how to expand that archive!!! Again BIG TNKZ

Sun B
Jeff C
I love this old thread. Glad to hear it continues to guide you through this workflow. Also, you can drag Apple Loops into Space Designer. Find a loop which is natively at the tempo of your project and drag it in. I recommend some synth loops.. Try and find something of moderate complexity.. Also, try using the volume envelope to make the fade-out faster. You might find it's more useful if you only hear the first part of the impulse.
sunbambino
Just tried that to great effect, whew, multplying ambient horizons, too good.

While I have your ear, Jeff, can I ask you this? In the Drum Transformer preset called Additive Static (mmmmm) is there a way to change the pitch of the effect?
Jeff C
All you have to do is find the IR file, load it into Logic or a sampler or whatever, and then change the pitch to the desired tone, then bounce a new file. You can drag a wav directly into Space Designer. Once you hear the tonal impulse response, you will realize it's trivial to create your own.
sunbambino
I think I know the answer to my own question, that pitch depends on the pitch of the sample in wav, am I right or ami I right? Still with what I have learned (and am learning) from this thread I'm heading off into wild blue audio with Space Designer... one of the koolest plugs out there
sunbambino
All you have to do is find the IR file, load it into Logic or a sampler or whatever, and then change the pitch to the desired tone, then bounce a new file. You can drag a wav directly into Space Designer. Once you hear the tonal impulse response, you will realize it's trivial to create your own.

Of course, problem solved ;-))

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