Omnisphere Amara

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2018 was a pretty busy year for me as far as bespoke synth programming projects were concerned. In particular, I got to work with some of Europe’s finest composers on TV series based in the UK, France and Denmark.

I decided the collection of sounds I created for these series would provide the core of a really interesting Omnisphere library. Because I had so much fun working on thes ebespoke projects, I couldn’t help but make a load more patches inspired by the same ideas.

Omnisphere Amara falls into three types of sounds for me. Firstly, there’s the modern analogue vibe of artists/composers like Olafur Arnalds and Nils Frahm. Pounding basses, lush pads and delicate arpeggios are at the heart of this section – typically the sort of sound you get out of synths like the Roland Juno 60, the Korg MS20 and the Moog Minimoog. It’s a really important element of what has become Neo-Classical music and is now an essential part of TV scoring.

Alongside the analogue pulse sits a more organic vibe, which Omnisphere is perfect for. It takes traditional instruments such as pianos, strings, glockenspiels and marimbas (bowed, plucked, struck) that have then been deconstructed and reconstructed to provide new and unusual noises that feel like they’re living and breathing. Basslines from piano strings, atmospheres from bows, rhythms from metal and glass.

Then finally, there’s a smaller section that blends the two styles, creating a hybrid sonic that combines the natural with electronic, textured sound design from a clash of cultures. There’s a nice mix of the neo-classical simplicity, the drive of minimalist techno/electronica and post rock ambient sound design, that all come together to produce that quintessentially modern drama scoring vibe.

Omnisphere Amara is an essential toolkit that will provide you with a wide range of sounds to tell the stories you need to tell.

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