Omnisphere

FX System

FX are an important part of Omnisphere’s sound palette, and are used to enhance the sonic character of Patches and Multis. They can add space, density and movement, alter the timbre and shape the sound in many interesting ways.

Having high-quality FX built-in to Omnisphere means that FX are integrated with the interface as well as with the sounds. Any FX used are conveniently saved along with Patches and Multis. Combined with FX Presets, Omnisphere provides a cohesive and intuitive way of working with FX.

Omnisphere contains 33 different FX Units, 29 FX Racks, a comprehensive Preset library, and a powerful feature set for integrating the FX with the synthesis engine.

Omnisphere uses Inserts for Patch FX, and Aux Sends for adding FX to the Parts in a Multi. Insert FX affect only the Patch they’re inserted into, either pre or post-fader, while multiple Parts can share any of the Aux Sends FX. All Parts can also go through the final Mastering FX stage.

There’s no limit to how FX can be creatively applied, but certain FX, such as Compressors and Modulation FX, are best used as Inserts. Other FX, like Reverbs and Delays, are often best used as Send FX. Deciding when and where to apply FX is also an important part of optimizing CPU usage in Omnisphere.

One of the key features of Omnisphere’s FX is that any Layer FX parameter can be modulated with any Modulation Source. This means that FX can be fully integrated into the synthesis architecture and character of a Patch, making them more than simple FX plug-ins.

All FX parameters can be MIDI Learned for hands-on control, and enabled for working with host automation.

In addition to individual FX Presets, you can also load or save Rack Presets, which include entire FX chains with all of their settings pre-loaded.

FX - Architecture & Signal Flow

The FX in Omnisphere are organized into Racks, with each Rack containing up to four FX Units.

PATCH FX:

A Patch in Omnisphere can contain up to three Racks of four FX Units each, for a total of twelve FX Units in a single Patch.

To access the FX Racks for a Patch, select a Part in the header and then select the FX button.

Each Layer of a Patch (A & B) has its own FX Rack. The FX in these Racks affect the specific Layer they’re inserted into, and can have any of their parameters modulated with any Modulation Source. These are Pre-fader Insert FX.

Each Patch also has a Common FX Rack, which affects both layers. These are Post-fader Insert FX.

MULTI FX:

A MULTI in Omnisphere can contain up to four Aux Send Racks plus a Master Rack, for a total of twenty FX Units.

To access the FX Racks for the four Aux Sends and the MASTER Rack, select the MULTI tab in the header and then select the FX button.

Each of the four Aux Sends has its own FX Rack. The four Aux FX Racks can be used by any of the eight Parts in a MULTI using the Aux Sends on the Mixer page.

The final FX Rack in the signal chain is the Master Rack. All audio routed through OUT A runs through the Master FX Rack.

In summary, a MULTI can have up to 20 FX Units loaded, plus 8 Parts containing up to 12 FX Units each. This means a fully loaded MULTI can have as many as 116 active FX Units (in 29 Racks) loaded at once! Of course, to actually run that many simultaneous FX would require a very powerful computer.

Below is the effects signal flow to give you an idea how Omnisphere’s effects are chained.

Signal Flow

Each FX Rack has four FX Slots. The signal flow of every FX Rack type is in series - feeding the audio from the top slot through the middle slot and then through the bottom slot. An example of this is illustrated in the picture below:

• In this example, the audio first goes through Flame Distortion FX Unit in the top slot.

• The distorted audio is sent into the EZ-Phaser unit in the middle slot.

• The distorted and phased audio is sent to the EZ-Verb unit in the slot below it.

FX - Descriptions

The Omnisphere FX Units are effects that exist within the Omnisphere plug-in.

There are 33 different professional quality internal FX Units to choose from:

COMPRESSOR/LIMITER GAIN FX
Tube Limiter
Both a limiter and compressor, modeled on the warm sound of the famous Fairchild™ 670 tube limiters of the 1960's.

Tape Slammer
Simulates the effects of different types of analog tape compression, saturation and age.

Modern Compressor
Modeled after the legendary SSL™ console compressors, with a bright, “solid-state” sound character.

Vintage Compressor
Modeled on vintage UA LA-2A™ and 1176™ compressors, with a very warm and musical sound.

Gate Expander
A traditional Noise Gate effect that also works well as a Dynamic Expander.

Imager
A handy Utility device that can be used as stereo image widener, phase corrector, and much more.

EQUALIZERS
Vintage 2-band EQ
Modeled after the Pultec™ EQP2-A model tube equalizer, with a very warm and musical tone.

Vintage 3-Band EQ
Modeled after the Pultec™ EQP series tube equalizers, renowned for their extremely musical and fat tones.

Graphic 7-Band EQ
Useful for tailoring a full spectrum audio source with broad control of multiple bands.

Graphic 12-Band EQ
Useful for tailoring a full spectrum audio source with fine control of multiple bands for precision control.

Parametric 2-Band EQ
Provides precision frequency control, with two fully sweepable, overlapping bands.

Parametric 3-band EQ
Provides precision frequency control, with three fully sweepable, overlapping bands.

FILTERS
Wah-Wah
Modeled after classic wah pedals of the 1970s.

Power Filter
Developed in cooperation with GForce Software, and based on their famous impOSCarÔ filter design.

Formant Filter
A filter based on the characteristics of the human vocal tract.

DISTORTION AMP FX
Valve Radio
A unique device that functions both as a dual filter and a distortion device.

Flame Distortion
An extremely versatile distortion and bit crushing unit.

Smoke Amp Simulator
A guitar amplifier modeling effect, with models for a variety of amps and cabinets.

MODULATION FX
Ultra-Chorus
A very rich and thick chorus unit, with some unique LFO modes.

Retro-Phaser
Classic Phaser unit with a vintage, low-fi vibe and a darker tone.

PRO-Phaser
A versatile and rich phaser design capable of going way beyond traditional Phaser effects.

EZ-Phaser
Best suited for classic phaser effects, while being very easy to use and understand.

Retro-Flanger
Classic Flanger unit with a warm, vintage character.

Flanger
Provides many traditional flanging and tuned resonance effects.

DELAYS
Chorus Echo
Inspired by the classic RolandÔ Chorus-Echo units from the 1970s. Features a modulated delay line that can be synced to the host tempo and also includes a vintage chorus mode.

BPM Delay
A single “true-stereo” delay unit that is always in-sync with the host tempo.

BPM Delay X2
Dual monaural delays that are always synchronized to the host tempo.

BPM Delay X3
Triple LCR mono delays that are always synchronized to the host tempo.

Retroplex
Modeled after the old Tape Echo units of the 60's and 70's such as the Echoplex™.

Radio Delay
A Dual mono BPM-style delay, but with the delayed signals running through a Valve Radio distortion filter.

REVERB
Spring Verb
Faithfully recreates the cheesy vibe of the ancient spring reverbs of 1960's era guitar amplifiers.

PRO-Verb
The premier, studio-quality reverb unit in the Omnisphere FX arsenal. Extremely versatile and rich.

EZ-Verb
A simple to use, basic reverb unit that uses less CPU power.

But can you only use four effects units at a time?

Nope! It's actually possible to have a huge number of simultaneous FX Units active at the same time in one instance of Omnisphere. Any of the FX Units can be put into one of the four slots in an Omnisphere FX Rack -and up to 29 FX Racks can be open at once!

Here's the structure:

4 Effects per rack x 3 racks per part = 12 Effects/Part

12 Effects per Part x 8 Parts = 96 FX

4 Effects per rack x 4 Aux racks + Master rack = 20 Effects per MULTI

-------------------------

= 116 maximum simultaneous FX Units (if your computer can handle it!)

NOTES ON USING THE FX

• Each FX Unit consumes differing amounts of additional CPU power when in use, so the number of simultaneous FX Units depends of the CPU power available in your computer. Some FX, like the PRO-Verb, can use differents amounts of CPU power depending on their settings.

• To maximize CPU performance in multi-timbral, LIVE or STACK applications, it’s recommend to Bypass any Part FX Units which can be shared by other parts (especially reverbs & delays). A good approach is to copy a Part FX Unit’s settings, Bypass it and then paste the settings into a free Aux rack for shared use by the multi-timbral Parts.

• Some FX Units have two pages. The second page parameters can be reached by clicking the arrow on the right side of the plug-in. Usually, it's labeled “MORE” or lists the type of parameter found on the second page.

• You can use external third-party FX plug-ins with Omnisphere by utilizing the multiple outputs feature of Omnisphere with your host.

FX BASICS - Loading An FX Unit

To load an FX Unit into a Rack, click the downward facing triangle on the desired slot.

From the resulting drop-down menu, choose an FX Unit by selecting the FX name in the menu.

FX BASICS - Changing An FX Unit

To select a different FX Unit in the same FX Slot, click the same downward arrow and choose a different one from the drop-down menu list.

FX BASICS - Bypassing An FX Unit

An FX Unit is active when the oval FX Name Window is lit up with a light blue color.

To Bypass an FX Unit, click the oval FX Name Window. The name window darkens when bypassed.

