The power of this methodology becomes clear as the demonstrator quickly modifies a grain table, adds effects and layers to the patch, easily morphing it into a new sound.įrom Spectrasonics description of hardware integration with Omnisphere: Also watch the section of video I note at the bottom of this post. See the sentence in the quote below for some idea as to how this is implemented. The other radical user interface improvement evident in all of these videos is that Omnisphere 2.5 automatically changes page views based on the hardware control being accessed. The filter controls will work the same on all voices, be their one or twelve. So, for example, a mono hardware synth can have 12 voice polyphony in Omnisphere.
Instead of designing hardware controls to be generically linked to a parameter, physical hardware controls do the same task, regardless of which engine is being controlled.The Omnisphere user interface treats every hardware control as an integral part of the user interface in the same basic way that the hardware synth does. Omnisphere takes this concept and runs with it. We all know that every hardware synth has a unique way of using its hardware features (knobs, buttons, sliders, mod wheels, X-Y pads, etc.) to control its internal parameters. As I re-watched the videos from Spectrasonics and third party reviewers, I gradually started to understand that this integration was an entirely new paradigm that linked the software synth's (Omnisphere) engine to the underlying method of parameter control designed into the hardware synth's engine. But there is definitely more to the story when you look closer. My initial impression watching the videos was that the supported hardware synths acted like a very specifically mapped virtual instrument controller. Theres also eight new filter types and expanded modulation features that will shape your so.When I first saw the hardware integration with Omnisphere 2.5, I was curious. Unison has also been improved with new analog drift behavior that makes an ordinary synth sound absolutely huge! Both FM and Ring Modulation can go much deeper than before too. A patch can have up to 10 oscillators and each oscillator can have its own wavetable, so you can see how complex you can get in your sound designing. There are now over 400 DSP waveforms for the synth oscillator, which is 100 times more than the original version, and each waveform is now a Morphing Wavetable with vast new possibilities and colors. The possibilities are endless! Not many people realize, but Omnisphere can also create purely synthetic sounds without using any samples at all. Try changing a smooth Jazz recording into an ethereal soundscape or even a blazing synth lead with just a few parameter tweaks. The new Granular Synthesis algorithm will allow you to completely transform the included content or morph your own audio into unimaginable soundscapes.
Vast New Synthesis Possibilities Omnisphere 2.0 comes a vast array of new synthesis possibilities including the ability to import your own audio content as a sound source inside Omnisphere giving you limitless sound creation possibilities using your own sample library. Introducing Omnisphere 2.0, the first v2.0 of any Spectrasonics instrument and it is truly gigantic! With Omnisphere 2.0 comes a massive variety of new synthesis options, a staggering audio library with over 10,000 sounds, a new interface with an enhanced sound browsing capability, a new and enhanced arpeggiator, 25 new effects units with flexible attributes, as well as other improvements and specialized features that make Omnipshere 2.0 a very worthy upgrade. Omnisphere is among the elite virtual synthesizer programs for producers, composers, and sound designers and if you think this monster power synth couldnt get any better, youve just been proven wrong.