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2. Dj Chaos Omnisphere 2 Torrent

Hardware Synth Integration

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When joining the aforementioned Mac Pro video site you get a special discount offer emailed. You also get a pretty large discount if you buy more than one, so i decided to get to grips with 3 of my other main vst instruments - Omnisphere, Trilian, Massive and Kontakt.

I bought Omnisphere a couple of years ago and their own tutorials are excellent, so i was a little reluctant to purchase the Spectrasonics ones from macprovideo. However i'd seen a free part of the Trilian on a dj mag a couple of years back which taught me loads that wasn't covered so i was pretty confident these would be worthwhile, and i've been very pleased.

Starting with omnisphere which in my opinion is the best synth i've ever used, here are my thinking rock notes from omnisphere.

Overview

Overview
Soundsource - can be synth (digitally synthesised oscillator or waveform) or Sample (group of key or velocity mapped samples)
Layer contains all the sound shaping, synthesis, modulation capabilities and is where the sound design and sythesis of the soundsource happens.
Patch contains 1 or 2 layers.
Part contains a Patch, so they are interchangeable terms
Patch/Part wide synthesis parameters and performance controls are found in the Main Page
Multi contains 8 parts in one instance of massive and recalls the entire state of the vsti. These include Patches, Global FX, Keyboard Stacks Nand Splits, Mixer Setup, & Live Mode Settings.

Interface
Top row of buttons Parts 1 through 8. Access Mixer & System wide views.
Top Left Main Page View
Controls access patch wide controls, Part level, Velocity Curve, Pitch Bend Range, Master Filter, individual layer volumes & solo & glide.
Folder icon on top left & gives access to multi, patch, & soundsource

Multi Browser

Edit Page
Inside view of each synth parameters for each patch.
Each layer access soundsource browser
Oscillator, Lfo, Envelope, Filter, & modulators.

Fx tab - for FX for part a, b or for whole patch

Arpeggio editor

Mixer section, levels, mute, solo , pan, controls, global fx, patch browser.

Live & Stack Modes

First up you can change the midi channel on your controller keyboard to play different sounds in omnisphere by just changing the midi channel on your keyboard (which for remote sl is TEMPLATE - KeybChang & on Piano its Hold down function & use G & G# to go up and down)
BUT in Ableton you MUST create an external instrument for each sound / channel and then record enable each one, otherwise all midi channels point to A.

LIVE MODE - This ignores all midi channel assignments and only uses Midi Channel 1
You can right click and midi learn keyboard keys to trigger the different parts.
Selecting a new part in the default TOUCH MODE will turn off the last one, although sustained notes are kept enabling smooth transition
You can also press to keys together to activate / layer 2 parts together

LATCH MODE will let things be toggled on and off as required.
SWITCH MODE lets you play parts only if you are holding down the selector key.

You can right click and assign a program change message from your sequencer which is great for sequncing.
You can also midi learn Midi CC numbers to use buttons to change the live parts.

In live mode settings, you can select the different modes for program change and cc control. When using buttons that toggle between values of 0 & 127, SWITCH MODE is useful.

DUAL LIVE MODE
This is selected by turning on the keyboard icon on the top left of live mode, and enables you to use a midi keyboard / channel for Parts 1-4 & a different keyboard / channel for Parts 5 - 8. Parts are coloured white or blue and can be dragged around. This could be really useful for playing live using two different keyboards, or in the studio to keep 4 sounds on the remote sl and 4 on the electric, instead of having to select them. It could also be useful when layering 2- 4 sounds and playing them easily using two keyboards, or one keyboard if you switched the midi channel from 1 to 2. Using modulation for each of the two sides would be especially useful and not possible in live mode.

STACK MODE
Another great performance mode is stack mode which plays on one midi channel and allows parts to stacked on top of each other and triggered where you play on the keyboard. You can change the volume of each part by dragging the start and end of the parts, and you can create a hybrid stacked sound by adjusting the mixer volumes, or you could play parts at different areas of the keyboard, which would be useful for bass, mid and high parts for example.