Clicking the window again will reactivate the FX Unit.

NOTE: Bypassing an Effect DOES save CPU power.

FX BASICS - Removing An FX Unit

To remove an FX Unit from the rack, click the downward facing triangle on the active slot and choose NO EFFECT from the top of the list.

NOTE: Removing any unneeded FX Units saves memory when the patch is loaded. It is recommended to remove any unnecessary FX before saving Patches, Multis or Songs.

FX PRESETS - Introduction

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The flexible FX Preset system offers rapid access to the full power of the Omnisphere FX. You can easily create, copy, paste, save and recall unique individual FX Units or entire Racks of FX to instantly give any Element within Omnisphere a customized sound.

There are two kinds of FX Presets: FX Unit Presets and FX Rack Presets.

FX Presets may be:

• Saved with custom names

• Loaded from a drop-down menu

• Copied from any FX Slot or Rack

• Pasted to any FX Slot or Rack

• Freely shared across any platform or host.

TERMINOLOGY: “Programs”, “Patches” or “Settings” are common terms in other products for “Presets”. They all mean essentially the same thing. In Omnisphere, we use the term “Presets” exclusively in reference to the settings of individual components, like FX, Envelopes, etc. The term “Patch” always refers to a completed sound in Omnisphere.

HINT: Spectrasonics has included an extensive factory library of hundreds of useful Presets to give you a glimpse into the world of Omnisphere FX. They are a fantastic starting point for exploring the diverse sonic possibilities with the FX system - Don't miss them!

FX PRESETS - Unit Presets

An FX Unit Preset consists of the complete customized parameter settings of a specific FX Unit, which allows for “total recall” of that one effect. It's very useful to build a library of FX Unit presets that you like, since you can quickly experiment with trying Presets that were created for one purpose, but using them for a completely different purpose.

FX Unit Presets are organized so that only Presets relevant to a particular unit appear in the Preset List. For example, in the picture below, the Retroplex Delay has it's own Preset list.

This makes working with FX Presets very easy and clear. You will only see the Presets that pertain to the FX Unit you're working with.

Patches are saved in the Omnisphere/Settings Library/Presets/Effects/ directory.

You can create as many sub-directories for patches as you like, as long as the folders are nested in the specific directory for that unit on your drive. FX Patches have the extension .fxp_rmx

FX PRESETS - Saving

Saving an FX Preset allows you to give a Preset a custom name and recall it later from a list of Presets. This is a convenient way to build a custom library of FX that you like to use.

To Save a Preset:

• Select the drop-down arrow to the left of the unit.

• A drop-down menu will appear.

• Select SAVE EFFECTS PRESET.

• A Save dialog box will appear allowing you to name the FX Preset. The Save dialog box defaults to the directory for that particular FX Unit.

NOTE: There is no Delete Preset command. To remove a Preset, you must navigate to the Preset via your computer's directory structure and remove it manually. The same is true for renaming Presets.

FX PRESETS - Copying & Pasting Units

Copying an FX Unit, along with all of its current parameter settings and Pasting it into another slot is a quick and useful way of reorganizing the order and placement of FX Units. It's not required to Save a Preset in order to use it in another other FX Slot. You can simply Copy the FX Unit with its current settings and simply Paste it into any other FX Slot to change the order of effects. You can also Paste over an existing FX Unit with a different FX Unit and new settings.

To Copy and Paste an Effect:

• Select the drop-down arrow to the left of the FX unit you’d like to copy.

• A drop-down menu will appear.

• Select COPY EFFECT PRESET.

• Choose any other FX Slot. (It does not matter whether or not the targeted FX Slot currently has an Effect on it.)

• Select the drop-down arrow to the left of the unit.

• From the drop-down menu will Select PASTE EFFECT PRESET.

This FX Slot now has the exact same FX Unit and settings as the original FX Unit.

FX PRESETS - Racks

A Rack Preset saves the settings of all four FX Slots into a single Preset. Any combination of up to four FX Units and their respective settings is saved. This feature gives you instant “total recall” of a whole FX Rack to try on anything in Omnisphere. The possible combinations of Effects and settings are an endless source of inspiration.

Selecting the PRESETS menu in the upper left of the FX Rack accesses FX Rack Presets.

FX PRESETS - Saving Racks

Saving a full Rack Preset allows you to give the Preset a custom name and recall it for future use. This is a convenient way to build a custom library of Rack Preset sthat you like to use.

To Save an FX Rack:

• Select the PRESETS menu arrow above the FX rack.

A drop-down menu will appear like the one below.

• Select SAVE EFFECT RACK PRESET

• A Save dialog box will appear allowing you to name the FX Rack Preset. The Save dialog box defaults to the Omnisphere/Settings Library/Presets/Effects/Racks directory on your drive.

All FX Racks Presets appear in the Omnisphere interface in the drop-down menu. It's possible to setup as many sub-directories for Presets as you like, as long as the sub-folders are nested in the “Racks” directory on your drive. FX Rack Preset have the extension .fxr_rmx

NOTE: There is no Delete Preset command. To remove a Preset, you must navigate to the Preset via your computer's directory structure and remove it manually. The same is true for renaming Presets.

FX PRESETS - Loading Racks

Loading FX Rack Presets from the menu is an easy way to use your favorite FX combinations at any time. Also, it allows you to quickly experiment with many combinations of different settings in different musical contexts.

To Load an FX Rack Preset:

• Select the PRESETS menu arrow above the FX rack.

• A drop-down menu will appear.

• Select a Rack Preset from the menu to load the new Rack.

FX PRESETS - Copying & Pasting Racks

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Copying an FX Rack along with all of its current parameter settings and pasting to a different Rack is a quick and useful way of working with FX Racks. It's not required to Save a Preset in order to copy it to another Rack. You can simply Copy the Rack with its current settings and Paste it into any other Rack. You can also Paste over an existing Rack.

To Copy and Paste an FX Rack:

• Select the PRESETS menu arrow above the FX rack.

• Select COPY EFFECT RACK.

• Choose another FX Rack. (It does not matter whether or not the targeted Rack currently has any FX Units in it.)

• Select the PRESETS menu arrow above the FX rack.

• Select PASTE EFFECT RACK.

This FX Rack now has the exact same Effects and settings as the original FX Rack.

FX - Tube Limiter

The Tube Limiter FX Unit in Omnisphere is both a limiter and compressor. It was modeled on the warm sound of the famous Fairchild™ 670 tube limiters of the 1960's. The Tube Limiter has a slower and smoother response than the other compressors in Omnisphere, that not only works great as a stereo buss compressor/limiter, it also works well for individual instruments. It has a fixed internal compression ratio that matches the character the old Fairchild™ units. The Tube Limiter is an ideal tool for pumping things up in a musically fat way.

LIMIT

Engages and Disengages an additional Brick wall limiter at the output. The compression controls continue to work regardless of whether the brick wall limiter is engaged or not.

THRESHOLD

Sets the audio level at which the unit starts to compress the signal. If the input signal is below the Threshold level, the unit does not apply any compression. Once the level crosses the Threshold, then the compression begins to affect the signal. Range: 0 to -60db

GAIN

A make-up gain stage that adjusts the overall output volume to compensate for compression level reduction. Range 0 to 24 db.

PEAK/RMS

Allows the choice of PEAK Limiting or RMS Compression curves. Peak Limiting detects audio transients that are louder than the set Threshold level and applies compression to control those Peaks to whatever level you've set. RMS Compression detects an audio signal's average level and applies Compression to the overall signal. This helps make the whole audio signal louder. With RMS, there is no specific ceiling for the audio as there is with Peak Limiting.

ATTACK

Adjusts the amount of time that the compressor takes to start compressing once the audio has gone above the Threshold level. Range: 0.1ms to 400ms

RELEASE

Adjusts the amount of time that the compressor takes to stop compressing once the audio has gone under the Threshold level. Range: 10ms to 5000ms.

FX - Tape Slammer

The Tape Slammer FX Unit is designed to simulate the effects of different types of analog tape compression, saturation and age. It's very versatile and is the perfect unit to add when you need a little more edge, grit or warmth. It's also ideal to make something sound more retro, and even works well as a normal compressor/limiter too!

• PAGE ONE CONTROLS

SATURATE

Controls the amount of the tape saturation/distortion effect. Range: 0 to 100%

AGE

Allows you to control how “old” the “tape stock” is. Range: Bright to Dark

THRESHOLD

Sets the audio level at which the unit starts to simulate the tape compression. If the input signal is below the Threshold level, the unit does not apply any compression. Once the level crosses the Threshold, then the compression begins to affect the signal. Range: 0 to -60db

ATTACK

Adjusts the amount of time that the compressor takes to start compressing once the audio has gone above the Threshold level. Range: 0.1ms to 400ms

RELEASE

Adjusts the amount of time that the compressor takes to stop compressing once the audio has gone under the Threshold level. Range: 10ms to 5000ms.

GAIN

A make-up gain stage that adjusts the overall output volume to compensate for compression level reduction. Range 0 to 24 db.

