Yes, you can install it on more than one computer. The VST has a Single user but Multiple Computer license. However, you need to be using it only for yourself. What version of Omnisphere do I need to be able to load Keyscape sounds? Omnisphere version 2.3 or higher is required to load Keyscape sounds. Is Keyscape included in Omnisphere 2? 'Omnisphere 2 is an instrument that you couldn't exhaust the potential of in a lifetime of music making. It's powerful, soulful and worth every penny.' - Computer Music writer Ronan Macdonald makes Omnisphere 2 his Expert's Choice of 2015.
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Joined: 8/1/2008
I have been toying with the idea of getting Spectrasonics OMNISPHERE 2 which will be available in a couple of weeks (April 30, 2015) anybody have any thoughts? I have never used computer software to produce musical sounds, and I don’t know a damn thing about it. In fact, I don’t use a computer at all when I record.
The sounds of OMNISPHERE 2 are very impressive.....all 10,000 of them!
https://youtu.be/DbpqdaLO-WI
Joined: 7/29/2014
It's wonderful.
Once the Download Manager completes its data–grabbing, installation proceeds as a call and response system, after which Omnisphere 2 can finally boot. I was immediately directed to pick up an updated version (2.0.2c, and about a week later 2.0.2d) to reflect the small fixes made as OS2 spreads to a wider audience. Click on below button to start Spectrasonics Omnisphere 2.6.2c r2r Free Download. This is complete offline installer and standalone setup for Spectrasonics Omnisphere 2.6.2c. This would be compatible with both 32 bit and 64 bit windows. Click on below button to start Spectrasonics Omnisphere 2.6.2c r2r Free Download. Spectrasonics Omnisphere 2 VST free. Download full Version setup. Omnisphere 2 is the flagship synthesizer of Spectrasonics – an instrument of extraordinary power and versatility. This award-winning plugin brings many different types of synthesis together into one amazing-sounding instrument that will inspire a lifetime of.
Everyone in the production music industry uses it. People don't realize how many times they have heard Omnisphere sounds on TV, Video Games and even movies (Danny Elfman used it in Terminator Salvation for example).
I have Omnisphere (fortunately I got it last Nov. so I can get the upgrade for free). I think if you purchased Oct. 2014 and later you can get this upgrade for free.
You could load it up and play it as a synth (see below), and some of the pads would work really well with the theremin - heck there are a zillion things that would work well with the theremin in this package.
But it really shines if you are doing MIDI work of course. You could record your piano tracks to MIDI and then run them through this very easily with your keyboard if you just don't want to play it as a plug-in synth directly.
And of course if you are into synths, you have a full fledged subtractive and to some extent additive synth there that you can tweak parameters in any way you like (though this may not be the best use of your time). And you will want to use that MOD wheel on your keyboard to get the most expressive sound from the package as many sounds are controlled in different ways though your keyboards MIDI controllers.
Another nice thing about Omnisphere is that it includes a bunch of samples from a lot of their earlier sample libraries especially the strings and vocal libraries. And when you bring up a patch it tells you where it's from.
You really can't go wrong with it, especially if this is your first package like this you are considering. And I bet it will come in handy for a lot of the ethnic music you deal with in numerous ways as well (it has samples from their great Heart of Asia library that is no longer available - plus other ethnic library inclusions).
What electronic keyboard do you use again? It has MIDI output for sure and maybe can even record MIDI files. You running a MAC I think, right? You will connect that keyboard's MIDI interface to your computer and then bring up your DAW that you can attach the plugin sounds to and play away. What program are you recording with on the MAC?
Rich
Joined: 7/29/2014
So I just checked it out some more. Looks like you can import any sound into Omnisphere now in addition to all the new sounds. And then you can play around with the additive wavetable synthesis engine to change and manipulate the sounds. Wow this looks really great!!!
But I don't see that they have added a stand-alone mode so you can just connect your keyboard to the computer, bring up Omnisphere and play away. Still looks like you have to run it as a plug-in in your DAW or other program that accepts plug-ins.