You can also move through the keyboard using velocity. So the harder you hit the keys the higher up the Stack keyboard it will play.
The other option is using the modwheel to move up and down the stack keyboard grid, or you could map this to a rotary like the selector on 128s.

NOTE when using the modwheel on the Remote sl it doesnt start at 0 for some reason. I think i may need to change something in the settings.

Reinstalled the firmware templates and now starts at 0, but doesnt go up to 127 on that template.
No templates for omni, but i went to template 38 which is automap and this enabled me to use the editor. Enabled host automation for a few controls and mapped and saved to my remote sl folder. If this works i can rename them in the editor and setup that template as omnisphere. Pretty sure i will be able tosave it to a user template so i can load others. Be nice to be able to redo the whole templates as everything aside from Ableton 40 is out of date.

Arpeggios

Turning on Arp causes Omni to play a rhytmical arpeggio for any sound.
Drop down menu enables a different preset.
Arp button goes into arp edit page
Drop Down menu allows functions like choose or save preset, or copy preset button (which enables presets to other patches)
To create an arpeggio from scratch
Engage steps by turning on / off switches
Tie notes by double clicking switch
Set note length by holding shift key and drag right edge
Set note volume by adjusting bar height
Length of the overall pattern is set by the thin blue line at bottom.
Adjusting timing with clock
Adjust the velocity of notes from how you've played them in (Key) to how you programmed them (Arp) by using the velocity slider
Adjust length of all notes using length rotary (keeps their relative sense)
Adjust swing using swing rotary
Watch out for the interaction between length and swing
Trigger Mode

Mode set to chord means that every chord you play on the keyboard, its notes are played in this arpeggiatted pattern.
Mode set to Up , down, up/down, etc sets how the arpeggio will be played.
Trigger set to legato means that 1st note starts the pattern in step 1, and any additional notes do not restart the patter. Any new seperated notes
do restart the pattern.
Trigger mode set to note means that the pattern always resets to step 1 when a new note is played
Trigger mode set to Song Postition useful when working with sequencer. Keeps track of the odd and even bar numbers.
1, 3, 5, 7 always
Octave sets how high and low the arpgeggio will go
Reset will force the arpeggio back to the start of the pattern.

Groove Lock
Allows us to import a midi or stylus rmx file with exact timing, e.g a drum groove to affect the arpeggiator and set the strength slider to adjust how much of the original or drum groove timing it uses.
Manually adjust the velocity of the steps while listening to the drum groove to really make the arpeggio fit.
Delay effects work well too.

Main Page Controls

SOLO, LEGATO & GLIDE MODES
Solo mode - One note at a time. ensures that any sustaining notes are cut off. No chords can play
Legato mode On takes away the attack portions of the sound.
Legato mode off means attack envelopes on every sound
Glide aka Portamento note glides from previous note's pitch to another.
Slider controls how long each glide takes.
Glide legato on - portamento effect only when notes are connected / played legato
Glide legato off - portamento effect only between all notes, regardless on how played.
A, B Selects which soundsource it affects.

VOICES - selects amount of notes. Good if your cpu is getting taxed.
OCTAVE - octave
SCALE - Enables playing with various scales. Although not that common, very interesting.
VELOCITY CURVES - 4 different curves. Go deeper to adjust the velocity of curve editor
PITCH BEND WHEEL - sets the range.
MUTE,SOLO,LEVEL - Same as mixer
ON / OFF & Volume & Pan Controls - Layer Mix
SOUNDSOURCE ZOOM - Info & browser
FILTERS CONTROLS
Ctrl Click - returns to original position. Shift Click - increment

