Anyone here who got Omnisphere?

[SWAN808]

Would anyone with Omnisphere be able to give me a quick run-down of the analogue synth soundsources available?

Im interested in its ability in sounding like an analogue poly-synth.....What do the filters sound like?

thanks

There are plenty of samples from Juno 60, JX3P, MKS80, OB8, Moog Modular, Prophet V, all listed by model, + you have the flexible DSP oscillators. The samples aren't single cycle, but long and multisampled raw waves, many with additional variations in PWM speed, and some with the pulse width at different settings. There are a few velocity switching analog multisamples too. I haven't messed around with the filters yet, but the patches in the analog sections sound great to me.

thanks - I wish there was a list somewhere with specifics....and some demos!

[xp50player]

The specs. for Omnisphere seems quite heavy, but I suppose it's a synth ahead of its time and in a couple of years when we all have octacore CPU's, the amount of processing power it eats is not a problem. Meanwhile I'm grateful that I have the freeze function in my sequencer.

Spectrum: all those old libraries like SOV, Hans Zimmer guitars etc. which are included, are those part of the sound designed presets or can you actually make realistic choir and electric guitar parts in Omnisphere? I know that's not the main purpose of the synth but it would be a nice addition.

Did you get my email by the way? (Peter Christiansen)

Hope I'm not butting in, but the bonus stuff is intermixed with the new material in the soundsource browser. Electric guitars are always hard to replicate in synths, so I give a mulligan on that, but you will not go wrong with the nylon acoustic and the steel isn't bad either. They have velocity controlled bending that is very playable.

[spectrum]

Hi Eric. I've been following ZdB's question with great interest since my usage would be similar to his.

The initial response...

Providing breakout mixes for a client is considered standard musical use.

...and the phrase "install with confidence" were a huge relief to read.

But this subsequent phrase has thrown me a bit!

All you need to do is to be careful to provide your stems and breakouts in some kind of a "mixed" format, so that it's not redistributing our work in a different medium.

Ok.. so a drum stem is a mix of its components, but a lead stem, or a stem of the strings or bass might just be an individual patch. After all, I don't imagine Omnisphere sounds would need "fattening up" to do any of those rôles well!

When a client says "love it.. just need the stems.. including one break-out with just that swirly pad", they would not understand if I deny the request on the basis that it was a single long held note from a built-in patch.

In fact, to even say mid session that I couldn't provide it would probably lead them to suspect that I had not composed the track - or bought the plugin - after all!

Although I don't often just strike a note and use that patch without tweaking in some way, if they ask for a long held note in the track and like the sound of a patch when they hear with me in the studio - that's what they want.

I need to provide my clients with stems as required - but without breaking your terms. So how much do I need to alter a patch to provide it as a breakout? and what consistutes 'mixed' in a stem with just a layer of Omnisphere?

Sorry to ask for further clarification, but I need to do it right!

Providing a "client" with stems of any kind is fine. It's a normal part of the mixing process and we wouldn't dream of limiting that.

The issue is that if the stems themselves get distributed, that's where there could be a problem.

The reason I added the "be careful" comment is specifically because Zero is creating production music libraries that include the stems in the distribution to their library customers, which can be where the trouble could start. We allow that kind of production library use, but draw the line at redistributing our isolated sounds in another library (even though its a music library). So if there's some kind of submixing going on, it solves the problem for everyone and our samples can be used in those kinds of contexts.

It's always good to ask about the borderline cases. Hope that answer makes things clearer.

spectrum

[jsaras]

I just did all the Windows XP tweaks recommended by Spectrasonics. I pretty much had done all of them already, with the exception of two settings...I forget which. Anyway, I'm happy to report that Omnisphere is now working perfectly and my computer has never been snappier!

Rock on!

[Ignatius Reilly]

Hi Eric. I've been following ZdB's question with great interest since my usage would be similar to his.

The initial response...

Providing breakout mixes for a client is considered standard musical use.

...and the phrase "install with confidence" were a huge relief to read.