But I think you can get a program that will let you run it in stand-alone like mode which is what I feel will suit you best as you can then treat it just like a digital piano with 10,000 sounds once you connect your keyboard to your computer through I assume a USB MIDI interface you must be able to support.
From what I see (to try and run in a stand-alone mode):
Mac users can download VST Lord (http://arne.knup.de/?page_id=32) for OS X use, while PC users have several choices, including the free Cantabile Lite (www.cantabilesoftware.com), Tobybear's donationware Minihost (www.tobybear.de/p_minihost.html), and Herman Seib's Savihost (www.hermannseib.com/english/Savihost.htm).
So before you buy this make sure you know how you are going to want to use it and make sure you have the right resources on your computer to use it or you might be disappointed.
By the way you might also check out Native Instruments Komplete10. Looks like this is in the same $ ballpark now but an absolutely unbelievable set of tools (also there is Komplete10 Ultimate for about twice the price - so look carefully). This includes a great synth called Massive and the industry standard Kontakt sample player that will let you load up a zillion samples (may you can get for free). And it can run stand-alone. But it's not the same thing as Omnisphere.
Rich
P.S. And this is why I don't have enough time to really learn the theremin the way I want to - too much dilution in the digital domain.
Joined: 8/1/2008
Hi Rich,
Here’s the thang. I’ve never used my computer to record anything! Up to now, everything I have ever done is recorded as a live performance to my trusty olde ROLAND VS-2400CD. That device was discontinued years ago, but I am so used to it I can operate it in the dark. It has hands-on sliders & knobs and reminds me of the days of wood-burning consoles.
My main keyboard is a KORG TRITON and I have an assortment of MIDI modules (also out-of-date) that I use for some of the sounds I like.
I have a Mac OS X Yosemite, 10.10.1 but I have NO IDEA how to plug a musical instrument into it!
I do use my Mac for my Haken Continuum fingerboard because Haken has a CONTINUUM EDITOR program for control and firmware updates. I connect it using a CAKEWALK USB MIDI interface. Some of the people in the Continuum community have been doing wonderful things using the instrument with OMNISPHERE, but I haven’t a clue how they are doing it.
Among other things, I have an ECHO Audiofire 12, along with the software console for plugging the device into my Mac - it works but I’ve never actually used it. I don’t even know HOW to use it. As I guess you know, I am very much acoustic and performance oriented and for me the technology is just a way to enhance the presentation of the things that I do with the many musical instruments I have access to. Sometimes the technical side seems like a wooden duck but when it works I am able to do things that I have never heard anyone else in the world do (not that they’d want to even if they could)! ?
Joined: 10/5/2005
Peter, I'm not familiar with omnisphere, but I see that there is a set of tutorial videos on spectrasonics website, here
https://www.spectrasonics.net/video/videos-tutorials-omnisphere.php
Looks like a good place to start. :-)
Joined: 7/29/2014
Peter,
First, what you do is exceptional - getting a sound that no other thereminist I've heard duplicates. So rule #1 is don't screw up a good thing with digital complexity unless you have to. It's not clear that even if you went to a DAW you would like the recorded sound it gives you (maybe). Course you can do a heck of a lot more things in terms of post processing, creating effects, etc - but it's not clear that is the goal here. But I can see why this might be of value with the Haken, which is a digital MIDI synth and MIDI controller when all comes to push and shove and Omnisphere is a midi controlled software synth.
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So give this a gander:
OK. If your head ain't spinning after looking at just a couple minutes of this something is wrong. But basically this is saying to use the Haken with Omnisphere, disable the MIDI link to the internal synth and connect it to external MIDI that you will then connect to a MIDI interface that connects to your computer (you have one from what you say above) and then the DAW will see the Haken as a MIDI input available to connect to things. This then implies you need a DAW (this guy uses Logic Pro, I use Cubase, some people use Sonar, a lot of people use Pro Tools, etc - but you need something that you can bring up Omnisphere patches in - as a digital plug-in). Then you can set up the Haken to use the max pitch bend setting that Omnisphere supports (Haken can be a lot more microtonal than Omnisphere it seems). Then you need to set up some interfaces in the Haken tool to map to your Omnisphere connections. Yada yada - but I think with online videos you can get where you want to be and with help from people here (synthguy is going to hit the 'engage' button as soon as he reads this).