Edit Page Control

Sound starts with Oscillator section in centre with soundsource type, digital wavefrom selector or sample browser.
It also contains sound shaping options.
Then it goes to filter section which contains 2 filters at a time which can run in series of parallel.
Primary function of filters is to remove frequency components within a sound. In subtractive synthesis filters are used as the primary sound shaping tool
The sound then goes into the Patch output Common Controls on the left and right for volume, pitch and fine tuning (on left), and velocity curve, solo, glide, voices, octave & gain on the right. This is so you dont have to go into the main page.
Then it goes into the insert FX Rack and into the patch mixer.
Any of these stages can be modulated by the 6 LFOs or the Envelopes (Amp, Filter, & freely assignable modulation envelopes)

Modulation area show you the newest the parameters you are controlling with flex mod, and a zoom to the modulation matrix.
In addition parameters can be controller by midi controllers or automation, and the bottom area allows you assign the expression pedal (CC11). It also allows select layer a or b and link the two so that any changes on one apply to the other and has part mute, solo, and volume mixer controls so you dont need to change to the mixer section page.

Oscillator Section

Sine Wave - Pure tone - Rounded - A single frequency only (the fundamental) - contains no high frequency parts
Sounds other than sine waves contain additional frequencies above the fundamental. These are calle Partials (sine wavs above the fundamental frequency). They be either part of the harmonic overtone series, or they can be unrelated noise components.
This is partials that would be produced by a naturally vibrating body - C3 (E.g Fundamental), C4 (Octave), G4(Fifth,) C5(Octave), E5 (Third), G5 (Fifth), A#7 (Dominant Seventh), C8 (Octave) -
The sine wave is important in physics because it retains its waveshape when added to another sine wave of the same frequency and arbitrary phase and magnitude. It is the only periodic waveform that has this property. This property leads to its importance in Fourier analysis and makes it acoustically unique.

Saw Wav - Sharp Pointed Edges (like a saw) Ramping up and dropping down. Series of partials descending gradually.
Saw Waves contain all partials within the musical overtone series, and these have a lot of energy / amplitude, hence the very buzzy character.
They decrease in a linear fashion so the 2nd partial has half the energy / amplitude or the fundamental, the 3rd partial has a 3rd of the energy / amplitude, and so on
Here's a table to illustrate that point further -

Relative Amplitude of partials to the fundamental sine wav
Partial # 1 2 3 4 5
Amplitude 1 1/2 1/3 1/4 1/5

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A sawtooth wave's sound is harsh and clear and its spectrum contains both even and odd harmonics of the fundamental frequency. Because it contains all the integer harmonics, it is one of the best waveforms to use for subtractive synthesis of musical sounds, particularly bowed string instruments like violins and cellos, since the slip-stick behavior of the bow drives the strings with a sawtooth-like motion.[2]

Square Wave - Has a strong but hollow / open sound, reminiscent of woodwind instruments.
Square Waves are similar to saw waves so can move the shape slider to the right in omnisphere to create one, but are missing every 2nd partial in the overtone series

Relative Amplitude of partials to the fundamental sine wav
Partial # 1 3 5 7 9
Amplitude 1 1/3 1/5 1/7 1/9

Harmonic Overtone Series (Major Triad / Dp - A - Deer / E G# B)
Playing any string contains all sounds in Harmonic Overtone Series.
1. Perfect Octave, 2. Perfect 5th, 3. Octave (Perfect 4th) 4. (Octave) Major Triad.

Triangle Wav form - Rounded Mellow tone. Missing every 2nd partial just like the square waves. But the partials that are present have less energy / amplitude, decreasing exponentially, and fading rapidly the higher in frequency. Hence the triangle wave sounds more like a sine wave.

