Logica e Tutorial Omnisphere: Crea il tuo FX proprietario di 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 è uno strumento potente. Non solo può essere utilizzato per caricare le risposte Impulse per riverberi realistico ma può anche caricare qualsiasi. Aif o. Wav che possono essere convoluta (fusa) con qualsiasi fonte di alimentazione in esso di rendere tutti i tipi di suoni nuovi ed entusiasmanti e FX.

Im intenzione di mostrare solo un esempio veloce di quello che fai con con questo.

Fase 1 - Creazione di alcuni contenuti

Questo esempio inizia a Omnisphere con un semplice prelievo di White Noise chiamato Moog Modular Rumore Bianco Raw. Ive applicata l'impostazione predefinita Unison e un po 'di Ring Mod.

Im andando a modulare la Amp, filtro e Res, con alcuni dei preset forniti busta ritmica per creare un loop FX. Vi consiglio di sperimentare e vedere cosa si ottiene.

[Audio id = "6684"]

Una volta Im felice Ill rimbalzare in un file AIF 24 bit.

Fase 2 - Set Up Something To Effect

Ive fatto una sequenza drum 4 Bar utilizzando il kit di default in Ultrabeat. La sua bella base! Ill quindi creare un bus di invio per Bus 1 sul mio canale Ultrabeat e girarlo fino a 0 dB.

[Audio ID = "6.683"]

Fase 3 - Caricare il suono

Ora Im andando a caricare ciclo rumore che ho fatto in Space Designer thats inserito sul Bus 1 e di trasformarlo in un effetto di ritardo!

Faccio questo con la scelta del carico IR e Init dal campione IR discesa e la navigazione verso il mio file audio rimbalzato.

Su giocando il mio Ultrabeat sequenza posso sentire il risultato della convoluzione tra i due file audio.

[Audio id = "6688"]

Il suo un po 'di confusione in questo momento e ha bisogno di qualche ritocco. Come si può sentire il rumore Loop sta giocando tutta la strada fino alla fine ogni volta che il suo scatenato e convoluta con i suoni Ultrabeat.

Im andando a prendere la busta volume e renderlo più breve.

Ive anche modificato il parametro di avvio a infrarossi (questo può produrre alcune variazioni interessanti!). Ho appena sperimentato fino mi si avvicinò con un risultato ero contento. Ive ha aggiunto un certo ritardo di esempio per ampliare l'effetto

[Audio id = "6689"]

Il risultato è un effetto sottile ritardo filtrata come la mia impronte audio Spazio Designer file stesso sul Ultrabeat suoni vengono nutriti in esso.

Da qui in poi si può semplicemente ripetere la procedura per creare alcuni effetti veramente bello suoni che sono altrimenti impossibile da raggiungere. Ecco un ciclo con due progettisti spazio aggiuntivo su autobus diversi.

[Audio id = "6685"]

Consigli sull'uso di questa tecnica

Utilizzando spiovente IR

Si può notare che il ciclo precedente ha assunto una nota. Thats perché uno dei file caricati in Space Designer ha informazioni ed eventuali caratteristiche passo passo sarà improntato sul segnale in ingresso.

Utilizzando come fonte di rumore per il vostro IR produrrà effetti non acuto come rumore non è definibile passo.

Caratteristiche di frequenza

Ive ha ottenuto questo accordo fatto da un paio di forme d'onda in Omnisphere. Dispone di un'ampia gamma di frequenza da basso ad alto.

[Audio id = "6682"]

Im andando ad alimentare questo file con un loop di 16 rumore nota (che ha un filtro passa-banda su di essa modulata da un campione

[Audio id = "6686"]

Il ciclo del rumore attiva solo le frequenze corrispondenti all'interno del infrarossi, producendo questo.

[Audio id = "6687"]

L'effetto è molto simile a quella del vocoder. Notate come breve la busta si trova all'interno di Space Designer.

Lunghezza campione e busta

Le cose possono diventare molto sfocate quando si usa questa tecnica. Davvero breve campioni IR (intendo davvero breve 1-100ms) creerà effetti tipo più EQ. Regolazione del volume busta per tempi più brevi può aiutare a ripulire l'effetto e renderlo più definito.

Spero davvero che questo vi ha dato la voglia di essere creativi con questo. Le possibilità sono infinite e possono variare dal molto inquietante completamente bella, così solo esperimento!

Non hai ancora Omnisphere? Visita il sito Spectraonsics per i dettagli su come comprare e controllare le macProVideo.com Omnisphere tutorial di 101 .

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


Pat Buckna
Very cool technique - thanks
Peter Schwartz
Beautiful technique! I may never leave the house playing with this. Cheers!
Really love this tutorial Toby! Thanks for sharing.
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.
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?
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.
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.
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.
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.
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?
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.

Gotcha. Now I get it. Thanks!
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.
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.
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
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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