So frankly what you want to research before Omnisphere (as that will work like any other SW sample or synth plugin) is a Digital Audio Workstation (you may have Cakewalk/Sonar already or at least a simple version that came with the MIDI interface). Now this all brings your digital audio interface into play as once you play those Omnishpere patches from the Haken (or your Triton which is a simpler interface) you then need to play it back and record it in your DAW - or route the audio out of the DAW back to your Roland recorder (and its not clear if there will be latency issues doing this). So your computer audio out needs to be a high quality interface unless you are recording digitally internally in your DAW (I need to check out that one you have). Also from what I've seen Omnisphere has very good latency (remember there is time for both the MIDI interface send data and also time for the samples in Omnisphere or whatever to play as you are going to want to play in real time on your Haken & Triton). There can be some lag sometimes that forces you to go in and try and optimize data buffering. (criminy!)
So we're back to goals. Obviously, there is going to be a learning curve here - connecting interfaces to the MAC (which is typically easy), learning about MIDI to some extent, learning about using a DAW, learning Omnisphere, and then figuring out how to record in this new environment (or route things back to your current recording setup).
It's not as bad as it sounds. You need to learn what suits your needs. But you must know some folks with MAC-based DAWs. I would start by talking to them and maybe sitting down with them if you can to see how things work and decide what DAW might be right for you if you want to get into the computer-based sound generation and recording scene. That experience in and of itself may dictate how you proceed.
In the mean time, when Omnisphere2 comes out I'll do some experimenting and reporting when I get my free upgrade. I don't have a Haken (must be nice!), but I do have a long ribbon controller for my Kurzweil keyboard controller that I can use to connect to Omnisphere to simulate some Haken-like things - also use the Etherwave CV as in my latest experiment with CV-to-MIDI conversion.
Rich
P.S. And it looks like that Firewire audio interface you have is fine, though only you will be able to judge if you like its sound for playback or possibly recording back to your Roland. And since you will be already digital on the computer, you are probably going to want to go digital back to that Roland for your Omnisphere tracks so you don't go through another round of conversion unless you now record the theremin to the DAW through the Audio interface. More experimenting you will be doing.
Joined: 8/1/2008
As they say in French, “Oy, Gevalt!”
I’ve seen Ed Eagan’s Haken Continuum/Omnisphere video and it is awesome. I know Ed personally, and HE is also awesome (as well as being a super nice guy). He wants to come over to my place sometime next month so maybe if I can get all the tools I need (including Omnisphere 2) Ed will be able to show me how to use the damn thing.
At the moment, I have no DAW at all, and I have never used one……although I did fiddle around with a very early version of Cubase (it was on diskettes) when I was first exploring the MIDI capabilities of the Moog MIDI Ethervox. I think that was when I had a G3….I’ve had several different Macs since that time.
CONFESSION: before today, when I googled, I didn’t even know what DAW stood for!
I often find that people who have the most recent and sophisticated musical soft & hard ware, produce recordings that sound great, with astonishing electronic FX, but they are hollow and empty. The “music”, so-called, is being created by the technology and not by the human soul. It all ends up sounding like a TERMINATOR soundtrack - amazing but forgettable. I think the trick is to make the technology work for YOU, and not the other way around.
I watched all the OMNISPHERE videos as Gordon Charlton suggested, and as the narrator keeps repeating over and over again, like a mantra, “POWERFUL, POWERFUL, POWERFUL”.
I’ll find out what DAW Ed Eagan uses and get that one.
Joined: 7/29/2014
That sounds great. I'm sure he will show you all you need to know. His video was actually quite instructive. That Haken can assign a different MIDI channel to every finger it simultaneously senses - and you can then assign each of those channels to a different Omnishpere instrument so each finger you play at the same time on that keyboard can come out a different sound (which you obviously know and can do with the internal synth). I was wondering how some of the videos I see on that mix different sounds so fluidly as they play - now I can see how its done.