Relative Amplitude of partials to the fundamental sine wav
Partial # 1 3 5 7 9
Amplitude 1 1/9 1/25 1/49 1/81

White Noise - No notable pitch, with equal energy in all frequency bands (e.g 100-200 hz vs 800-900 hz)

Pink Noise - No notable pitch, with equal energy in equal pitch ranges, e.g a2-a3 vs a7-a8)

SHAPE morphs the contours of a waveform gradually between 2 specific shapes, hence sawsquare (morphs between a Saw & Square waveshape) or a trianglesquare (morphs between a triangle and Square Waveshape)

SYMMETRY - Morphs the span of a waveform. Can be used for any wavform, but when used with a square wave, moving it forward and backwards is commonly called pulse width modulation, which are a special form of pulse waves.
(When a pulse wave spends 1/2 the time in the positive, its missing every 2nd partial (and is a square wave) When it spends only 1/3 of the time in the positive, its missing every 3rd partial, etc) Narrow pulse waves contain more overtones.

HARD SYNC - The Oscillator is forced to restart each cycle at the current note frequency. The slider makes the oscillator (try to)) play at higher and higher frequencies, so it runs through more than a single cycle before being resyc'd, creating new shapes. The result is that the fundamental pitch doesnt change but instead you get constantly shifting timbres and higher partials as the slider moves.

ANALOGUE CONTROLS - Will only make a difference when you have 2 layers of the same synth waveforms playing together. Moving the phase creates a new sounding waveform as the peaks and troughs of the waveform dont line up and therefore may cancel or reinforce various partials

PHASE CONTROLS - Will only make a difference when you have 2 layers of the same synth waveforms playing together. Analogue helps to merge these changes (or further this change of sound) by changing the starting point of the oscillator. At settings below 50 % Analog causes random changes in phase for each note-on of the layers oscillator. Above 50% it creates random changes in pitch as well. The result of these peaks and troughs shifting in and out of phase is a rhytmic movement between recinforcement (louder) and cancellation (Quieter) often called Heterodyning / Beating or Chorusing

Filters

Filters shape the sound by lowering or removing partials or overtones using the Filter Cutoff.

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Low pass filters lower or remove higher frequencies allowing lower frequencies to pass
High pass filters lower or remove lower frequencies allowing higher frequencies to pass
A Bandpass allows only a restricted range through.
A Notch filter is the opposite and removes a restricted range of frequencies through.
Pass filters dont lower any frequencies, they do create a phasing effect.
Metal Pipe - & + create cone filtering effects that are sensitive to the cut off position.

Resonance boost frequencies at or near the filters cut off frequency
Key Track determines how the cutoff frequency moves relative to note-pitch. With it off. Higher notes have less and less partials of the original waveform. With it at 50% the sound is equal across the board and at 100% higher sounds are brighter. Clicking on Key Label inverts this.
Envelope knob determines how much the filter envelope modulates the filter cut off above its initial setting during each note event.
This changes the cut off of the filter over time and the adsr controls change the shape of this. Clicking on the env label inverts the envelope
Gain raises the gain to address the issue of the filter resonance boosting frequencies, and allows to reduce the volume to keep it in line with the rest of the sound.
Spread takes advantage of the fact that each filter is stereo and allows the filter cut off to act on the left or right channels, or both
You can go much deeper with the filter zoom.

Controls in the centre duplicate those on the edit page and affects both filters.
Two filters each with drop down preset and offset controls. Offset is like a dedicated cutoff/resonance/spread control for the filter but not as smooth.

Two stereo filters when run in serial move from filter 1 then through filter 2. When in parallel they run at the same time.
Each method provides ways of shaping the sound and there is a mix and gain control above the duplicated centre controls
The gain control comes before or after the filter determined by the pre and post selector

Modulation

Amp Envelope controls the volume. Like the filter envelope the controls are Attack (Rise), Decay (Fall), Sustain (Level while playing), Release (Sustain of note after it is Released
Attack time is the time taken for initial run-up of level from nil to peak, beginning when the key is first pressed.
Decay time is the time taken for the subsequent run down from the attack level to the designated sustain level.
Sustain level is the level during the main sequence of the sound's duration, until the key is released.
Release time is the time taken for the level to decay from the sustain level to zero after the key is released.