• PAGE TWO CONTROLS

LIMIT

Engages and Disengages an additional Brick wall limiter at the output. The compression controls continue to work regardless of whether the brick wall limiter is engaged or not.

PEAK/RMS

Allows the choice of PEAK Limiting or RMS Compression curves. Peak Limiting detects audio transients that are louder than the set Threshold level and applies compression to control those Peaks to whatever level you've set. RMS Compression detects an audio signal's average level and applies Compression to the overall signal. This helps make the whole audio signal louder. With RMS, there is no specific ceiling for the audio as there is with Peak Limiting.

FX - Modern Compressor

The Modern Compressor FX unit has a bright, “solid-state” sound character with a very fast and snappy response curve. The Modern Compressor was modeled after the legendary SSL™ compressors found in their renowned consoles that are responsible for many hit records. This compressor is great for the stereo master buss if you want a very clear bright sound, or works equally well in bringing out the presence of any individual element in a mix.

THRESHOLD

Sets the audio level at which the unit starts to compress the signal. If the input signal is below the Threshold level, the unit does not apply any compression. Once the level crosses the Threshold, then the compression begins to affect the signal. Range: 0 to -60db

RATIO

The range of dynamic compression once the compressor engages. Range is 1:1 to 8:1

GAIN

A make-up gain stage that adjusts the overall output volume to compensate for compression level reduction. Range 0 to 24 db.

PEAK/RMS

Allows the choice of PEAK Limiting or RMS Compression curves. Peak Limiting detects audio transients that are louder than the set Threshold level and applies compression to control those Peaks to whatever level you've set. RMS Compression detects an audio signal's average level and applies Compression to the overall signal. This helps make the whole audio signal louder. With RMS, there is no specific ceiling for the audio as there is with Peak Limiting.

ATTACK

Adjusts the amount of time that the compressor takes to start compressing once the audio has gone above the Threshold level. Range: 0.1ms to 400ms

RELEASE

Adjusts the amount of time that the compressor takes to stop compressing once the audio has gone under the Threshold level. Range: 10ms to 5000ms.

LIMIT

Engages and Disengages an additional Brick wall limiter at the output. The compression controls continue to work regardless of whether the brick wall limiter is engaged or not.

FX - Vintage Compressor

Although the Modern and Vintage Compressor units have nearly identical controls, the sound and response characteristics couldn't be more different. The Vintage Compressor was modeled on vintage UA LA-2A™ and 1176™ style response curves, but given more flexibility to tailor the sound. This unit is very warm and musical sounding and works best with individual elements.

THRESHOLD

Sets the audio level at which the unit starts to compress the signal. If the input signal is below the Threshold level, the unit does not apply any compression. Once the level crosses the Threshold, then the compression begins to affect the signal. Range: 0 to -60db

RATIO

The range of dynamic compression once the compressor engages. Range is 1:1 to 16:1

GAIN

A make-up gain stage that adjusts the overall output volume to compensate for compression level reduction. Range 0 to 24 db.

PEAK/RMS

Allows the choice of PEAK Limiting or RMS Compression curves. Peak Limiting detects audio transients that are louder than the set Threshold level and applies compression to control those Peaks to whatever level you've set. RMS Compression detects an audio signal's average level and applies Compression to the overall signal. This helps make the whole audio signal louder. With RMS, there is no specific ceiling for the audio as there is with Peak Limiting.

ATTACK

Adjusts the amount of time that the compressor takes to start compressing once the audio has gone above the Threshold level. Range: 0.1ms to 400ms

RELEASE

Adjusts the amount of time that the compressor takes to stop compressing once the audio has gone under the Threshold level. Range: 10ms to 5000ms.

LIMIT

Engages and Dis-engages an additional Brick wall limiter at the output. The compression controls continue to work regardless of whether the brick wall limiter is engaged or not. 

FX - Gate Expander

The Gate Expander FX unit is a traditional Noise Gate type of effect. It also works well as a Dynamic Expander, which is the inverse of a compression effect.

THRESHOLD

Controls the audio level at which the Gate starts to open. Range: 0 to 35db

ATTACK

Adjusts the speed at which the gate opens. Range: 0.1 ms to 400ms

HOLD

Adjusts how long the gate remains open. Range: 0 to 2000ms

RELEASE

Adjusts the speed at which the gate closes. 0.1 to 4000ms

RANGE

Controls the dynamic range of the attenuation of the gate. Range: -90 to 0db

FX - Imager

The Imager is a very useful “swiss army knife” utility device that can be used as stereo image widener, phase corrector, monoizer, panner, channel inverter, leveler, gain booster and more!

PAN

Controls the spatial placement and stereo balance of the audio within the stereo field.

Range: -100%Left to 100%Right.

IMAGE

Controls the stereo width of the audio. Center is normal stereo.

Range: Mono to Wide Stereo +100%

SWAP L/R

Allows you to swap the Left and Right Channels of a stereo audio source.

Options: L/R, R/L.

PHASE

Allows control over phase relationship between Left and Right Channels.

Menu options: Normal, Inverted, Inverted-Left Channel, Inverted-Right Channel.

[AUTO PAN] RATE

Controls how fast or slow the auto panning will occur.

When Synced: 16x, 8x, 7x, 6x, 5x, 4x, 3x, 2x, 1/1, 1/2, 1/4, 1/8, 1/16, 1/32, 1/64, 1/2D, 1/4D, 1/8D, 1/16D, 1/2T, 1/4T, 1/8T, 1/16T.

Unsynced: 0 to 8.8Hz

[AUTO PAN] DEPTH

Controls how much auto panning occurs. Range: OFF to 100%.

[AUTO PAN] SYNC

Engages and Disengages auto-pan synchronization with the host's tempo.

GAIN

Adjusts the overall output volume. Range: 0 to 13 dB.

FX - Vintage 2-Band EQ

The Vintage 2-Band Equalizer FX unit was modeled after the great fixed frequency design of the vintage Pultec™ EQP2-A model tube equalizer. The unique characteristic of this classic design is that on each EQ band, the same frequency can be broadly cut and boosted simultaneously. It also includes a gentle low pass filter for the hi-band, which results in very warm and musical tones that can have a lot of gain without getting harsh.

[LOW BAND] BOOST

Increases gain of the selected frequency. Range: 0 to +20 dB

[LOW BAND] FREQ

Drop-down menu that provides Frequency options of 20, 30, 50, 60, 75, 100, 200 Hertz

[LOW BAND] CUT

Reduces the gain of the selected frequency. Range: 0 to -20 dB

[HIGH BAND] BOOST

Increases gain of the selected frequency. Range: 0 to +20 dB

[HIGH BAND] Q

Controls the Resonance or EQ Bandwidth of the selected frequency. Range: 0 to 1

[HIGH BAND] FREQ

Drop-down menu that provides EQ frequency choices of 2000, 3000, 4000, 5000, 8000, 10000, 12000, 140000, 16000, 18000 Hertz

[HIGH BAND] CUT

Reduces the gain of the selected frequency. Range: 0 to -20 dB

[HIGH BAND] FILTER

Adjusts the Frequency cutoff of the Low Pass Filter. Range: 5000 to 18000 Hz

FX - Vintage 3-Band EQ

The Vintage 3-Band Equalizer FX unit was modeled after the great fixed frequency design of the vintage Pultec™ EQP series tube equalizers, which are renowned for their extremely musical and fat tones that can have a lot of gain without getting harsh.

[LOW] FREQ

Drop-down menu that provides Frequency options of 20, 30, 50, 60, 75, 100, 200 Hertz

[LOW] GAIN

Adjusts the gain of the Low Band. Range: -20 to +20 dB

[MED] FREQ

Drop-down menu that provides Frequency choices. Choices: 300, 500, 800, 1200, 1600 Hz

[MED] GAIN

Adjusts the gain of the Mid Band. Range: -20 to +20 dB

[HIGH] FREQ

Drop-down menu that provides EQ frequency choices of 2000, 3000, 4000, 5000, 8000, 10000, 12000, 140000, 16000, 18000 Hertz

[HIGH] GAIN

Adjusts the gain of the High Band. Range: -20 to +20 dB

LEVEL

Adjusts the overall output volume. Range: 0 to 13 dB.

FX - Graphic 7-Band EQ

The 7 Band Graphic Equalizer is very useful for tailoring a full spectrum audio source with broad control of multiple bands. With the Q control, it is much more versatile than an average graphic EQ - capable of achieving comb filter FX and even basic speaker simulation effects.

• PAGE ONE CONTROLS 

50Hz, 100Hz, 500Hz, 1k, 5k, 10k, 15k

Each knob controls the gain of the corresponding frequency. Range: -18 to +18 dB

• PAGE TWO CONTROLS

Q

Controls the Resonance or EQ Bandwidth of all seven frequency bands. Range: 0.1 to 2

LEVEL

Adjusts the overall output volume. Range: 0 to 13 dB.

FX - Graphic 12-Band EQ

The 12-Band Graphic Equalizer is very useful for tailoring a full spectrum audio source with fine controls of multiple bands for precision control. With the Q control, it's much more versatile than an average graphic EQ - capable of comb filter FX and even basic speaker simulation effects.

