Omnisphere 2 First Impressions?

[padillac]

It may even be enough to make me forget about CamelAudio.

But omnisphere 2 does not have additive resynthesis.

nor andy (zenpunkhippy)

I mean this:
1. import a single wav audio file
2. resynthesize it with a bank of sinewaves
3. please try to do this in omnisphere 2
4. change the waveform that all partials use
5. adjust the symmetry and pvar
6. change the levels of the odd and even harmonics
7. done

I mean this:

1. Email Spectrasonics support 2 months from now and get a reply.
2. Try to do this with Camel Audio...
3. Done

[Kinh]

But if you're looking for big polysynth pads, choirs, and the spectacularly gorgeous pads that made Omnisphere famous - well, I guess Eric felt like those had already been done. In general, the new sounds skew more toward the edgy end of the spectrum.

By edgy do you mean synthetic, newer sounding presets like "Electro Reduction" "Armed to the teeth" from Omni1, or just exploding distortion with reverb stuff like AEON?

[noiseboyuk]

Luca - that's a very interesting and clever trick, well found so quickly.

In general, if you don't want to hear the dubsteppy stuff then set your genre to Dubstep and NOT. There, all gone.

There is more of the classic older-sounding stuff too, though agreed that's not where the emphasis has gone. Again, people might well be missing great new stuff because of the tagging issues. But the potential for that stuff has gone way up now - unison drift, new classic synth wavetables, new filters, fx like the vintage phaser etc - that making old new again is right at your fingertips. We'll likely see more factory patches this year that make use of this, and definitely 3rd party too.

[synaesthesia]

Torley was on the beta testng team, so hopefully he will be doing a video or two on Omni 2 soon.

[woodsdenis]

Torley was on the beta testng team, so hopefully he will be doing a video or two on Omni 2 soon.

Love Torley too, miss him on YT.

[layzer]

I know this is a painful time for some friends, and I can't do much, except maybe share a little of the results of my first few weeks with this baby:

https://soundcloud.com/ned-bouhalassa/s ... re-2-demos

and just to compare, here is a little demo i made without using omnishere 2,
instead i used OXE, PG8x and albino3 and TAL effects...
https://soundcloud.com/layzerkvr/not-omnisphere-2

[noiseboyuk]

Ha - these demos are a mixed blessing. Omni is so diverse and gargantuan, you can get a false impression. Ned's tracks are great, and they showcase some of the harder more digital aspects. But you could just as easily have a warm analogue track that is tonally similar to Lazer's non-Omni 2 one. It's pretty much all there somewhere...

[declan32001]

Yeah. I think I've listened to almost everything out there so far and I must get my hands on it!

noisyboyuk I was surprised by your initial post because you're so familiar with Omnisphere, but that just made me more frustrated.

I have too many questions to ask so I'll be quiet now. Have fun.

[Audiority]

Here's another trick I found out that we can exploit the new ARP Speed parameter to create audio rate modulations... the first experiment is to create a granular-ish pad without engaging the Granular mode. Check it out!

[5Lives]

I feel Omnisphere has always been geared more towards film scoring vs. pop / vocal-based music. Sure, there are a few patches that fit well into that music, but they tend to be the basic "Choir pad" or "Cathedral strings" sort of stuff that you can get elsewhere (and at a much more detailed level). The nice thing about Omnisphere 2 is that it is user expandable so perhaps other folks will bring out some more useful sounds for those genres. TBD.

[patcub]

I feel Omnisphere has always been geared more towards film scoring vs. pop / vocal-based music. Sure, there are a few patches that fit well into that music, but they tend to be the basic "Choir pad" or "Cathedral strings" sort of stuff that you can get elsewhere (and at a much more detailed level). The nice thing about Omnisphere 2 is that it is user expandable so perhaps other folks will bring out some more useful sounds for those genres. TBD.

yep, that's my opinion too. That being said you'll always find something interesting in omnisphere, it's really easy to come up with nice sounds that will bring something to your music and would be very hard to get otherwise.

[Astralv]

Wobbles and drops, drops and wobbles, static and glitch, circuit bent bloops, more glitchy wobbles and static-y computer whoops and....
YUCK.
I loved Omnisphere 1 for the endless gorgeous and musical sounds it had... Not so many of those in the O2 preset library. Oh, some, but please tell me how I can delete the rest of this stuff?
Womp, globble, dunk, wooowwwoooowww, spittle, crank, WOBBBBLLLE....