The Amplitude envelope (Volume) must be open in order for us to hear the modulations created by other envelopes.
N.B If you cant hear the Release of the filter, its likely that the Release of the amp is turned down.

In simple mode envelopes have these controls
Attack (Time)
Decay (Time)
Sustain (Time)
Release (Time)

On the zoom page if you add no more points it retains this simple controls. If you add another point it will turn into a complex envelope.
Auto zoom fits the envelope in the window.
Loop repeats the envelope
Velocity sensitivity is adjustable on both the zoom and front panel
Speed slider expands time values if set to the right & compresses time values if set to the left
Sync enables you to lock to the hosts tempo.

Add or remove points by double clicking. Right/Ctrl Click to select the type of line segment. You can drag the line curves.
Lock enables you move the whole envelope
X/Y locks your movments to a horizontal or vertical axis only
Fine button allows to make very detailed changes to a point
Scale allows you to compress or expand the envelope like the speed button in time

Other time based functions can be found under the Edit dropdown
Repeat duplicates the envelope
Double twices as fast. Half twice as slow.

Chaos randomise curves of the points, or the levels. The amount is determined by the curve and level sliders
As chaos is not undoable, its good to save the presets you like.

You can revert back to a simple envelopes by selecting from the presets, or select any of the complex envelope presets.

The Amp & Filter Envelopes are polyphonic. Each sustained note runs through its own Amp & Filter Envelopes independant of other notes playing

The 4 modulation envelopes & 6 L.F.Os are freely assignable and can target any control in the layers signal path, and are shared between both layers

Modualating a parameter
Right / Ctrl Click on any target (e.g Hard Sync) and select Modulate with envelope. This selects the 1st unused mod envelope as the Modulation Source.
The modulation section gives us controls to the most important parameters and shows us how the target is being modulated. The targets pre modulation setting can be adjusted with the target slider, or in its original location.
The thin blue line displays how far the source can modulate the target above or below its initial setting.
The white dot shows the momentary position of the target, as its being modulated.
The source slider determines how far the source can modulate the target above or below its initial setting.
The mod envelope graphic shows that its using a complex envelope so it wont use the adsr controls on the edit page. You can select a simple envelope by clicking on the dropdown presets menu and choosing the default adsr envelope or any of the other presets.

Right clicking and selecting modulate with randomise means a random value will be applied each time you hit the note. Raising the source slider adds more randomise range.

To route another target to mod envelope 1 right/ctrl click on the target and select all mod sources - mod envelope 1. You can click on the dropdown target menu to see the two target routings.

The depth rotary determines how much of an effect this modulator can have on all its target. It can be modulated by velocity, mod wheel, etc. This is called secondary or range modulation
Or to put it another way - one source (e.g velocity) modulates the range or depth of another source (e.g an lfo modulating timbre)

The zoom takes us to the mod matrix which allows us to see all modulation routings at once, whilst still accessing all the edit page controls - target and depth parameters, & invert and mute controls.
Mute controls are useful when you want to try another way of modulating the same target. E.g using an lfo instead of a mod envelope. It also enables you to combine sections of each modulation when recording the mute on and offs.

You can modulate the Amplitude with a mod envelope AFTER its passed through the Amp envelope by selecting Amplitude as the target & Mod Envelope as the source from the drop downs in either the Mod Matrix zoom or Mod Envelope section. This function is not available anywhere else
On the mod envelope there are new controls. 3 Trigger modes under the loop and sync buttons.
Note Envelope jumps the envelope to its starting point each time a new note is pressed.
Legato retriggers the envelope when you play a new (disconnected) note. However when playing 2 notes together the envelope carries on.
Song mode locks the mod envelope to your host tempo.
Auto button next to chaos means that it will randomize every time it starts again. This is a great way to add subtle variations and movements to the sound each time it plays. As chaos is not undoable, its good to save the presets you like.
All modulation envelopes are Monophonic. - All sustained notes are modulated by the same envelope regardless or when the notes were triggered. Therefore they are synchronised.

Modulation is the key to non static sounds. 2 clicks enable mod envelope or lfo modulation, and allows numerous routing possibilities. Add to that performance routing using velocity, or midi controllers to further modulate the targets or to modulate secondary modulation (the depth and range of the the targets) and finally there is host sequencer automation which can drawn in or used as macros controls.

To modulate with lfo - Right / Ctrl Click on a target and selecting modulate with Lfo.
The lfo is normally bipolar (goes in both directions), but can be uno polar by clicking the + (upwards) or - (downwards) in the lfo section.
You select the wave shape with the up and down arrows, and from where in that shape the lfo starts by the slider above.
You select the trigger mode underneath the waveshape selector)
Free mode allows free triggering so the lfo is independant of the triggering.
Note Envelope jumps the envelope to its starting point each time a new note is pressed.
Legato retriggers the envelope when you play a new (disconnected) note. However when playing 2 notes together the envelope carries on.
Song mode locks the mod envelope to your host tempo.

To the right is the rate, depth and Delay
With sync off the rate increments in hertz / cycles per second.
With sync on the rate increments in musical note timings
The depth is the amount the lfo affects.
The delay adds a delay

LFOS are monophonic like Modulation Evnvelopes, so sustaining notes are always in sync.

Sampled Soundsources

KEY MAPPING
This is often done with for example 8 audio recordings. Recordings were taken every 4th or 5th note. The sampler then sets the root note (sample it was recorded at) of each sample, and transposes up and down to create the other notes. Transposition of samples shifts not only the fundamentalpitch but also characteristic resonances, called formants.

VELOCITY MAPPING
In addition to this, velocity mapping utlizes multiple samples within a given key range. Samples of a real object responding to greater force from the player are mapped to higher midi velocities. Velocity mapping can also be used to trigger different articulations of a sample, e.g hammer on, or string slides, at high velocities for a stringed bass vsti.

KEYBOARD TRACKING
With most samples the keyboard icon in the middle of the sample layer edit page is turned on / lit up. This is keyboard tracking and allows you to play up the keyboard. if turned off, notes on the keyboard only play the sampled root, e.g 8 notes could pall play f4.

SAMPLE START TIME
Above this is the sample start time, which changes the start position of the sample.

Sounds with a slow natural attack can be made to have a sharper attack by moving the sample start time later.
For sounds with a fast natural attack, they can be made to sound more muted by moving the start time later.
Sounds with lots of samples in them can be accessed by moving the start time later.

For one shots you can make it into a more playable dynamic instrument by modulating the start time with velocity. Right click on sample start, select modulate with velocity and then click invert in the modulation section. This means the harder you hit the key the more of the original sample will be played. Softer notes will play more muted, or further along the sample.

Any soundsource that is not a one shot will sustain or release as long as specified by the amp envelope. (This is accomplished by omnisphere looping a section of the soundfile).

START FADE
Underneath sample start that are the 3 sample start fade options. These are useful to ensure a smooth fade in if getting clicks on the sample start.

TIMBRE CONTROLS
Crush mode - To the right it applies a bit crusher distortion high pass filter, every time you hit the note. To the left it applies a bit crusher distortion low pass filter.
Shift mode - To the right it moves formants up like munchkin, and the left it moves formants down like darth vader.

Multiplier

Mult blue button turns it on

HARMONIA with Samples
Harmonia allows you to add up to 4 voice and detune them and ajust the level of each. Detuning adds movement, and harmonia adds another voice to make a chord. 5th, a 7th, and -12 sounds great for strings patch.

