Anyone else completely disappointed by Omnisphere?

[incubus]

Gang up on 'em folks

First, not EVERYONE likes everything, sorry to break you bad news. I'm plenty pissed about the recent sonar thread, I don't think I over-reacted like the fanboi's say.

Second, at selling, I know from experience, it's an exercise in EXTREME persistence and frustration. It can be done, but not with any kind of ease. I'm not exaggerating when I say I had at least 3 different people screwing with a group of license transfers I did. I kid you not, I had people asking remedial questions LONG AFTER the transaction was complete and was a basket case during the process. TBH, I only give a f**k about the recipient getting what I promised

Third: Who are you people, the virus police? I mean seriously, if he/she's unhappy, so what? They have every right to vent.

Why are ALL forums so extreme? People look to jump on thing like a moth to flame.......Ok, maybe a poor choice of words

But, before I'm thrown completely under the bus, omnisphere is indeed a very polarizing product. Maybe because of the price, but who knows for sure.

[ghettosynth]

Gang up on 'em folks

Let the bludgeoning begin!

[ghettosynth]

[Teksonik]

Looks like Jesus has been hitting the weights. He's Jacked !

[ghettosynth]

On a more serious note, one thing that I don't like about Omnisphere is the 24 bit summing engine that sometimes causes premature dithering to occur. It definitely can impact the sound quality. I think I can hear some of that happening in Wags' demo above. Maybe this is what the OP is experiencing?

[Aleatoriac]

Nope. Not disappointed with Omnisphere.

[aumordia]

John thanks for the thoughtful post. It looks like I understood Omnisphere to be quite nearly the exact opposite of what it is, and I consequently wound up buying the exact opposite of what I needed.

That is, I have a bunch of synths that I've programmed to death -- to the point of overkill, e.g. I've made an FM slap bass in Sylenth1, a karplus-strong style pizz in Spire -- but I don't have any regular sounds. I figured Omnisphere would fill that gap, but based on your description, it looks like I've got it backwards.

Somebody who already has regular sounds would get something like Omni to add the more exotic tones to their palette. But I'm in the opposite boat, I'm drowning in out-there sounds, what I need instead are regular real-instrument sounds. Because when I say I'm interested in film music, I'm talking more "Lawrence of Arabia" than whatever the Wachowski... uh... siblings have produced lately.

I'm pretty clueless about spectrasonics as a company, I saw the price tags and figured that Keyscape and Trillian must be like mini specialized variants of the more expensive Omni, which would surely cover the same ground and then some. Whoops. Hey, my family is growing so my attention span isn't the best as of late. Mea culpa.

I'm not terribly interested in Omnisphere tuition because seeing what Omnisphere actually is, I'm not terribly interested in it. It might have more features in certain areas, but not in ways that matter to me. I floating bridge guitar might be technically more versatile than a fixed bridge, but I still prefer the latter. But I see you have some Sylenth1 videos on your site, and apparently you've been at this for a while. I'll buy those patches/vids and see what I can learn, there always a new trick (or dozens) to pick up, especially from an experienced had.

On a different note: let me take a moment to address the insolent swine posting as zerocrossing, implying that I can't program a synth. Buddy, I am almost certainly a better synth programmer than you. Because not only can I program synths, I can write synthesizer programs. Go to zhevny.com/specimen. That's the silly toy that I created as a hobby when I was an idiot teenager, and that was a while ago. So I know what I'm doing / lol I can supersaw bro. Therefore you should repent of your impudence or I will make a sound out of a sample of my infant daughter farting that is so much better than anything you can come up with that your name shall be a shame for seven unto seven generations!

Also this is why the unique aspect of Omni -- its sample based synthesis -- isn't that interesting to me. That's actually the first field of synthesis I ever got into, and I've since developed a huge library of sounds, programs/scripts, and techniques, and I'm honestly kind of sick of it. These days I'm interested in more "pure" sounds -- a synth that sounds like a synth, a piano that sounds like a piano -- I got the whole "it sounds like a piano getting dissolved in a whale's stomach while that whale plays a mellotron" thing out of my system long ago.

Welp probably time to see about the ole license transfer. Le sigh.

[ghettosynth]

Therefore you should repent of your impudence or I will make a sound out of a sample of my infant daughter farting that is so much better than anything you can come up with that your name shall be a shame for seven unto seven generations!

I think that's already in Omnisphere, well, probably not YOUR infant daughter, but somebodies.

[noiseboyuk]

Perhaps Spectrasonics should put in very large letters on their website:

OMNISPHERE IS NOT A WORKSTATION

To be fair, you're not the first to make that mistake and you probably won't be the last. I am curious as to the thought process that went Film Music ----> Workstation though. If you'd bought a Workstation instead of Omni, I'm not sure it would lead you down a great path to film music. Film music - if you wanted to approach it in all its vast variety - would need vast numbers of very high quality sample libraries covering all orchestral, real and world instruments, plus Omnisphere and maybe a few other synths and samplers if you were really going for it. In general, a workstation would be a very bad choice as the quality of samples just wouldn't be good enough for serious use (indeed, a product like EW's Goliath would be a good fit on paper, but save yourself the money there too as its largely awful). You'd likely just make very bad film music.

As it is, you've accidentally bought yourself a product that really is perfect for film music. Not for the orchestra or the real instruments of course, but there's a reason why its in almost every film score released today. Perhaps you just have to re-imagine what it is you've bought, to see how well it fits what you wanted to do in the first place.

[AnX]

You said it yourself, many times, that it's your fault for not trying it. Nothing worth ranting about.

Is there a demo version?

[ghettosynth]

You said it yourself, many times, that it's your fault for not trying it. Nothing worth ranting about.

Is there a demo version?

Yes, I'm demoing it now, I think that it's new.

[LGK_Dude]

You might find this helpful: http://www.studio-one.expert/studio-one ... oring-2016

Hopefully you learnt from your mistake (we all make them)

[EvilDragon]

I keep waiting but nobody has yet created a synth where a simple right+click on any parameter will let you modulate anything with anything.

Somebody has to check out UVI Falcon, then.

[Cinebient]

I love Omnisphere too, especially with Keyscapes.
It has so many great sound sources which are not for everyone of course.
The synth engine is great too but not the holy grail. It can't really modulate anything with anything (sorry John) and there are enough synths where you right click and do this (Falcon, Avenger?... any Modular synth etc) these days.
But Omnisphere is a great performer and has some great things no other tool has.
To answer the topic, i'm not dissapointed by it.
Of course it is not great for you that it wasn't what you expected. I had the same with Falcon but now i love it after some time.

[layzer]

Don't know what to tell you. Guess it's not for everybody. It's one of my favorite synths.

https://soundcloud.com/steven-wagenheim ... new-sounds

https://soundcloud.com/steven-wagenheim/omnisphere-demo

I disagree. Omnisphere is for everyone.

wrong. it isnt for everyone. it isnt for people that
know how to program sounds and don't need 5000 onmibloat presets to
make great music.