Probably just that it is far to hip for an old fart like me.
But these are lots of edgy, gritty, distorted, dirty, snarled sounds that probably don't fit in with much of anything I do, and my music runs across many genres.
I am hearing things in the O2 preset library that remind me a lot of the sounds in Absynth... interesting stuff to fool around with, but not very musical, at least in any remotely traditional musical sense.

I would like to point out that music production is changing with the progress of technology. If you don’t want to sound like old fart, you need to adopt. I am 40 y old and I noted that my music some time sounds like 80s. I watch YouTube videos and try to learn new techniques that new generation comes up with to make sure I stay up to date and appeal to the new generation. I am not claiming to be successful in it, but new sounds interesting to me not because I make EDM but because they are new sounds capable to change music in general. If you think of music 20 or 50 years from now, what direction do you think it would go? Do you think it will go toward wooobles or toward acoustic instruments? I agree that EDM sounds still not perfectly pleasant yet but as new plugins released, developers become more and more skilled with making them sound better by using better effects, filters and processing techniques. It is our job to implement new technology in to our music. I live in Virginia and I have many friends on my Facebook list but most of them listen typical American rock music and have no idea what is going on with the music in the world. It is my job to help them discover those sounds and find a way to include them in to my “old fashioned” music. I listen what kids listening. I do not always like it but I have a lot to learn. Even with my 20 years’ experience in music making, I have to learn from 16 years old with Abelton. I am a keyboard player, but I have to learn how to use Push or Maschine pads because it opens new ways to create melody line and offers new scales. Glitch and stretching is very interesting and promising technique. I am not going to full myself by thinking that I am so talented that everybody will just want to hear the chord progressions I learned while in college and the story of my personal struggle in life, expressed in music. New kids want EDM and music is progressing. Fighting it is the same as fighting robotics or computers or space industry. We have to open door, mind and heart to the new technology and learn to use it to be ahead of our peers.

[elassi]

I would like to point out that music production is changing with the progress of technology. If you don’t want to sound like old fart, you need to adopt. I am 40 y old and I noted that my music some time sounds like 80s. I watch YouTube videos and try to learn new techniques that new generation comes up with to make sure I stay up to date and appeal to the new generation. I am not claiming to be successful in it, but new sounds interesting to me not because I make EDM but because they are new sounds capable to change music in general. If you think of music 20 or 50 years from now, what direction do you think it would go? Do you think it will go toward wooobles or toward acoustic instruments? I agree that EDM sounds still not perfectly pleasant yet but as new plugins released, developers become more and more skilled with making them sound better by using netter effects, filters and processing techniques. It is our job to implement new technology in to our sound. I like in Virginia and I have many friends on my Facebook list but most of them listen typical American rock music and have no idea what is going on with the music in the world. It is my job to help them discover those sounds and find a way to include them in to my “old fashion” music. I listen what kids listening. I do not always like it but I have a lot to learn. Even with my 20 years’ experience in music making, I have to learn from 16 years old with Abelton. I am a keyboard player, but I have to learn how to use Push or Maschine pads because it opens new ways to create melody line and offers new scales. Glitch and stretching is very interesting and promising technique. I am not going to full myself by thinking that I am so talented that everybody will just want to hear the chord progressions I learned while in college and the story of my personal struggle in life, expressed in music. New kids want EDM and music is progressing. Fighting it is the same as fighting robotics or computers or space industry. We have to open door, mind and heart to the new technology and learn to use it to be ahead of our peers.

Interesting perspective and good points in there.

[murnau]

I get back to write "classical" orchestral stuff (I just learn how to use the different symphonic sample libraries i purchased). Everthing else bore me more and more after all the years.

[mwalthius]

If you don’t want to sound like old fart, you need to adopt.

[...]

We have to open door, mind and heart to the new technology and learn to use it to be ahead of our peers.

I don't have to do anything. All I want to do is to have fun composing music and playing my keyboards. I'm not trying to impress anyone or sell anything to anyone.

I am not remotely interested in making dub, glitch, trap, or circuit bent music. For the record, I don't care for opera, rap, or smooth jazz, either.