ØMNI: The Sound of the ARP OMNI
ARP’s legendary String Machine, Mono Synth, and Bass Wiz captured in 29 Patches.
ARP’s best-selling Instrument delivers classic Strings, fat Bass, & quirky Synths
The ARP OMNI is not just a synth, it's more of a predecessor to modern day performance keyboards with its 3 distinct sound engines: Strings, Synth, and Bass. It's string engine utilizes a divide-down tone generator that technically gives it unlimited polyphony. Its classic string sounds will be instantly recognizable to any fans of Joy Division, The Cars, or Kraftwerk. One might even say that the OMNI's string engine played a big part in establishing the sound of New Wave. A "hollow" waveform mode gives the strings a more synth-like touch. In either mode, OMNI's strings are lush and beautiful sounding, especially when combined with a long reverb or even a phaser (for that classic Jean Michel Jarre string sound).
The string section features Bass, Cello, Viola, and Violin registers.
Its synth is a simple single-oscillator design with a single envelope generator, a warm sounding ARP low-pass filter, and single LFO. This synth is capable of some quirky and musical sounds and serves as a great complement to the String and Bass engines. It doesn't boast all that much low-end and its strength really sits in the middle register.
The bass engine is somewhat of a hidden gem as it pulls off a surprisingly convincing electric bass that's both punchy and warm sounding and mixes well with the built-in synth. Sitting in the mix, this bass provides some serious low-end without being overly in-your-face. Both the 16' and 8' octaves can be mixed for an extra chunky octaver-style effect.
To get the cleanest possible tone out of this pristine ARP OMNI, I recorded it using a DIYRE FE2 DI Box with CineMag transformer, high-end Rheingold Music cables, and Antelope Audio converters. The instrument's self noise has been reduced using subtle AI-assisted spectral de-noising to make sure these sounds will still sound very clean when being heavily processed. To allow for ideal sustain behavior, the string samples are looped within at least 3 full waveform cycles.
- 29 multi-sampled patches in multiple formats (see below)
- 5x bass
- 3x mixed
- 8x strings
- 13x synth
- 423 individual samples (24 bit / 44.1 kHz, 430 mb)
- .exs for Logic Pro Sampler (10.5+), Alchemy, exs24 (legacy), and DecentSampler (via import)
- .nki for Kontakt 4.1 and later (requires full version, not compatible with Kontakt Player)
- .adv for Ableton Sampler (Live 10 Suite and newer)
- MPC 2 Expansion with Keygroup instruments, pre-programmed inserts, and patch previews.
- .sfz SoundFonts for Ableton Sampler (Live 10 & earlier), UVI Falcon, Kontakt 5 & older, Sforzando, NN-XT, NN-19, Halion Sonic & others
- Reason ReFill containing NN-XT sampler patches
- .multisample for Bitwig Studio
- .korgmultisample for KORG WaveState and ModWave
Hi there! My name is Chris and I'm a sound designer and audio mixing & mastering engineer based in scenic mountain region of Berkshire County, Massachusetts. While my background has been performing and recording music, it was the process of creating my first ever musical sample pack, Low'n'Slow, that truly made me fall in love with sound design in 2019.
Since then, I've started designing sound effects for video games, sampled rare synthesizers and drum machines, turned field recordings into contemporary hip hop drum kits, and created loops for fellow producers to use. During the course of the pandemic, I realized creating sounds for film and games was something I really wanted to pursue and while working towards that goal, I also started creating sound libraries for fellow sound professionals, video editors, and multimedia artists.
I strive to provide uncompromising, meticulously captured high-quality audio assets at an affordable price and help creatives at all stages of their career find the right colors for their sonic palette. My Blog also provides insight into my process, and my gear page highlights what equipment I use to create these libraries.