As for DAWs, Omnisphere, Sample Libraries, DSP plug-ins - they are all just tools. They have absolutely no power whatsoever. The power is all in the mind of the person using them. Good luck.
Joined: 8/1/2008
Hold on a minute, Rich! You mean.....you mean.....it ain't the car, it's the driver? ZHEESH! Now ya tell me!
Joined: 7/29/2014
These tools are like golf clubs. My game sucks so I figure if I just buy a more expensive golf club I'm going to be better - the marketing wouldn't lie to me right :-)
The dark secret to all these digital libraries and sound creation tools is that the professional things you hear made with them are all manipulated 7 ways till Sunday. So you get unsuspecting people buying this stuff, loading it up and it sounds like crap. They don't tell you you have to manipulate MIDI streams, fool with mod wheels, fine tune Continuous controller parameters, etc. So even if you are a great musician, you may not get the sound you want without tweaking MIDI in numerous ways. And that can be a total pain and counter-productive for some musicians.
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But on the bright side, a lot of the Omnisphere patches sound pretty good out of the box.
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A flagship synthesizer gets updated with an improved arpeggiator and many more profiles for hardware integration.
by Rob Mitchell, May 2019
Omnisphere 2.6 features a new and improved arpeggiator and support for many more hardware synthesizers. Over 1,600 new patches have been added, it has over 500 DSP waveforms and it now includes over 14,000 sounds to choose from. Before I go into any depth on the new features in 2.6, I thought I’d briefly describe some basics of Omnisphere in case you are not familiar with it. Each patch (part) can have up to four layers, effects and a dedicated arp. For each layer, you can select between sample sources or waveforms for standard synthesis with optional unison or the Harmonia feature which multiplies each layer’s oscillator capabilities. The sample sources can also be manipulated with the synthesis features. You can easily copy and paste the settings between the layers. Several filter types are available with serial and parallel settings. There are 48 slots for setting up modulation in the mod matrix section, eight LFOs, twelve envelopes, waveshaping, ring modulation, FM and granular synthesis can further enhance your patches. A huge selection of effects are on board to give your patches just the right edginess or polish that they might need. A Multi is a higher level than the part that can use a combination of patches in different configurations with up to eight parts simultaneously. The re-sizable display makes it a joy to use on any size of monitor.
Omnisphere requires a 2.4 GHz or higher CPU and 8+ GB of RAM. For the PC it requires Windows 7 (or higher OS) 64-bit, and for the Mac you’ll need OS X 10.11 El Capitan (or higher). It works with AU, AAX, VST 2.4 compatible hosts and there is a standalone version.
This review will mainly lean towards what is new for version 2.6. Here is an earlier review we published for version 2.3 which covers some other details: https://soundbytesmag.net/omnisphere23review/
Arpeggiator
With the 2.6 update Spectrasonics has added eight additional pattern modes for the arpeggiator giving it a total of nineteen modes. Those modes include Chord, Up, Down, Up and Down, As Played, Stairs, Join, and many others. Here are three examples of some of the newer modes: The Join mode plays the low note, then the highest note, and continues alternating between notes until they reach each other (hence “join”) with the intervals between the notes closing in towards the middle. The Spread mode is similar to Join, but it works the other way around; alternating low and high, but this time gradually working their way outward (versus inward). The Stairs mode is a rising pattern which rises upward in a similar way to the shape of stairs: two notes upward and then one note down, and it continues that pattern repeatedly.
The three included Trigger modes will determine how and when the arp is restarted. The modes are Legato (the arp pattern continues as long as notes are played legato), Song Position (depends on the host settings) and Note (restarts pattern with each new note played). You can set up to a four octave range, change the speed of the arp, and adjust the length of the events you’ve configured in the arp. Other features include a swing amount control and a velocity slider. The velocity slider controls the balance between the step velocity settings in the pattern and the actual velocity of the keys that are played. To set the time value for the steps, you use the Clock setting. From there you may choose the timing value you’d like, such as 1/1, which would mean each step equals a quarter note, 1/2 equals a half note, and 1/4 is a quarter note, etc. Triplet and dotted settings are also included.
