Creating with the Seaboard RISE - 4.5 Expressive multi layered sounds using

spectrasonics omnisphere is a wonderful
accompaniment to the Roli seaboard
because the multi tamil sampler
synthesizer Hybrid and it can be set up
to receive the multi-channel data that
the Roli seaboard sends to do this I
would suggest starting by creating a
really expressive patch and then
duplicating that part numerous times to
make it multi-channel and so we'll start
this process in the Roli dashboard by
setting it to single channel mode and
having it send on channel one will also
set the pitch Bend range to 24 semitones
which will have to do the same thing in
spectrasonics omnisphere
let's go over to omnisphere and see how
to make an expressive patch there I
found this patch I really like the sound
of it's called boomerang cavaquinho
let's hear what it sounds like I
particularly like this right but I'd
like to be able to play low drones along
with that and to have this pitch Bend
but that not we'll need to have that
polyphonic expression but first let's
make this really an expressive patch the
first step in that is going to be
setting up our pitch Bend range to match
what we set in the Rolly dashboard and
that's right here on the main page in
part one we can set our down pitch Bend
range to be 24 semitones and our up
pitch Bend range also to be 24 semitones
now if I want to start going patch to
patch and Amna sphere it'd be nice if
that stayed the same because that
setting will change from patch to patch
but there's a great function in Amma
sphere where I can lock specific
parameters so that as I change presets
that parameter won't change we'll find
that in this lock menu and we can choose
pitch Bend range and this way if I
change presets the pitch Bend range will
stay at what I set in the Rolly
dashboard now I want to get a little bit
of slide functioning in this patch and
if we look at this patch we have two
layers of sound and this is kind of the
overall layout on the sphere layer one
is the cavaquinho that kind of guitar
like sound and layer B is all those kind
of complex delays in fact I can turn
down the amplitude of layer B well here
just the dry guitar it doesn't have that
reverb on it and that kind of cool
delays if I turn layer B back up and
bring down layer a will hear just those
delays which might be a cool sound as
well I like the mixture though I think
that works really well and you might
want to use those two faders to kind of
adjust the mix to your liking and this
is the same on on many of the patches
and on the sphere now to use slide will
have to assign a user CC and we can do
that over in the system tab at the
bottom you'll see user CC and we can
define one controller to be used
throughout all our patches the great
thing is if we do this once it'll
maintain as you change presets and as
you close and open omnisphere so we set
this once and we don't have to do it
again the trick to this is it's a mini
learn function and with MIDI you learn
functions it'll actually say move MIDI
controller and when you're using a MIDI
learn it's best to reduce the MIDI data
that's being sent
so the receiving synthesizer will know
exactly what to associate with the MIDI
controller so I'll take the glide and
press touch faders and reduce them all
the way down to zero so we're only
sending CC 70 for the slide dimension
I'll now choose move MIDI controller
inside of omnisphere and I'll slide my
hand of one of the key waves and we see
that MIDI CC 74 is now in our user CC
slot there and now we can use that as a
modulation source anywhere with it on
the sphere I'll use that to control a
filter on those delays the kaabah keno
will stay the same but it will have a
really interesting filter motion on all
those delays so I'll go to Part B and
I'll add a filter I'll try low-pass
power juice 48 DB and I'll keep it quite
a bit of resonance to make this obvious
now if I was to play a note and then
just move that manually we can hear what
it does that's pretty happy right we can
get this kind of sample or synthesized
or hybrid perfect for the movie I'm
scoring so I'll bring that back down
I'll right-click on cutoff frequency and
this is how we're going to assign a
modulation here in omnisphere I can go
down to modulate I can choose modulate
with controller and we can modulate with
a user CC this will open up a tab on the
side of the interface here we can
the modulation range right here we also
see that their routing user CC is the
source and the target or the destination
is cutoff frequency now if I try this I
can play note I may get those really
cool high resonant sweeps I'll know all
those delays so so far the patch is
coming out really nice and all that's
left is to make it polyphonic now this
is quite easy inside of ominous fear
because there's a function in the
utility pulldown for a clone part 1 and
that'll take whatever we have set up on
part 1 and copy it to all the different
parts and then we'd have to change our
polyphony and the Rolly dashboard let's
try it once that's done you'll get a
green bar to say it's complete and we
can go over to the Rolly dashboard and
change our prolific a there to match now
there was 8 parts and on the sphere so
we might as well go to multi mode keep
MPE off and have our range from 1 to 8
I'll play a low drone now because I have
my glide touch fader all the way at 0
we're not pitch pending at all but I
kind of like that with this patch and
this is kind of an interesting thing
about this touch fader is if you're on a
note you've been it won't let you bend
at all but if you go down to the ribbons
either the top of the bottom it's like
you're going across a harp which is kind
of a nice for this sound but I want to
bring that up a little bit more so I can
play this low drone
I love all that kind of out-of-tune
nature in this patch the techniques
we've done here work with any ominous
for your patch I think it's a great
option for the Roli seaboard