But this subsequent phrase has thrown me a bit!

All you need to do is to be careful to provide your stems and breakouts in some kind of a "mixed" format, so that it's not redistributing our work in a different medium.

Ok.. so a drum stem is a mix of its components, but a lead stem, or a stem of the strings or bass might just be an individual patch. After all, I don't imagine Omnisphere sounds would need "fattening up" to do any of those rôles well!

When a client says "love it.. just need the stems.. including one break-out with just that swirly pad", they would not understand if I deny the request on the basis that it was a single long held note from a built-in patch.

In fact, to even say mid session that I couldn't provide it would probably lead them to suspect that I had not composed the track - or bought the plugin - after all!

Although I don't often just strike a note and use that patch without tweaking in some way, if they ask for a long held note in the track and like the sound of a patch when they hear with me in the studio - that's what they want.

I need to provide my clients with stems as required - but without breaking your terms. So how much do I need to alter a patch to provide it as a breakout? and what consistutes 'mixed' in a stem with just a layer of Omnisphere?

Sorry to ask for further clarification, but I need to do it right!

Thanks

drew

It also seems like you would need a pretty discerning client to hear just when you do a little tweaking. Maybe put some EQ on it or compress it or add a little reverb that will prevent them from having a raw sound they can use; change it up a bit, so you're not giving away the store (for both you and Spectrasonics). If someone flat out demands a whole bunch of untreated sounds, you might want to think twice. Follow up and ask questions. There is such a thing as contributory copyright infringement, so protect yourself and don't put your head in the sand.

[krraqk]

You prob need to increase the buffer latency on your audio interface. The same for the other guy with the Q6600 processor. I can usually get away with setting mine for 128 samples with other plugs, but I had to raise it to 384 with Omni. I was getting this wicked clicking/popping rhythm with anything less than that.

That not sound good at all. I not need to raise my buffer just for the reason that some vsti needs it, I raise it when the cpu is getting hot because I already have many vstis and effects running.
According to what I have read in these threads Omnisphere can impact the cpu but not much more that other vstis and I dont have the sensation that it would heat so much cpu that you need to raise the buffer only to run only one instance with a simple patch.

Someone posted the cpu consumption with % with many patches examples and it seemed a reasonable cpu hit.

Is that an Omni fact or a problem specific in your system?

[spectrum]

It also seems like you would need a pretty discerning client to hear just when you do a little tweaking. Maybe put some EQ on it or compress it or add a little reverb that will prevent them from having a raw sound they can use; change it up a bit, so you're not giving away the store (for both you and Spectrasonics). If someone flat out demands a whole bunch of untreated sounds, you might want to think twice. Follow up and ask questions. There is such a thing as contributory copyright infringement, so protect yourself and don't put your head in the sand.

It's not so much about "treating" the sounds as it is in keeping it mixed if there is going to be some kind of subsequent distribution of those isolated stems.

If there's not subsequent distribution the client is going to do with the stems, then there's really no issue at all.

[drewsonix]

That's great. Much clearer thanks, Eric - and totally what I'd call reasonable & fair.

I hope Omnisphere proves to be a roaring success and a defining moment for you!

Cheers

drew

[spectrum]

That's great. Much clearer thanks, Eric - and totally what I'd call reasonable & fair.

Cool!

I hope Omnisphere proves to be a roaring success and a defining moment for you!

Thanks! It is indeed already both.

Cheers,

spectrum

[Ignatius Reilly]

It also seems like you would need a pretty discerning client to hear just when you do a little tweaking. Maybe put some EQ on it or compress it or add a little reverb that will prevent them from having a raw sound they can use; change it up a bit, so you're not giving away the store (for both you and Spectrasonics). If someone flat out demands a whole bunch of untreated sounds, you might want to think twice. Follow up and ask questions. There is such a thing as contributory copyright infringement, so protect yourself and don't put your head in the sand.