Each pattern can have up to 32 steps. To set the number of the steps, you just drag the small blue bar (below the sequence of numbers) until you have the desired amount. The button above of each step number will turn it on or off, or you can click above the button to set the velocity amount (drag up and down to set) and that will also enable the step. To transpose each step, you just click on the 0 (if you started with a blank arp setting) that’s above whichever step you want change.
When you click right above each step it will bring up a menu where you may select from a number of settings. These can be added per-step, and include Transpose, Slide, Chord voicings (with inversions!) and Hi or Lo. Hi ignores the arp and plays the highest note played for that step, and Lo does the same thing for the lowest note played. The Step Dividers will divide each step into various multiples of themselves (i.e. doubles, triples, etc.) and the velocity amount of each division can be set to rise or fall over time.
The new Capture function will grab the notes that you played along with any arp settings you are using at the same time. You can drag the file it generates to another track in your DAW for use with other synth/sampler plugins you may have. The length of the recording can be set to 1, 2, 4, 8 or 16 bars and it automatically starts with the first note you play. It worked perfectly for me when I tried it myself. This is how it looks after I dragged the recorded arp sequence over into my DAW:
Hardware Integration
![Omnisphere 2 download pc Omnisphere 2 download pc](/uploads/1/1/9/5/119570387/341745791.jpg)
One of the most exciting features added in version 2.5 was the hardware integration. It allows you to use your hardware synthesizer as a controller to interface with Omnisphere. It isn’t just a MIDI-learn type of setting, as it goes much deeper than that. Each profile is primed and ready to work specifically with that particular synthesizer. You can take the original synth’s sound (or at least a very close likeness of it) to new heights of creativity using the many modulation capabilities and effects available in Omnisphere. I mention a “close likeness” because the way this works depends on how the Spectrasonics programming wizards configured it for each synth. They went into great detail for each of them, and added some new features to make Omnisphere work in much the same way as the hardware.
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One such feature that was added in 2.6 is the Bias control. With this addition, it can match the same bias settings that the Roland D-50 synthesizer has. There are eight bias controls per part and you can set them to a certain key (the Bias Point) which affects the other keys above or below it in a linear fashion. It is similar to key tracking, but is more customizable and can be assigned to any of Omnisphere’s available modulation targets. A Left/Right setting lets you pick which side of the keyboard is affected on either side of the Bias point. The range of modulation can also be multiplied by 4 using the 4X button.
Most patches included use more than one layer per patch. Some will use a combination of samples in one layer along with Omnisphere’s powerful synthesis features in another layer. In this latest update, Omnisphere now includes support for over 60 hardware synthesizers and hundreds of new patches.
Here is the synth hardware support list at the time of my review (there may be others in the works).
Even if you don’t have one of those hardware synths, you can still load the patches that were made to integrate with it and access the modeled waveforms and/or samples. For this part of the review I thought I’d cover my experiences while using the Moog Sub Phatty.
It’s very easy to get started. Up at the top of the GUI is a small button labeled HW. Clicking that will give you a menu with a long list of hardware profiles. For my setup, I chose Moog Sub Phatty from that list and it was smooth sailing after that. There are several patches to choose from in Omnisphere (under the category name of SPHAT) that you can tweak or you might want to start from scratch with just basic settings. The controls on the hardware work well with the software and I didn’t run into any issues. Say you want to switch the waveform for the LFO. No problem there. When you change it on the Sub Phatty it switches over to the same waveform in Omnisphere. The same goes for selecting the waveform type for the oscillator, and many others. If you change filter cutoff or the ADSR envelope settings, it automatically bounces you over to the correct display in Omnisphere and changes the corresponding setting.