HARMONIA with Synth Waveforms
The zoom allows you to change the shape, symmetry & hard sync for each of the 4 voices & change the waveform of each one (osc is the same as the waveform selected. The wiggly line is the phase button which has the same effect as the other does, and there are various presets for chords and the like

UNISON Mode - Each of the 1-8 unison voices has it's own Detune, Spread, & Phase Mode.
Detune - Amount of Pitch Shift - thickens the sound and goes up to octave in coarse mode.
Depth - Number of unison voices (1-8) - places load on cpu
Spread - Stereo Panning

N.B - Phase Control shifts unison voices, and therefore the phase and analogue settings interact with unison. For triangle waves, it wont work if initial start phase is 0
Detuning
GRANULAR Processing for sample waveforms only - splits the sample into grains and detunes & spreads it for movement and effect.
Depth - number of grains
Intensity - length of grains
Smoothing - applies short cross fade envelope before and after each of the grains
Each grain can be randomly detuned.
Pitch grain determines how many of the grains will be shifted by an amount determined by the interval slider.
One to play about with.

Frequency Modulation

The Oscillator Section can be used to shape any soundsource into something entirely different
The multiplier effects are Harmonia, unison, & granular, and the modulation effects are Frequency & Ring Modulation
FREQUENCY MODULATION
Omnisphere contains a hidden oscillator called the modulator to create Frequency modulation or to add FM. It is not audible.
The audible soundsource is called the carrier.
At low frequencies it creates a vibrato effect. Raising the frequency means you cant hear these oscillations.
New partials called FM sidebands are generated in Frequency Modulation. The frequency slider controls what sideband frequencies will be generated and changes the ratio between the FM modulator and audible oscillator. The 5 marks on the slider indicate the even multiples which are very harmonic and can sound hornlike or warm. In between these are can sound metallic.
Depth controls the volume of the sidebands.
Key tracking is selected with the keyboard and enables a consistent timbre regardless of note pitch.
The bottom 4 icons select different FM waveforms.

RING MODULATION
Omnisphere contains a hidden oscillator called the modulator to create Ring or amplitude modulation or to add RM. It is not audible.
At low frequencies it creates a tremelo effect where the volume rises and falls discreetly. Raising the frequency means you u cant hear these oscillations and sideband partials are created. The frequency of the sidebands depends on the frequncy of the relationship between the Ring modulator and audible oscillator. When that ratio is even, indicated by the 5 marks on the slider, the sidebands are harmonic. High ratios produce higher sidebands.
As with Fm with keytracking disabled every note pitch will have a different timbre, Consistency with it on.
Unless you want dischordant sound its better to use the indicators, to ensure the ratio is musical and the created sidebands fit.

WAVESHAPING
A Digital form of distortion like overdriving a guitar amp. Adds distortion harmonics and creates a new waveshape.. Depth increases.
Each algorithim (1-4) is a little more agressive than the last.

Osc / Filt / Amp, buttons adds the distortion harmonics after the Oscillator, or Filter, or Amplifier.

Mix slider enables is a wet / dry slider.
Gain is a volume control at the end of the effect.
Both of these could be mapped to velocity.

FX

FX Tab opens up an insert rack for layer A, B, & a common
The common tab is where the sound goes after leaving FX A, and B, and can be used to combine or tame the sound created by the layer FX.
Each effect has an on / off switch, a drop down FX selector and controls. There is a mix control on the left of each effect, and sometimes a page 2 selector on the right of each FX
To the left of each effect is a dropdown menu of presets for that effect.
Each rack also has a dropdown menu in the top left which selects groups of preset effects, and is where you can save your own rack presets.

You can modulate any parameter in layer A or B, but not the common FX
You can midi learn or host automate any of the effects racks A, B or Common.
It useful to listen for an effect parameter that would be good to automate and then modulate or record that automation.
To record automation into your sequencer you right/ctrl click on the parameter and enable host automation. This allows the sequencer to see the parameter. Right clicking again, shows the ID number that omnipshere has assigned. To get a full list of all the used parameters in the multi, select midi learn report from the Utility menu at the top left of omnipshere.

In the mixer section there are 4 sends, and these correspond to the other effect rack Aux 1, 2, 3, & 4. There is also a Master FX Rack which affects all, and again this should be used for effects you would put on the final mixer channel.