It's not so much about "treating" the sounds as it is in keeping it mixed if there is going to be some kind of subsequent distribution of those isolated stems.

If there's not subsequent distribution the client is going to do with the stems, then there's really no issue at all.

I agree. (I'd have to read license to make sure.) But I'm talking bare, bare minimum stuff, on a theory level. It's an interesting question, all these companies putting out high quality samples into the world and so many other companies selling sample discs. It's not hard to see the potential problems there. (Not to mention software that can edit digital files down to the sample level...the line between copying and fair use boggles the mind.) So I guess my answer was more theoretical...how could you foil someone who demands what looks like a precursor to piracy? A lot comes down to the human element of intent, being aware and knowing who you deal with.

[Motion]

Omnificent!

[jonkuzma]

I can't get it to load or appear in Logic or Live..Shows up in my components and works in Pro tools..But a no go in LP8 and Live7..Also it is way hungry as to CPU...If you don't have a new super fast system..It just doen't seem to be of value..Shame that..It has the same strain on my system that made the wrapper for Atmo.s unusable..Shame Spectrasonics wasn't a bit mor insistent about the need for a super fast system or rethink the purchase...Hopefully they will address the AU issue post haste but it doesn't seem it will be resolved for an all weekend thrill kind of thing..And again a printed manual is just so needed for this one...I'm once again at a loss as to what sense that makes..JON

But in the mean time..I would be remiss to not mention..It sounds fabulous none the less...LOL

[krraqk]

Per Lichtman wrote:

P4, 3.2 GHz, HT disabled. 2GB RAM.
Windows XP Pro SP 2.
Tested in Xlutop Chainer 1.03
Audiophile 2496, 1024 sample buffer.

Category: Distortion

First number is for 1 note, second is for 5 notes. 5 notes was not tested where "solo" is indicated. Patches not indicated as solo were modified to allow 5 notes if they did not do so by default. No other modifications were made.

Bending Resonating Saw: 12-13%. 43-45%.
Bluesy Lead: 1 voice, 14-15%. 18%.
Brutal Megalomaniac: Solo, 6-7%.
Brutal Moog: 4-5%. 8-9%.
Buzzord: 5-6%. 12-13%.
Dan's Studio Dirty Bariton: 15-18%. 25-30%.
Disoriented: 5-7%. 12-13%.
Distorted Magma: solo, 12-14%.
Doubling Power Chords: 5-6%. 8-13%.
Electroshock Therapy: 6-7%. 13%.
Ferocious Megalomaniac: solo, 6-7%.
Frippy: 7%. 13-14%.
Fuzz Tones: 6%. 13-15%.
Fuzzeridoo: 4%. 10-11%.
Knopfleresque: 11-12%. 19%.
Lovely Guitar Feedback: 5%. 12%.
Melted Ebowed Piano Swell: Solo, 11%.
Power Blowout: Solo, 4-6%.
Rock Harder: Solo, 15-17%.
Shakey Jake 1: 7%. 13-14%
Shakey Jake 2: 7-8%. 13-15%.
Shredder: 6%. 10-11%.
Shredding Megalomanic: Solo, 10-12%.
Siomo Mayhem: 6%. 13%.
Snaris: 6%. 12-13%.
Spit Storm: 6%. 12-13%.
Squalor Drone: 6%. 12-13%.
Tribute 2 Belew: 8-9%. 11-12%.
Xtremist 1: Solo, 28-31%.
Xtremist 2: Solo, 18-22%.

According to those numbers the cpu hit of Omni seems reasonable. With a modern cpu (quad at 2,4 ghz) it seems possible to run multiple instances without much problem.

[fgimian]

My main interest lies in the synth engine, how does this sound compared to say, Sylenth1 or Minimonsta? What sort of waveshaping is available? Is it pre-filter or post-filter? What do the filters sound like? .etc

Would really love to hear some sound demos of the synth engine with no samples.

[pdxindy]

Would really love to hear some sound demos of the synth engine with no samples.

me too... that would tell much about the synth itself...