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I noticed that within the Default Sub Phatty patch (first patch when you load the profile) there is a Moog Modular Raw Triangle sample which is used in place of the sub-oscillator in the Sub Phatty. Turning up the sub-oscillator control on the Sub Phatty increases the level for the sample in the layer. The only issue I had with that is the Sub Phatty uses a square waveform for the sub-oscillator, but it still sounds good anyway. Another thing I noticed is that none of the patches in the SPHAT category use the modeled Sub Phatty waveforms in Omnisphere, but around 90% of the patches are using the modeled Moog Modular 4X Shapes wavetable instead. It seems they designed them that way because the regular Sub Phatty modeled waveforms only blend between two different shapes. The Modular 4X type can blend between the same (or at least very similar) waveform shapes that are available on the Sub Phatty, so in that way it is much closer to feel of the original. I know it is supposed to be in the likeness of the hardware and not an emulation of sorts, but I was a little surprised when I found a patch called “Yearning Chips” in the SPHAT category which uses none of the Moog labeled waveforms at all.
When I tried using the preset buttons located over the left side of Sub Phatty, I thought that maybe it would switch to similar sounding patches in Omnisphere, but it didn’t. Then I remembered that there is a part in the setup instructions that mentions for the preset buttons to work you have to assign them with the MIDI Program Change Learn function.
One other thing I wanted to test was using the hidden functions that the Sub Phatty has. The first one I tried was the filter slope setting. The results were a little strange, as I selected (in order) 6dB/octave, 12dB/octave, 18dB/octave and finally the classic Moog 4-pole 24dB/octave setting on the Sub Phatty. This is done by going into what they call Shift mode, and then you press the Bank 2 and Patch 1 buttons at the same time. Then you just press one of the four lowest keys (C, C#, D, D#) to change to one of the different slope settings I mentioned earlier. So what result did I get? When I pressed the low C key it changed to the HPF Power 24dB, C# gave me the Bandpass Power 24dB, the D key switched it to the LPF Power 12dB, and the D# changed it to the LPF Power 24dB. Anyway, C should have been 6dB/octave, C# normally changes it to 12dB/octave, D is for 18dB/octave slope, and D# is for the 4-pole 24dB/octave setting. Long story short, I ended up writing to Spectrasonics support. They promptly wrote me back that same day and told me the hidden functions of the Sub Phatty are not mapped out. I’m glad I reached out to them since it saved me lots of time and frustration. However, the fact that they are not mapped should be documented somewhere.
As for the other sounds that are available, the Roland D-50 patches hold a special place in my heart as I used the actual synth hardware while attending college. They had a D-50 in the music studio along with (among other items) some samplers, drum machines, many microphones and cords, a mixing console, patch bay and an Atari 1040ST. When I first heard the D-50 I was amazed by its sound and wanted to use it for nearly everything. The patches in the Omnisphere 2.6 update are very close to the original sounds you may remember from way back when, that is, if you’ve ever heard the real deal. Even if you didn’t use the D-50 yourself, it has been used in many movie and TV soundtracks, and major artists have featured it on their albums. It was definitely one popular synth, that’s for sure! Don’t get me wrong, there are many great patches from other synths included as well. I found myself returning to the Alesis Andromeda, Sequential OB-6, and Nord Wave patches more often than some of the others. I can’t imagine how much work Spectrasonics put in to create all the sampled sounds, modeled waveforms/wavetables and patches, as well as the hardware configuration settings. It must have been an enormous task, but I am sure it was a labor of love along the way. Hopefully they will have more releases for the hardware integration (along with additional patches, of course) down the road.
Conclusion
I was very impressed by Omnisphere’s easy to use interface. Once I knew where everything was located (there is a small learning curve) it was easy to navigate to the various sections of the synth. It is very intuitive and a joy to work with. It is easily one of simplest to use (yet most powerful!) synths I have ever encountered. With that said, for such a small update (0.1 increment) it represents a huge undertaking in man-hours for the craftsmanship of preset design and hardware integration. The only improvements I can think of are the ability to use the arpeggiator as a mod source and maybe a few more options for the granular synthesis. Though I have never seen Omnisphere on any type of sale (unless I didn’t get the memo?), the updates are such a huge value that it easily makes the full price asked for well worth the cost. Well done Spectrasonics!
Omnisphere 2.6 retails for $499 USD you can get more info on Omnisphere here: