This is the kind of sound I would generally be looking for when diving into a “pads” category. It’s very pure sounding (though not in the “pure” category) and perfect for playing slow chords.
#HOW BIG IS OMNISPHERE PATCH#
If played sparsey, you can indeed get some tonality out of the filtered noise and use it to play eerie and slow melodies.Īir – I’m always a sucker for a clean atmospheric drone, and that’s what this patch is. As I’ve found with the previous patches, it sounds best in the low range, where it’s more of an atmospheric hit that doesn’t move too fast. It’s based primarily on noise with filter stepping echoes and weird modulation. Subtle ringy scrapes and other movements in the tail give this patch some unmistakable character.īiogenesis – Another FX patch. It sounds a bit like a dirty twangy piano string being plucked in the mid and high ranges, while the lower range stretches it out into an otherworldly bell-esque hit with a nice atmospheric tail. The Doubt – This one is more of an FX patch that shouldn’t be played like a normal instrument. The low range while playing clusters sounds absolutely mad, and it’s a great “instant tension” generator. This is a wobbling synth-based drone that detunes itself in a fast oscillation. I Can’t Breath – The only Atmo in the “disturbing” subcategory, and it certainly lives up to its name. The really low ranges sound particularly cool.
It’s very playable, and not too “weird” or complex. Holding the key brings out a long and harsh metallic tail. It sounds very organic and has a good sense of space to it. Magic Box – This keyboard patch has a really neat and unique timbre that reminds me of a bell, but with a “stone” body sound. Apparently, I’m a fan of the Black presets! Here are my personal top 5 patches from Unhuman. Drones, deep surging hits, and ethereal keys are the strong point here, which is an important thing to know before diving in. You won’t find dry and punchy synth sounds here, which is why I’ve emphasized that this soundset is better for more ambient and atmospheric productions. As a whole, the vast majority of the sounds have slower attacks and releases with plenty of reverb and space. The lack of ARP/BPM patches is off-putting as someone who gets tons of use out of pulses and sequences, but the keys and atmospheres are very useful. These are minor gripes, but if you use Omnisphere a lot, this can make it difficult to remember where your favorite presets are located.Īs far as sounds go, Unhuman has some of the best in my opinion. These names aren’t exactly descriptive of what the sounds will be like. It’s also a little bit confusing because of the names of certain categories, such as “Signature”, “Pure”, or “Supernatural”. This isn’t a big deal when you’re browsing Unhuman specifically, but if you set Omnisphere to show all soundsets, Unhuman won’t be thrown in together with everything else. The first thing you’ll probably notice when checking out Unhuman is that none of its categories match up with default Omnisphere organisation. Unhuman sells for $99 from String Audio Thoughts For more atmospheric cinematic music, you will definitely find a lot of good raw material within Unhuman. While the categorization is a bit confusing and a couple of key categories are absent, the original sound design is very detailed and inspiring, and it was a ton of fun to play through. This set has 239 patches, all using original sound sources. Unhuman is String Audio’s 3rd Omnisphere soundset, continuing the idea of “White, Grey, and Black” cinematic sound design. Review: Unhuman for Omnisphere 2 by String Audio Jump to the Demos of Unhuman by String Audio
Jump to the Videos of Unhuman by String Audio As far as sounds go, Unhuman has some of the best in my opinion. Unhuman provides a fascinating sonic palette of String Audio’s otherworldly sound design for Omnisphere 2.
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