One Sound Design Trick with The Unfinished

May 29, 2024
by GForce Software

Matt Bowdler, a.k.a. The Unfinished, is an Oxford-based composer and sound designer. For a decade, he has been creating cutting-edge, cinematic sound design, and his sounds are regularly used in Hollywood movies, AAA game scores, and hit TV shows around the globe.

He has collaborated with the likes of Hans ZimmerStephen BartonSascha DikicyanMartin PhippsLorne Balfe and Paul Haslinger. He has also created original synth programming and sound design for audio developers such as u-heSpectrasonicsTogu Audio LineGForceSpitfire AudioSoniccouture and Access synths.

The Unfinished, who contributed to impOSCar3‘s sound design, kindly agreed to answer a few questions.

Do you have any tips for getting great-sounding patches?

ImpOSCar3 comes with a host of ways to add movement to your sounds, to make them extra dynamic. In particular, the two LFOs, in conjunction with oscillator wavetables, provide endless possibilities for evolving sound sculpting. Especially when you take into consideration that you can design your own wavetables and LFO shapes.

On top of that, you’ve got that lovely overall sound that comes from combining digital oscillators with analogue-modelled filters. There’s a joyous sweet spot in the combo which ImpOSCar 3 (and, of course, the original OSCar) really nails.

Which of your impOSCar3 patches do you consider your personal favourite?

Asking me to choose between my children are we? Haha. If I had to pick a favourite, I’d go for Barren Waves. It’s a menacing and characterful soundscape/drone. I like the atmosphere it creates: tension, depth, menace, movement. It’s a nice scene-setter. It takes advantage of those LFOs and the gorgeous filter too.

Barren Waves

Is there anything, in particular, you liked about impOSCar3?

The thing I like most about ImpOSCar3 is that it’s really opened up this synth for me. I found the previous version a little intimidating in its structure and 3 has made using it so much easier. It’s still full of complexity and modulation possibilities but, now they feel more intuitive and flexible. It’s taken the original idea and really run with it. Which is great. I also really like the way the effects make patches come alive. The analogue-modelled unison and drive are warm and lush. Plus, the reverb is really rich and lively. They match the character of synth very nicely.

My favourite hardware synthesizer at the moment is my Moog DFAM. It’s so much more than just a drum machine. It’s full of gnarly bass too. I’m a sucker for anything that’s analogue and has a fun sequencer attached to it. You can get so many different moods and textures out of it, despite its fairly simple architecture.

In terms of softsynths, u-he Zebra remains my “go to”. I know it inside out and there are few sounds that I need that it cannot make.

Where can readers find out more about you?

You can find his many synth soundsets and also info on the films, TV series and video games
he worked on at