63Hz, 125Hz, 250Hz, 400Hz, 630Hz, 1k, 1.6k, 2.5k, 4k, 6.3k, 10k, 16k

Each knob controls the boost or cut gain of the corresponding frequency. Range: -16 to +16 dB

Q

Controls the Resonance or EQ Bandwidth of all twelve frequency bands. Range: 0.1 to 2

LEVEL

Adjusts the overall output volume. Range: 0 to 13 dB.

FX - Parametric 2-Band EQ

The 2-Band Parameter Equalizer has the benefit of precision frequency control, with two fully sweepable, overlapping bands. This type of EQ is best suited for “surgical” equalization, particularly in pinpoint cutting or reducing of an undesirable frequency in the source audio.

[LOW] FREQ

Selects a Frequency. Range: 30 to 7000 Hz

[LOW] Q

Controls the Resonance or EQ Bandwidth. Range: 1.9 to 0.1

[LOW] GAIN

Adjusts the gain of the Low Band. Range: -20 to +20 dB

[HIGH] FREQ

Selects a sweepable frequency. Range: 1000 to 16000 Hz

[HIGH] Q

Controls the Resonance or EQ Bandwidth. Range: 1.9 to 0.1

[HIGH] GAIN

Adjusts the gain of the High Band. Range: -20 to +20 dB

LEVEL

Adjusts the overall output volume. Range: 0 to 13 dB.

FX - Parametric 3-Band EQ

The 3-Band Parameter Equalizer has the benefit of precision frequency control, with three fully sweepable, overlapping bands. This type of EQ is best suited for “surgical” equalization, particularly in pinpoint cutting or reducing of an undesirable frequency in the source audio.

[LOW] FREQ

Selects a Frequency. Range: 30 to 600 Hz

[LOW] Q

Controls the Resonance or EQ Bandwidth. Range: 1.9 to 0.1

[LOW] GAIN

Adjusts the gain of the Low Band. Range: -20 to +20 dB

[MID] FREQ

Selects a Frequency. Range: 100 to 6000 Hz

[MID] GAIN

Adjusts the gain of the Mid Band. Range: -20 to +20 dB

[HIGH] FREQ

Selects a Frequency. Range: 1000 to 16000 Hz

[HIGH] Q

Controls the Resonance or EQ Bandwidth. Range: 1.9 to 0.1

[HIGH] GAIN

Adjusts the gain of the High Band. Range: -20 to +20 dB

FX - Wah-Wah

The Wah-Wah FX unit was modeled after classic wah pedals of the 1970's. It's a fun and versatile effect that doesn't sound like any of the other Omnisphere Filters. This FX unit works both as a sweeping wah-wah and also as an “auto-wah” envelope filter effect by using the controls on Page 2.

• PAGE ONE CONTROLS

[SWEEP LFO] RATE

Controls how fast or slow the LFO Sweeps.

When Synced: 16x, 8x, 7x, 6x, 5x, 4x, 3x, 2x, 1/1, 1/2, 1/4, 1/8, 1/16, 1/32, 1/64, 1/2D, 1/4D, 1/8D, 1/16D, 1/2T, 1/4T, 1/8T, 1/16T.

Unsynced: 0 to 8.8Hz

[SWEEP LFO] DEPTH

Controls the sweep range of the LFO sweep. Range: Off to 100%

[SWEEP LFO] SYNC

Engages and Disengages synchronization of the LFO rate with the host's tempo.

[TONE] FREQ

Controls the Center Frequency range of the filter wah. Range: -10 to +10%

[TONE] Q

Controls the Resonance or emphasis of the wah frequency. Range: -10 to +10%

[TONE] WIDE

A phase reversal that inverts the left and right modulation for a stereo wah effect.

• PAGE TWO CONTROLS

[AUTO ENV] THRESHOLD

The audio level at which the Envelope Follower modulation begins. Range 0 to -90dB

[AUTO ENV] ATTACK

The time of the Envelope Follower modulation beginning slope. Range 200 to 8000 ms

[AUTO ENV] RELEASE

The time of the Envelope Follower modulation ending slope. Range 25 to 1500 ms

[AUTO ENV] POLARITY

The polarity of the Envelope Follower modulation. Choices: HIGH/LOW, LOW/HIGH

SOURCE

Drop-down menu that allows a choice between LFO and AUTO-ENV as source of Wah-wah modulation.

LEVEL

Adjusts the overall output volume. Range: 0 to 13 dB.

FX - Power Filter

The Power Filter is a brand new filter developed in cooperation with GMedia, which is based on their famous impOSCar filter design. This rich sounding filter requires a fair amount of CPU power and should be used sparingly on slower computer systems. It's the same Power Filter as the one on the Filter section, but with more filter types and an additional dedicated LFO for sweeping the width, which is useful for producing formant and vowel sweeps.

CAUTION: The Power Filter has tremendous headroom and is capable of very loud sounds that can hurt your ears and damage your speakers if you aren't careful. GMedia's warning that it “Screams like a Bastard” should be heeded! Please be mindful of this when working with the Resonance, Drive and Gain knobs.

• PAGE ONE CONTROLS

CUTOFF

Controls the cutoff frequency of the Filter. Range: 17.125 to 18318 Hz.

RES

Controls the Resonance or “Q” of the Filter, which emphasizes the cutoff frequency to the point of oscillation at the highest settings.

WIDTH

Controls the amount of Frequency separation between the filters. Range: 0 to 1.

TYPE

Drop-down menu determines the sonic character of the different filter options.

Low Pass 24dB, Band Pass 24dB, High Pass 24dB, LP/LP, BP/BP, HP/HP, LP/BP, LP/HP, BP/HP

DRIVE

Controls the amount of overdrive/saturation. Range: 0 to 1

LEVEL

Adjusts the overall output volume. Range: 0 to 1

• PAGE TWO CONTROLS

[CUTOFF] RATE

Controls how fast or slow the filter cutoff cycles.

Range:

Synced: 32x,16x, 8x, 7x, 6x, 5x, 4x, 3x, 2x, 1/1, 1/2, 1/4, 1/8, 1/16, 1/32, 1/64, 1/96, 1/1dot, 1/2dot, 1/4dot, 1/8dot, 1/16dot, 1/1triplet, 1/2triplet, 1/4triplet, 1/8triplet, 1/16triplet.

Unsynced: 0.00Hz to 15.000Hz

[CUTOFF] DEPTH

Controls the sweep range of the cutoff modulation. Range: 0 to 1

[CUTOFF] SYNC

Engages and Disengages synchronization of the LFO rate with the host's tempo.

[WIDTH] RATE

Controls how fast or slow the filter width cycles.

Range:

Synced: 32x,16x, 8x, 7x, 6x, 5x, 4x, 3x, 2x, 1/1, 1/2, 1/4, 1/8, 1/16, 1/32, 1/64, 1/96, 1/1dot, 1/2dot, 1/4dot, 1/8dot, 1/16dot, 1/1triplet, 1/2triplet, 1/4triplet, 1/8triplet, 1/16triplet.

Unsynced: 0.00Hz to 15.000Hz

[WIDTH] DEPTH

Controls the modulation range of the width sweeping LFO. Range: 0 to 1

[WIDTH] SYNC

Engages and Disengages synchronization of the LFO rate with the host's tempo.

FX - Formant Filter

The Format Filter adds characteristics of the human voice to a sound. It accomplishes this by chaining a narrow set of bandpass filters, set at specific frequencies, which reflect the formants of the human voice.

• PAGE ONE CONTROLS

HEADSIZE

Simulates the resonating qualities, based on the size of a human head. Higher values will have a deeper resonance. Range: 0.00Cm to 1.00Cm

VOWEL

Selects the type of vocal formant, or vowel character, that will affect the sound. Sweeping the control will gradually change between the different vowel sounds. Range: 0.00Hz to 1.00Hz

RES (Resonance)

Emphasizes the formant’s frequency. Range: 0.00 to 1.00

CAUTION: High RES levels can cause loud oscillations.

BLEND

Blends in the higher frequencies of the original sound, to add clarity to the filtered result. Range: 0.00Amp to 1.00Amp

LEVEL

Determines the overall Formant Filter effect level. Range: -infdB to 0dB

• PAGE TWO CONTROLS

These are two dedicated modulation LFOs for both the HEADSIZE and the VOWEL controls on Page One.

[HEADSIZE] RATE

Controls the speed of the Headsize modulation. The rate types are either in Hz or in rhythmic values depending on whether the Sync button is enabled or not.

Range:

Synced: 32x, 16x, 8x, 7x, 6x, 5x, 4x, 3x, 2x, 1/1, 1/2, 1/4, 1/8, 1/16, 1/32, 1/64, 1/96, 1/1dot, 1/2dot, 1/4dot, 1/8dot, 1/16dot, 1/1triplet, 1/2triplet, 1/4triplet, 1/8triplet, 1/16triplet.

Unsynced: 0.00Hz to 15.000Hz

[HEADSIZE] DEPTH

Controls the amount of the modulation. Range: 0 to 1

[HEADSIZE] SYNC

There are two ways to control the rate of the Headsize modulation, by Hz and by various sync rates with the host. When the Sync button is enabled, the values will change to musical rates.

[VOWEL] RATE

Controls the speed of the Vowel modulation. The rate types are either in Hz or in rhythmic values depending on whether the Sync button is enabled or not.

Range:

Synced: 32x, 16x, 8x, 7x, 6x, 5x, 4x, 3x, 2x, 1/1, 1/2, 1/4, 1/8, 1/16, 1/32, 1/64, 1/96, 1/1dot, 1/2dot, 1/4dot, 1/8dot, 1/16dot, 1/1triplet, 1/2triplet, 1/4triplet, 1/8triplet, 1/16triplet.

Unsynced: 0.00Hz to 15.000Hz

[VOWEL] DEPTH

Controls the intensity of the Vowel modulation. Range: 0 to 1

[VOWEL] SYNC

There are two ways to control the rate of the Vowel modulation, by Hz and by sync rates with the host. When the Sync button is enabled, the values will change to musical rates.

FX - Valve Radio

The Valve Radio FX unit is a unique device, which functions equally well as a dual filter and also a distortion device. The combination of these two effects can product many types of vintage radio and telephone speaker simulation effects. This unit also includes a simple noise gate on Page 2.

MINI-SLIDER

Controls the mix of the dry signal and the processed (Wet) signal. The percentage indicated is the amount of the signal that is Wet. Range: 0 to 100%

• PAGE ONE CONTROLS

LOPASS

Controls the frequency cutoff of the Low Pass filter. Range: 100 to 22000 Hz

HIPASS

Controls the frequency cutoff of the High Pass filter. Range: 20 to 10000 Hz

Q

Controls the Resonance or “Q” of the two filters, which emphasizes the cutoff frequencies.

Range: .5 to 3.0

DRIVE

Increases the amount of overdrive distortion gain. Range: 0 to 100%

• PAGE TWO CONTROLS

GATE

Sets the audio level at which the threshold for the Gate starts to open. Range: 0 to 35dB

ATTACK

Adjusts the speed at which the gate opens. Range: 0.1 ms to 400ms

RELEASE

Adjusts the speed at which the gate closes. 0.1 to 4000ms

GAIN

Adjusts the overall output volume. Range: 0 to 3.5 dB.

FX - Flame Distortion

Flame is an extremely versatile distortion unit capable of anything from mild tube overdrive to nasty bit crushing and radical fuzzbox effects. The Driver has many different types of waveshaping types and the unique structure of not only pre/post gain, but pre and post filtering with mixable LP/HP filters on each side of the Drive circuit. All of which makes for a killer distortion processor!

MINI-SLIDER

Controls the mix of the dry signal and the processed (Wet) signal. The percentage indicated is the amount of the signal that is Wet. Range: 0 to 100%Wet

[PRE] GAIN

Adjusts the amount of gain BEFORE being processed by the Flame Driver. Range: -200 to +10 dB

[PRE] TYPE

Adjusts the balance of two filter types applied to the audio BEFORE being processed by the Driver.

Range: 100% Low Pass to 100% High Pass.

[PRE] FILTER

Controls the Cutoff Frequency of the Filter. Range: 100 to 21924.17 Hz

DRIVER

Drop-down menu with different waveshaping drive options.

Choices: Warm, Heat, BURN, Fuzzy, Scorch, Loud, Glow, Roast, Toast, 2 Bits, Torch, Bake, Ignite, Gater, Psycho, Cook, Blaze, Smoke, MELT, Topkill, Tube, Valve

CAUTION: Some of these drivers can produce extremely loud sounds, so watch out!

[POST] GAIN

Adjusts the amount of gain AFTER being processed by the Flame Driver. Range: -200 to +10 dB

[POST] TYPE

Adjusts the balance of two filter types applied to the audio AFTER being processed by the Driver.

Range: 100% Low Pass to 100% High Pass.

[POST] FILTER

Controls the Frequency of the Filter. Range: 100 to 21924.17 Hz

FX - Smoke Amp Simulator

The Smoke Amp Simulator has a full set of amplifier controls, speaker combinations and modeled versions of several classic guitar amplifiers.

• PAGE ONE CONTROLS (AMP)

AMP

Enables or disables the amplifier model. If the switch is off, then none of the amplifier models will be active (although the Speaker, Gain, Drive and Master controls will still be operational).

MODEL

These are representations, or models, of well-known guitar amplifiers;

USA – Fender™ Deluxe

Plexi – Marshall™ Plexi

British – VOX™ AC-30

Chief – Matchless™ Chieftain

Rectify – Mesa Boogie™ Rectifier

Twin – American Fender Twin ™

MIC

This is a switch to control on-axis versus off-axis micing of the speakers.

SPEAKER

There are three different algorithms that simulate the number of speaker cones in an amplifier housing. If OFF is chosen, no speaker modeling will be heard.

1X12 – one active 12-inch speaker

2X12 – two active 12-inch speakers

4X12 – four active 12-inch speakers

GAIN

The Gain switch introduces a XXdB boost into the guitar amp, like a “High Gain” switch.

DRIVE

Sometimes referred to as Overdrive, Drive represents the amount of overloading of the amplifier – which is what creates distortion. The higher this control is set, the more distorted the signal will be. Range: 0-100

MASTER

This is the output level of the amplifier. When set to a minimum setting, no signal will be heard. Range: 0-100

• PAGE TWO CONTROLS (TONE)

TONE

This switch enables the four tone controls. When turned off, the settings of the Bass, Mid, Treble and Presence are disabled.

BASS

Controls the amount of low frequencies. Range: 0-100

MID

Controls the amount of mid-range frequencies. Range: 0-100

TREBLE

Controls the amount of high frequencies. Range: 0-100

PRESENCE

Sometimes referred to as Brilliance or Edge, Presence boosts very high frequencies. Range: 0-100

FX - Ultra Chorus

Chorus is a pitch and delay effect that adds a rich, shimmering quality to a sound by detuning and delaying the incoming signal and combining it with the unaffected signal.

The Ultra Chorus has a dedicated LFO, a ‘Lush’ control, which gives this unit a very dense, rich character compared with other Choruses.

• PAGE ONE CONTROLS

MINI-SLIDER

Controls the mix of the dry signal and the processed (Wet) signal. The percentage indicated is the amount of the signal that is Wet. Range: 0 to 100%

RATE

This control sets the cycle speed of the LFO. Minimum settings will produces a sweeping effect, higher settings will make for a more warbling effect. Range: 0.00Hz to 15.000Hz

DEPTH

The Depth control adjusts the amount of pitch modulation from the LFO. Range: 0.01 to 0.98

DELAY

Controls the Delay time. Range: 0.00-1.00

SHAPE

These three waveforms control the contour of the pitch change applied to the delay.

Sine – A symmetrical, smoothly cycling wave

Random – Asymmetrical changes in the wave make randomized pitch changes.

Linear – A symmetrical, linear cycle.

LUSH

Sums the left and right signal, which adds more density to the sound.

• PAGE TWO CONTROLS

FEEDBACK

Applied to the Delay, Feedback repeats the delays for more sonic density. At minimum settings the difference is minor, at maximum settings it creates flanging metallic overtones. Range: 0.01 to 0.98

INVERT

Reverses the phase of the Chorus.

WIDTH
Pans the chorused signal to left and right, widening up the stereo image. Range: 0.00-1.00

TONE

Tone is a combination High-Pass and Low-Pass filter. When set at 12-O’Clock (.500) the Tone is neutral. When shifted clockwise, a high-pass filter is applied, when changed counter-clockwise, a low-pass filter is applied. Range: 0.00-1.00

LEVEL

Adjusts the overall output volume. Range: -inf to 0.00

FX - Retro Phaser

A Phaser with a vintage, low-fi vibe, the Retro Phaser. On the surface it looks similar to the EZ-Phaser, but has more features, and a dedicated page for tone shaping.

• PAGE ONE CONTROLS

MINI-SLIDER

Controls the mix of the dry signal and the processed (Wet) signal. The percentage indicated is the amount of the signal that is Wet. Range: 0 to 100%

RATE

Controls how fast the LFO cycles. The value of the Rate control is determined by the Sync control. If Sync is engaged, then the vales of Rate will be in musical time. If Sync is not engaged, Rate’s values will be in Hz.

Range:

Synced: 32x,16x, 8x, 7x, 6x, 5x, 4x, 3x, 2x, 1/1, 1/2, 1/4, 1/8, 1/16, 1/32, 1/64, 1/96, 1/1dot, 1/2dot, 1/4dot, 1/8dot, 1/16dot, 1/1triplet, 1/2triplet, 1/4triplet, 1/8triplet, 1/16triplet.

Unsynced: 0.00Hz to 15.000Hz

DEPTH

Controls the sweep range of the modulation. Range: 0 to 1

SYNC

Engages and disengages synchronization of the LFO rate with the host's tempo.

POLES

Drop down menu that selects how many stages or “poles” the phaser uses. More poles equal a more resonant sound character.

Range: 4, 6, 8 or 12 poles

MANUAL

Controls the center point of the phaser. Range: 0-100%

FEEDBACK

Controls the amount of resonance/feedback of the phaser. High settings will oscillate.

Range: 0-100%

INVERT

Changes the phase angle of the Phaser by 180, which changes the tone character of the Phasing.

• PAGE TWO CONTROLS

DIRT

Adds subtle overdrive to the Phaser’s signal

TONE

This control is a simple tone filter control. Range: Tone Dark – Tone Bright

TONE FX

Applies the Tone setting to both the wet and dry signals, or just the wet signal. Range: WET/DRY or WET

WIDTH

Controls the width of the stereo image of the phasing signal. Range: 0-100%

LEVEL

Adjusts the overall output volume. Range: 0 to 13.0 dB.

FX - PRO Phaser

The PRO-Phaser FX unit is one of the most versatile and richest phaser designs ever. It is also capable of producing a wide array of unique sounds beyond traditional phaser effects - including tuned resonances, strange pitch bending effects and envelope followed phasing - to name a few!

MINI-SLIDER

Controls the mix of the dry signal and the processed (Wet) signal. The percentage indicated is the amount of the signal that is Wet. Range: 0 to 100%

• PAGE ONE CONTROLS

[LFO] RATE

Controls how fast or slow the LFO cycles.

Range:

Synced: 32x,16x, 8x, 7x, 6x, 5x, 4x, 3x, 2x, 1/1, 1/2, 1/4, 1/8, 1/16, 1/32, 1/64, 1/96, 1/1dot, 1/2dot, 1/4dot, 1/8dot, 1/16dot, 1/1triplet, 1/2triplet, 1/4triplet, 1/8triplet, 1/16triplet.

Unsynced: 0.00Hz to 15.000Hz

[LFO] MIN

Controls the minimum point of modulation depth of the LFO. Range: 0 to 100%

[LFO] MAX

Controls the maximum point of modulation depth of the LFO. Range: 0 to 100%

POLES

Drop down menu that selects how many stages or “poles” the phaser uses. More poles equals a more resonant sound character.

Choices: 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22 poles

SYNC

Engages and Disengages synchronization of the LFO rate with the host's tempo.

WIDTH

Controls the width of the stereo image of the phasing signal. Range: 0 to 360 degrees

FEEDBACK

Controls the amount of resonance/feedback of the phaser. High settings will oscillate.

Range: 0 to 100%

• PAGE TWO CONTROLS

SOURCE

Continuous mix control to blend between LFO and Envelope Follower modulaion sources.

Range: 0 to 100%

[ENVELOPE] ATTACK

The time of the Envelope Follower modulation beginning slope. Range: 0 to 400ms

[ENVELOPE] RELEASE

The time of the Envelope Follower modulation ending slope. Range: 0 to 1000ms

[ENVELOPE] MIN

Controls the minimum point of modulation depth of the Envelope. Range: 0 to 100%

[ENVELOPE] MAX

Controls the maximum point of modulation depth of the Envelope. Range: 0 to 100%

DRIVE

Controls the amount of overdrive at the final output. Range: 0 to 100

LEVEL

Adjusts the overall output volume. Range: -200 to +10db

FX - EZ Phaser

Contrary to what you might expect, EZ-Phaser is not a simplified version of the PRO-Phaser, but an entirely different phaser design with it's own unique sonic character. EZ-Phaser is best suited to recreating classic phaser effects and it is very simple to use and understand.

MINI-SLIDER

Controls the mix of the dry signal and the processed (Wet) signal. The percentage indicated is the amount of the signal that is Wet. Range: 0 to 1

RATE

Controls how fast or slow the Phaser cycles.

Range:

Synced: 32x,16x, 8x, 7x, 6x, 5x, 4x, 3x, 2x, 1/1, 1/2, 1/4, 1/8, 1/16, 1/32, 1/64, 1/96, 1/1dot, 1/2dot, 1/4dot, 1/8dot, 1/16dot, 1/1triplet, 1/2triplet, 1/4triplet, 1/8triplet, 1/16triplet.

Unsynced: 0.00Hz to 15.000Hz

DEPTH

Controls how wide the sweep range of the LFO will be. Range: 0 to 1

SYNC

Engages and Disengages synchronization of the LFO rate with the host's tempo.

POLES

Drop down menu that selects how many stages or “poles” the phaser uses. More poles equals a more resonant sound character.

Choices: Four or Eight poles

MANUAL

Controls the center frequency of the phaser. Range: 0.005 to 0.1

FEEDBACK

Controls the amount of resonance/feedback of the phaser. Range: 0 to 1

LEVEL

Adjusts the overall output volume. Range: -infinity to 0 Unity gain.

FX - Retro-Flanger

Flanging is a sweeping, comb-filter type effect. The Retro-Flanger has special features that give the sound a more lo-fi, vintage character.

MINI-SLIDER

Controls the mix of the dry signal and the processed (Wet) signal. The percentage indicated is the amount of the signal that is Wet. Range: 0 to 1

• PAGE ONE CONTROLS

RATE

Controls how fast or slow the Flanger cycles. This is the Retro-Flanger’s LFO rate control.

Range:

Synced: 32x,16x, 8x, 7x, 6x, 5x, 4x, 3x, 2x, 1/1, 1/2, 1/4, 1/8, 1/16, 1/32, 1/64, 1/96, 1/1dot, 1/2dot, 1/4dot, 1/8dot, 1/16dot, 1/1triplet, 1/2triplet, 1/4triplet, 1/8triplet, 1/16triplet.

Unsynced: 0.00Hz to 15.000Hz

DEPTH

Controls how wide the sweep range of the LFO will be. Range: 0.01 to 1

SYNC

Engages and Disengages synchronization of the LFO rate with the host's tempo.

DELAY

Controls the center frequency/delay time of the flanger. Range: 0.005 to 0.1ms

FEEDBACK

Controls the amount of delay feedback, which produces a stronger flanging resonance

Range: 0.01 to 0.99

INVERT

Reverses the phase of the delay feedback signal, producing a throatier flanging tone.

LEVEL

Adjusts the overall output volume. Range: -infinity to 0 Unity gain.

• PAGE TWO CONTROLS

DIRT

Adds overdrive to the Retro-Flanger’s signal

TONE

This control is a simple tone filter control that adjusts the brightness of the signal.

Range: Tone Dark – Tone Bright

TONE FX

Applies the Tone setting to both the wet and dry signals, or just the wet signal. Range: WET/DRY or WET

WIDTH

Controls the width of the stereo image of the Retro-Flanger signal. Range: 0-100%

FX - Flanger

The simple to use Flanger unit provides many types of traditional flanging and tuned resonance effects. The invert switch allows for a wider range of sound characteristics than most flangers offer.

MINI-SLIDER

Controls the mix of the dry signal and the processed (Wet) signal. The percentage indicated is the amount of the signal that is Wet. Range: 0 to 1

RATE

Controls how fast or slow the Flanger cycles.

Range:

Synced: 32x,16x, 8x, 7x, 6x, 5x, 4x, 3x, 2x, 1/1, 1/2, 1/4, 1/8, 1/16, 1/32, 1/64, 1/96, 1/1dot, 1/2dot, 1/4dot, 1/8dot, 1/16dot, 1/1triplet, 1/2triplet, 1/4triplet, 1/8triplet, 1/16triplet.

Unsynced: 0.00Hz to 15.000Hz

DEPTH

Controls how wide the sweep range of the LFO will be. Range: 0.01 to 1

SYNC

Engages and Disengages synchronization of the LFO rate with the host's tempo.

DELAY

Controls the center frequency/delay time of the flanger. Range: 0.005 to 0.1ms

FEEDBACK

Controls the amount of delay feedback, which produces a stronger flanging resonance

Range: 0.01 to 0.99

INVERT

Reverses the phase of the delay feedback signal, producing a throatier flanging tone.

LEVEL

Adjusts the overall output volume. Range: -infinity to 0 Unity gain.

FX - Chorus Echo

Inspired by the classic Roland Chorus-Echo units from the 1970s, this unit combines both analog-style delay and chorusing, but includes new features, like stereo width control and a dedicated ‘Dirt’ control for a more gritty sound.

• PAGE ONE CONTROLS

MINI-SLIDER

Controls the mix of the dry signal and the processed (Wet) signal. The percentage indicated is the amount of the signal that is Wet. Range: 0 to 100%

DELAY

The value of the Delay control is determined by what MODE is currently enabled. These can be time values or ratio values.

CHORUS 1 Range: 1ms – 100ms

CHORUS 2 Range: 5ms – 500ms

ECHO Range: 50ms – 2000ms

BPM Range: 1/1 ms, 1/2 ms, 1/4 ms, 1/8 ms, 1/16 ms, 1/32 ms, 1/64 ms, 1/2 D ms, 1/4 D ms, 1/8 D ms, 1/16 D ms, 1/2 T ms, 1/4 T ms, 1/8 T ms, 1/16 T ms.

NOTE: The D means ‘dotted’ and the T means ‘triplet’

FEEDBACK

Feeds the delay signal back to the input for echo repeats. Range: 0-100%

RATE

Controls the speed of the pitch modulation. Rage 0Hz to 8.8Hz

DEPTH
Controls the amount of pitch modulation. Range: 0-100%

MODE

Four modes are available which determine the character of the Chorus/Echo. The first three modes are time-based, ignoring the host’s tempo. The last mode, BPM, is based on the host’s tempo, and is based on a wide variety of note values.

CHORUS 1 – Based on a very short delay range, with a maximum value of 100ms.

CHORUS 2 – Longer delay, up to half a second.

ECHO – A very long delay, up to 2 seconds long

BPM – Delays based on musical values and host tempo

INVERT

Inverts the delayed signal, so it’s out of phase with the original signal

• PAGE TWO CONTROLS

DIRT

Adds a warm distortion to the signal.

TONE

A boost/cut control which adds higher or lower frequencies to the sound. Range Tone Dark – Tone Bright

TONE FX

A single tone filter which controls the brightness of the signal. Range: WET/DRY or WET

WIDTH

Controls the width of the stereo image of the Chorus-Echo’s signal. Range: 0-100%

LEVEL

Adjusts the overall output volume. Range: 0 to 13.0 dB.

FX - BPM Delay

The BPM Delay offers a single “true-stereo” delay unit that is always in-sync with the host's tempo. The feedback and drive controls can produce some cool sounds with the built-in resonant filtering.

MINI-SLIDER

Controls the mix of the dry signal and the processed (Wet) signal. The percentage indicated is the amount of the signal that is Wet. Range: 0 to 100%

• PAGE ONE CONTROLS

LEVEL

Adjusts the overall output volume. Range: 0 to 1

PAN

Controls the spatial placement of the delayed audio in the stereo field.

BOUNCE

Controls how much the delayed audio bounces between the left and right channels.

Range: 0 to 100%

DELAY

Drop-down menu that allows you to choose the time value of the delayed audio.

Choices: 1/1, 1/2, 1/4, 1/8, 1/16, 1/32, 1/64, 1/96, 1/1dot, 1/2dot, 1/4dot, 1/8dot, 1/16dot, 1/1triplet, 1/2triplet, 1/4triplet, 1/8triplet, 1/16triplet

TONE

Controls whether the delayed audio goes through a high-pass or low-pass filter. In the center, the filter is turned off, similar to the Master Filter on the Edit Page. Range: 0 to 1

EMPH

Controls the resonance of the Tone control cutoff frequency in the delayed signal.

Range: 0 to 1

FEEDBACK

Feeds the delay signal back to the input for echo repeats. Range: 0 to 1

• PAGE TWO CONTROLS

[OVERDRIVE] FEEDBACK LOOP

Inserts the Overdrive and Tone Filter into the Feedback Loop. This is useful for producing echoes that get darker with each successive repeat, and also for creating infinite dub-style echo feedback.

CAUTION: Turning this switch ON can produce extremely loud and powerful howling feedback signals which can damage your ears and your speakersÉso watch out!

[OVERDRIVE] TYPE

Selects between Odd or Even harmonic distortion for the delayed signal.

[OVERDRIVE] DRIVE

Controls the amount of overdrive distortion in the delayed signal. Range: 0 to 1

[OVERDRIVE] PRE/POST

Selects between the overdrive circuit being placed before the Tone Control filter (PRE), or after the Tone control filter (POST).

FX - BPM Delay X2

The BPM DelayX2 offers dual monoaural delays that are always synchronized to the host's tempo. The feedback and drive controls can produce some cool sounds with the built-in resonant filtering.

MINI-SLIDER

Controls the mix of the dry signal and the processed (Wet) signal. The percentage indicated is the amount of the signal that is Wet. Range: 0 to 100%

• PAGE ONE CONTROLS

[DELAY1] LEVEL

Controls the volume of the delayed audio. Range: -inf to 0dB

[DELAY1] DELAY

Drop-down menu that allows you to choose the time value of the delayed audio.

Choices: 1/1, 1/2, 1/4, 1/8, 1/16, 1/32, 1/64, 1/96, 1/1dot, 1/2dot, 1/4dot, 1/8dot, 1/16dot, 1/1triplet, 1/2triplet, 1/4triplet, 1/8triplet, 1/16triplet

[DELAY1] PAN

Controls the spatial placement of the delayed audio in the stereo field.

[DELAY2] LEVEL

Controls the volume of the delayed audio. Range: -inf to 0dB

[DELAY2] DELAY

Drop-down menu that allows you to choose the time value of the delayed audio.

Choices: 1/1, 1/2, 1/4, 1/8, 1/16, 1/32, 1/64, 1/96, 1/1dot, 1/2dot, 1/4dot, 1/8dot, 1/16dot, 1/1triplet, 1/2triplet, 1/4triplet, 1/8triplet, 1/16triplet

[DELAY2] PAN

Controls the spatial placement of the delayed audio in the stereo field.

FEEDBACK

Feeds the delay signal back to the input for echo repeats. Range: 0 to 1

• PAGE TWO CONTROLS

[COLOR] TONE

Controls whether the delayed audio goes through a high-pass or low-pass filter. In the center, the filter is turned off, similar to the Master Filter on the Edit Page. Range: 0 to 1

[COLOR] EMPH

Controls the resonance of the Tone control cutoff frequency in the delayed signal.

Range: 0 to 1

[COLOR] FEEDBACK TONE

Inserts the Overdrive and Tone Filter into the Feedback Loop. This is useful for producing echoes that get darker with each successive repeat, and also for creating infinite dub-style echo feedback.

CAUTION: Turning this switch ON can produce extremely loud and powerful howling feedback signals which can damage your ears and your speakersÉso watch out!

[OVERDRIVE] TYPE

Selects between Odd or Even harmonic distortion for the delayed signal.

[OVERDRIVE] DRIVE

Controls the amount of overdrive distortion in the delayed signal. Range: 0 to 1

[OVERDRIVE] PRE/POST

Selects between the overdrive circuit being placed before the Tone Control filter (PRE), or after the Tone control filter (POST).

GAIN

Adjusts the overall output volume. Range: 0 to 1

FX - BPM Delay X3

The BPM DelayX3 offers triple LCR mono delays that are always synchronized to the host's tempo. The feedback and drive controls can produce some cool sounds with the built-in resonant filtering.

MINI-SLIDER

Controls the mix of the dry signal and the processed (Wet) signal. The percentage indicated is the amount of the signal that is Wet. Range: 0 to 100%

• PAGE ONE CONTROLS

[LEFT] LEVEL

Controls the volume of the delayed audio. Range: -inf to 0dB

[LEFT] DELAY

Drop-down menu that allows you to choose the time value of the delayed audio.

Choices: 1/1, 1/2, 1/4, 1/8, 1/16, 1/32, 1/64, 1/96, 1/1dot, 1/2dot, 1/4dot, 1/8dot, 1/16dot, 1/1triplet, 1/2triplet, 1/4triplet, 1/8triplet, 1/16triplet

[CENTER] LEVEL

Controls the volume of the delayed audio. Range: -inf to 0dB

[CENTER] DELAY

Drop-down menu that allows you to choose the time value of the delayed audio.

Choices: 1/1, 1/2, 1/4, 1/8, 1/16, 1/32, 1/64, 1/96, 1/1dot, 1/2dot, 1/4dot, 1/8dot, 1/16dot, 1/1triplet, 1/2triplet, 1/4triplet, 1/8triplet, 1/16triplet

[RIGHT] LEVEL

Controls the volume of the delayed audio. Range: -inf to 0dB

[RIGHT] DELAY

Drop-down menu that allows you to choose the time value of the delayed audio.

Choices: 1/1, 1/2, 1/4, 1/8, 1/16, 1/32, 1/64, 1/96, 1/1dot, 1/2dot, 1/4dot, 1/8dot, 1/16dot, 1/1triplet, 1/2triplet, 1/4triplet, 1/8triplet, 1/16triplet

FEEDBACK

Feeds the delay signal back to the input for echo repeats. Range: 0 to 1

• PAGE TWO CONTROLS

[COLOR] TONE

Controls whether the delayed audio goes through a high-pass or low-pass filter. In the center, the filter is turned off, similar to the Master Filter on the Edit Page. Range: 0 to 1

[COLOR] EMPH

Controls the resonance of the Tone control cutoff frequency in the delayed signal.

Range: 0 to 1

[COLOR] FEEDBACK TONE

Inserts the Overdrive and Tone Filter into the Feedback Loop. This is useful for producing echoes that get darker with each successive repeat, and also for creating infinite dub-style echo feedback.

CAUTION: Turning this switch ON can produce extremely loud and powerful howling feedback signals which can damage your ears and your speakers - so watch out!

[OVERDRIVE] TYPE

Selects between Odd or Even harmonic distortion for the delayed signal.

[OVERDRIVE] DRIVE

Controls the amount of overdrive distortion in the delayed signal. Range: 0 to 1

[OVERDRIVE] PRE/POST

Selects between the overdrive circuit being placed before the Tone Control filter (PRE), or after the Tone control filter (POST).

GAIN

Adjusts the overall output volume. Range: 0 to 1

FX - Retroplex

The Retroplex delay unit is specially modeled after the old Tape Echo units of the 60's and 70's like the Echoplex™, with some modern enhancements. It's a lot of fun and unpredictable!

MINI-SLIDER

Controls the mix of the dry signal and the processed (Wet) signal. The percentage indicated is the amount of the signal that is Wet. Range: 0 to 100%

• PAGE ONE CONTROLS

VARI-SPEED

Smoothly controls the tape speed/delay time of the echoes. Range: 1% to 10%

FEEDBACK

Feeds the delay signal back to the input for echo repeats. Range: 0 to 100%

TAPE MODE

Drop-down menu offering different preset types of echo and delay ranges.

Choices: ECHO 1, ECHO 2, DELAY 1, DELAY 2

[FLUTTER] AMOUNT

Simulates the tape flutter motor instability effect of vintage tape echo machines that make the echoes vary in pitch from one repeat to the next. Range: 0 to 100%

[FLUTTER] SPEED Controls how fast the motor instability affects the tape flutter pitch modulation of the echoes. Range: 0 to 100%

YEAR

Drop-down menu that contains a list of “years” from 1960-2000. Choosing a year simulates the fidelity of the chosen era. Earlier years have less fidelity than later years.

WIDTH

Controls the width of the echo stereo imaging. Range: 0(mono) to 100%(full stereo)

• PAGE TWO CONTROLS

DRIVE

Controls the amount of overdrive distortion in the delayed signal. Range: 0 to 1

SMASH

Adjusts the bit resolution of the delayed audio for additional distortion. Range: 32bit to 4bit

FREEZE

Locks the echo buffer for a continuous playback loop of what is in the echo buffer. Useful for simulating sound on sound style tape looping techniques.

NOTE: The Freeze buffer is cleared when Omnisphere is closed. To save the Freeze buffer, you need to render Omnisphere to an audio file.

GAIN

Adjusts the overall output volume. Range: 0 to 100

FX - Radio Delay

Radio Delay is essentially a hybrid of a Dual mono BPM-style delay, but with the delayed signals running through the Valve Radio distortion filter. This produces cool, dual-filtered echo effects that sound like they are coming from distorted old speakers or radios. Another cool trick with this delay is that it can be “de-synced” from the host's tempo and set to a completely different tempo, so that the delays don't always have that “perfect” sound to them. A very useful and interesting effect!

NOTE: The Radio Tuner graphic on Page 2 is not functional - it's just there for fun!

MINI-SLIDER

Controls the mix of the dry signal and the processed (Wet) signal. The percentage indicated is the amount of the signal that is Wet. Range: 0 to 100%

• PAGE ONE CONTROLS

[FILTERS] HPF

Controls the cutoff frequency for the high pass filter. Range: 20 to 10000Hz

[FILTERS] LPF

Controls the cutoff frequency for the low pass filter. Range: 100 to 22000Hz

[FILTERS] Q

Controls the resonance of the cutoff frequency of the filters in the delayed signal.

Range: 0 to 1

[DELAYS] LEFT

Drop-down menu that allows you to choose the time value of the delayed audio.

Choices: 1/1, 1/2, 1/4, 1/8, 1/16, 1/32, 1/64, 1/96, 1/1dot, 1/2dot, 1/4dot, 1/8dot, 1/16dot, 1/1triplet, 1/2triplet, 1/4triplet, 1/8triplet, 1/16triplet

[DELAYS] TEMPO

Controls the speed of the delays from host Sync to any independent tempo setting.

Range: SYNC, 42.30 to 500 BPM

[DELAYS] RIGHT

Drop-down menu that allows you to choose the time value of the delayed audio.

Choices: 1/1, 1/2, 1/4, 1/8, 1/16, 1/32, 1/64, 1/96, 1/1dot, 1/2dot, 1/4dot, 1/8dot, 1/16dot, 1/1triplet, 1/2triplet, 1/4triplet, 1/8triplet, 1/16triplet

FEEDBACK

Feeds the delay signal back to the input for echo repeats. Range: 0 to 100%

• PAGE TWO CONTROLS

FEEDBACK LOOP

Inserts the Overdrive and Tone Filter into the Feedback Loop. This is useful for producing echoes that get darker with each successive repeat, and also for creating infinite dub-style echo feedback.

CAUTION: Turning this switch ON can produce extremely loud and powerful howling feedback signals which can damage your ears and your speakers - so watch out!

DRIVE

Controls the amount of overdrive distortion in the delayed signal. Range: 0 to 1

WIDTH

Controls the stereo width of the delay and dry signal. Range: 0 to 100%

GAIN

Adjusts the overall output volume. Range: 0db to 12db

FX - Spring Verb

The Spring Verb unit was included in the Omnisphere FX family because we felt that our other reverbs in Omnisphere were sounding too good! This unit faithfully recreates the cheesy vibe of the ancient spring reverbs of 1960's era guitar amplifiers. It's a limited effect to be sure, but when you have need of a retrosonic blast from the past - this baby's more than up to the challenge!

MINI-SLIDER

Controls the mix of the dry signal and the processed (Wet) signal. The percentage indicated is the amount of the signal that is Wet. Range: 0 to 100%

• PAGE ONE CONTROLS

[REVERBERATION] TIME

Controls the length of the reverb. Range: 0 to 100%

[REVERBERATION] TONE

Controls the basic tone color of the reverb character. Range: -10 to +10

[REVERBERATION] WIDTH

Controls the stereo width of the audio. Full left is Mono, Center is normal stereo and full right is ultra-wide “fake” Stereo.

• PAGE TWO CONTROLS

[TONE] EQ

Engages and disengages the EQ Tone controls.

[TONE] BASS

Controls the amount of low frequencies. Range: -15 to +15 dB

[TONE] TREBLE

Controls the amount of high frequencies. Range: -15 to +15 dB

[TONE] INSERT

Allows you to position the EQ before or after the reverb. Choices: PRE or POST

GAIN

Adjusts the overall output volume. Range: -24 to +24 dB

FX - PRO Verb

PRO-Verb is the premier, studio-quality reverb unit in the Omnisphere FX arsenal. It's very versatile and can achieve not only great Room, Plate and Hall simulations, but it's also capable of producing unusual metallic resonances and special effects. Be sure to check out the large array of Factory Patches for PRO-Verb, as they demonstrate the range of possibilities very well.

MINI-SLIDER

Controls the mix of the dry signal and the processed (Wet) signal. The percentage indicated is the amount of the signal that is Wet. Range: 0 to 100%

• PAGE ONE CONTROLS

SIZE

Controls the Room/Hall size of the reverberation. Range: 0 to 100

TIME

Controls the overall length of the reverb. Range: 100 to 20000ms

PREDELAY

Controls the amount it takes for the first reflection to appear. Range: 0 to 500ms

CPU LOAD

Controls the quality of the reverb by allowing to plug-in to use more or less CPU power to create a higher or lower quality of reverb effect. Also very useful for making different density variations.

Range: 0 to 100%

DENSITY

Controls the smoothness or coarseness of the reflections. Range: 0 to 1000

[TONE] LOWS

Controls the level of the low frequencies of the reverb. Range: -18 to +6 dB

[TONE] HIGHS

Controls the level of the high frequencies of the reverb. Range: -18 to +6 dB

• PAGE TWO CONTROLS

[REVERB SHAPING] LO FREQ

Chooses the low crossover frequency of the reverb signal. Range: 25 to 1000Hz

[REVERB SHAPING] LO TIME

Controls the specific length of the reverb's Low Frequencies. Range: 10 to 400

[REVERB SHAPING] HI FREQ

Chooses the high crossover frequency of the reverb signal. Range: 500 to 22000Hz

[REVERB SHAPING] HI TIME

Controls the specific length of the reverb's High Frequencies. Range: 10 to 400

WIDTH

Adjusts the stereo width of the Wet signal. Range: 0 to 100%

DIFFUSION

Controls the amount of chaotic variation in the reverb reflections. Range: 0 to 100

FREEZE

Locks the reverb signal that is currently in the buffer to create an infinite reverb effect.

NOTE: The Freeze buffer is cleared when Omnisphere is closed. To save the Freeze buffer, you need to render Omnisphere to an audio file.

FX- EZ Verb

The EZ-Verb is a simple to use, basic reverb unit with tone controls.

MINI-SLIDER

Controls the mix of the dry signal and the processed (Wet) signal. The percentage indicated is the amount of the signal that is Wet. Range: 0 to 100%

TIME

Controls the length of the Reverb. Range: 0 to 0.98

PREDELAY

Controls the amount it takes for the first reflection to appear. Range: 0 to 100ms

HF DAMP

Controls the amount of High Frequency Dampening of the Wet signal. Range: 1 to 0.013824

LF DAMP

Controls the amount of Low Frequency Dampening of the Wet signal. Range: 0 to 0.328509

LEVEL

Adjusts the overall output volume. Range: 0 to 1