Spectrasonics Omnisphere 1.5.6d Setup Keygen

Spectrasonics bring yet more goodies to the Omnisphere party, aiming to make their highly acclaimed synth even better. The Orb as it appears from within Omnisphere. Click the ball (or touch the surface with your finger if using Omni TR) and then spin it around the circle to generate timbral changes.

Spectrasonics News - Omnisphere 1. Tranquility Font Free Download on this page. We are proud to announce a major new version of our award- winning Power Synth Omnisphere. The update also.

Spectrasonics' Omnisphere is a multitimbral virtual instrument whose patches are based on a 40GB collection of varied, often remarkable audio recordings, paired with a powerful DSP synthesizer. Individual patches consist of two layers, each with extensive timbral and modulation capabilities, effects and filters. That's over‑simplifying things a tad, though, and to get a better appreciation, I recommend a leisurely read of the December 2008 SOS review (). In a world where you rarely get owt for nowt, this free update was keenly anticipated. Thanks to enticing Youtube demos of a mysterious 'Orb” and details of an iPad application, plus rumours of a host of new patches, we users watched our calendars avidly until the Promised Day in February.

When it appeared, 1.5 was followed in rapid succession by two further bug‑fixing updates, so the version discussed here is actually 1.5.2. It's surprisingly tough to rank the update's content in order of preference, so I'll start with the most generous: the addition of 780 extra patches, pushing Omnisphere's database beyond the 5000 mark! As the synth's 'STEAM' engine has been boosted (in the oscillator department) by this upgrade, many new patches elect to demonstrate this rather than drawing from the core sample library. Identifying the members of the latest collection is as simple as typing '1.5' into the patch browser's search box. Conscious that entire afternoons are lost in this way, for brevity's sake I'll confine my observations to just a few instant favourites: Machine Of Malice: This is a chugging patch layering a 'Brutal Moog' sample with a Harmonia‑rich noise sequence. Put simply, Harmonia is a process that multiplies an oscillator up to four times; here it boosts both of the patch's layers, giving, in effect, 10 oscillators — or a throbbing backing‑track from one finger! There Will Be Pain: A tense string patch in which members of the orchestra deviate from the path of conventional tuning as the Harmonia oscillators' levels and detunes are modulated.

At a touch of the mod wheel, the atmosphere turns positively scary, thanks to the introduction of polyphonic bit‑crushing. Whispers Of Doom: A drone of epic proportions, this is an ominous soundscape of unsettling groans and whooshes adrift in a dark sea of reverb. Triplet Wobbler: uses no samples, just a layer of DSP oscillators with the Waveshaper's Crusher and Reducer both drafted in to create a full, hard‑edged wobble bass. The mod wheel controls wobble speed.

Ode To Gary: described as a tribute to Gary Numan, again using only the DSP oscillators, this rich polysynth patch is constructed out of detuned Harmonia oscillators, with further oscillators faded in by the mod wheel. Complex evolving pads and psychoacoustic atmospherics, addictive arpeggios, every synth type known to man, acoustic and ethnic instruments, spooky choirs. You name it, there are new and stylish examples here. The best database of synth patches I've ever played just got even better. Granular Zoom: This page gathers all the parameters of Granular Synthesis around a central graphic that does a pretty decent job of representing the depth and density of the sample grains.

Next up is the most innovative enhancement. On the face of it, the Orb is a circular control that induces tonal changes to any patch without making demands on the user in terms of understanding. If you don't like its transformations, or if you just want to check out some alternatives, the 'Dice' button shuffles the target parameters under the covers. You are never notified what is being selected for control, but clearly some intelligence is present to weed out unusable results. Although the Orb's motion can be controlled by a mouse, a track pad or other hardware controllers, it really comes alive for iPad owners, thanks to the free App, Omni TR. Parking the iPad for a moment, the Orb's role is to deliver instant, controllable timbral variations from the heart of Omnisphere's STEAM engine. Its two controls — Angle and Radius — relate to the scenes of parameters and the intensity of the effect.

The most dramatic changes occur furthest from the Orb's centre, and if the drama gets too much, the original sound may be restored at any time by hitting Clear. As a simple means of patch customisation, the Orb proves to be addictive and instantly satisfying. Further adding to its appeal, a few seconds of the Orb's motion may be recorded into a patch, recalling fond memories of Yamaha's SY22 vector synth. The Orb helpfully turns red to show when a recording has been made; if you need more precise control, the movements can be automated in your DAW. Having captured some Orb action, there are several choices for how its motion is replayed.

Pick 'Legato' and recorded movements begin their cycle when the first note of a legato phrase is played. Keep playing legato and the recorded loop continues. Once all notes are released, it will start again when you play the next note.

If you favour 'Song position', you can capture Orb movements relative to the bar position; these movements are then repeated independently of notes being played. Whenever you find a motion you like, it can be saved as part of the patch. Some Orb features, such as inertia, are applicable to mouse or iPad only. Which probably means it's about time we looked at the latter and its multi‑touch, Star Trek‑type glass screen. Harmonia Zoom: In this page, all four Harmonia oscillators are active and mirror the waveform of patch layer A, only with different transpositions.

Elsewhere in the patch, each Harmonia level is modulated by an LFO, with another LFO modulating the Harmonia mix. The result is a swirly and magical tinkling bell patch. As an iPad virgin, I wasn't sure what to expect, but I was fortunate enough to borrow one to try. I was doubly fortunate that Omni TR is a free download, and thus I could avoid feeding my credit card number to Apple's App Store. It'll probably get me in the end, though — I suspect that the 'i' in iPad really stands for inevitability! It takes but a single ticked box within Omnisphere to say 'listen for Omni TR'.

Then start the App on the iPad and hit 'connect'. If several instances of Omnisphere are running, you'll see a connection choice for each.

When using Omnisphere multitimbrally (generally a more efficient way to use multiple patches), just one Omni TR connection can address every part. It all happens effortlessly and wirelessly, and I was encouraged by the speed of response between iPad and Omnisphere running on my Mac Pro host. Throughout the review period I did experience two or three random disconnections but generally the two‑way communication remained solid. The app has four areas: Main, Orb, Controls and Jumbo, three of which are fairly standard views of Omnisphere's eight multitimbral parts. We've seen the Orb page in Omnisphere already, and here it's a tastefully‑shaded circular controller whose focus point — like a miniature billiard ball — follows your finger like an inquisitive kitten.

Activate Inertia, twirl the ball around the circle and it rebounds or orbits before eventually coming to rest. You can whizz it around at a decent pace to achieve some quite frenzied tonal sweeps.

Alternatively, switch off inertia and when you release the Orb, it stops and remains where it is. Needless to say, Omni TR beats 'Orb by mouse' as a user experience, even if you do occasionally wonder how they were able to avoid greasy finger-marks in Star Trek! A depth slider is provided to set the overall depth of the effect, and the amount of inertia is set with the slider directly underneath.

In order to concentrate on different motion recordings, I latched an arpeggio, then periodically hit 'Dice' to audition new parameters for control. Sometimes a sharp percussive pattern would morph into a drifting pad, or a synth‑bass pattern would be transformed into metallic tom‑toms for a portion of the orbit. Pressing Dice does tend to hook you into wondering just what it will do next, and it was interesting how many subtle variations were lined up, the Orb sweeping the filter one moment and hurtling through areas of lo‑fi modulation the next. If you layer several arpeggiating patches in Omnisphere's Live mode, your iPad is an incredibly fast tool for leaping from part to part, introducing changes with the Orb on each. While the ball is in motion, you can jump to any of the other pages and do more stuff.

On the Controls page, there are generously‑spaced sliders, grouped in fours, with which to tweak the Mixer, Filters, Envelopes, and so on. If you're especially dexterous, try getting all your fingers into play to control eight on‑screen sliders.

The Jumbo page is a large and friendly screen showing each multitimbral part or Live/Stack Mode layer, with bigger text that should prove very useful for those who take Omnisphere out to play. The Main page also shows the multitimbral parts and allows selection of individual patches or new multis, while keeping fingertip control of the volume of each. Omni TR requires iOS 4.2 or above, and there are currently no versions in the pipeline for alternative platforms such as Google's Android. Anyone using Omisphere on Windows should also note that they must install 'Bonjour' from Apple.

With so many wild and unusual audio recordings provided as core samples (burning pianos anyone?) it's easy to forget the power of Omnisphere's STEAM engine. There isn't space to go over the myriad modulation routes, filter and effect choices, or even the versatile LFOs and envelopes. In this update, it's the oscillators that have received all the attention, their Waveshaper, Harmonia and Granular synthesis components gaining Zoom views to consolidate all the details into one screen. The Waveshaper's new Crusher and Reducer modules are far more than lo‑fi bit‑crushers and sample rate reducers. They occur at the oscillator level, and their output is, therefore, polyphonic. The results are considerably richer and more complex than any blanket effect applied at the output stage would be, especially when the Force and Animation parameters are modulated. Granular Synthesis has been expanded with a speed and position switch.

This may not sound like much, but in practice it's like an alternate granular synthesis implementation, all existing parameters taking on new personalities. In the Granular Zoom page, you specify the behaviour of the sample grains, their directions of travel and whether they glide, or shoot instantly to their designated pitches. Granular Detune has a distinctive, rich flavour I'd have loved to modulate via velocity or an LFO. As yet, it doesn't appear in the modulation matrix but can be controlled directly via MIDI. This update led me deeper into Granular synthesis than I've been before; I particularly enjoyed the 'Granular Visualizer', an informative graphical representation of what's going on.

Finally, with independent modulation of the levels and fine-tuning of each oscillator, Harmonia becomes even more versatile for those in pursuit of lush, dense tones. There are still a few enhancements to mention, such as the five-column browser in the database and the support for polyphonic aftertouch (for those of you lucky enough to possess one of these rare keyboards). Then there's the 'most recent' browser sort option — self‑explanatory, really — and 'clone part', which translates to faster setup of MIDI controllers over multiple Omnisphere parts. And last but not least: the points of the Modulation Envelope can now be snapped to semitones, making it an ideal tool for precise pitch modulation. Ultimately, this upgrade is about the eye‑catching Orb and its iPad companion App. Even without an iPad, the Orb functionality kicks your patches into new tonal dimensions — dimensions you wouldn't enter otherwise. With Omni TR under your fingers, you can't avoid the feeling that you're experiencing a fresh slant on hands‑on control.

I'm sure we're going to see much more of this sort of thing — and not only in the world of software instruments. Elsewhere, the expanded synthesis functions are much appreciated, as are the many classy new patches. You might have noticed that I didn't try very hard to restrain my enthusiasm. This is not because I think Omnisphere is perfect and I have no wishes for version 2, but rather because it is the one instrument I can rely on when my inspiration needs a boost. It has, therefore, featured in every commercial track I've recorded over the last year. Then there's the not inconsequential matter that this update is free to existing owners, hopefully putting my 'gushing fanboy' approach into context. Quite simply, I can't recommend it enough.

Spectrasonics Omnisphere 1.5 £329 $499 pros • Omnisphere is a remarkable and inspirational synthesizer. • How many other free updates include 780 high-quality patches? • The Orb offers genuinely innovative timbral control. • For iPad owners, the Omni TR App puts the Orb and other key parameters at your fingertips.

Cons • As per the original review: Omnisphere has no stand‑alone version. • And one of my own: no modelling of analogue envelope behaviour. Summary Anyone writing television or film music would be pretty reckless to disregard this powerhouse of an instrument.

With its incredible database of patches, impressive sample library and deep synthesis capabilities, Omnisphere can make a positive difference to practically any genre of music. All contents copyright © SOS Publications Group and/or its licensors, 1985-2018. All rights reserved. The contents of this article are subject to worldwide copyright protection and reproduction in whole or part, whether mechanical or electronic, is expressly forbidden without the prior written consent of the Publishers. Great care has been taken to ensure accuracy in the preparation of this article but neither Sound On Sound Limited nor the publishers can be held responsible for its contents. The views expressed are those of the contributors and not necessarily those of the publishers. Web site designed & maintained by PB Associates & SOS.

Seeing its six DVDs of sound content, you might be tempted to duct-tape a key down and let Omnisphere finish your film scoring gig. While the director would probably love the results, you’d be missing out on the real fun.

Omnisphere is bursting with perfectly crafted preset sounds. The now 8,000-plus library covers everything from classic synths to rich, cinematic textures so well that, if sound programmers had a union, they’d probably protest. I’m tempted to quickly play through a number of them just so I can start spotting them on TV. But in a release modestly titled “1.5,” Omnisphere hones its true talent: It’s a surprisingly powerful tool for creative sound design when you’re ready to go beyond those presets.

We loved Omnisphere’s sound design features when we reviewed it in December 2008. Now it’s even deeper. By Peter Kirn Sounds and More Sounds Once installed, Omnisphere 1.5 passes the “play it without reading the manual” test with flying colors.

You can, as I did, easily store its sounds on an external drive. You may want to dedicate an afternoon to that installation, but then you can begin dialing up well-organized presets and start playing immediately. As before, it provides both sampled and modeled waveforms, for all the capabilities of a high-resolution sample playback synth atop a full-blown virtual analog/digital hybrid synth. When you do need documentation, it’s among the clearest and most thorough available, with hours of online video tutorials.

Omnisphere resists the preset maladies that tend to afflict instruments of this kind. Yes, you’ll find endless ear candy and evolving pads. But you’ll also find raw waveforms for building your own sounds, bread-and-butter synths, carefully constructed vintage instruments, aggressive leads, and even utility patches for test purposes. You can let your freak flag fly, or build a Hollywood score, or use Omnisphere as a lead synth. You get basics along with your weird, plenty in between, and it’s all eminently playable. Granular, Harmonia, and Waveshaper Hidden amidst innocuous-looking parameters are three soundsculpting sections with radical capabilities—Granular, Harmonia, and Waveshaper—with new “zoom” modes accompanying each for easy editing. The Granular section is simply mind-bending, even if you’ve used other granular synths (see Figure 1 above).

It can introduce subtle, shimmering timbres, as well as more experimental, extreme effects. New Speed and Position modes produce some startling, gorgeous results. Add the unique Glide parameter, and you can make some very odd sounds as the grain pitch swoops from one sound to another. Some parameters have unexpected names: Grain Depth is actually the number of Grains.

(Careful with that one—it’s the parameter that’ll quickly bring your CPU to its knees, as with any granular instrument.) Intensity actually modifies grain size and spacing simultaneously. Th e design of the controls is welcome: You’re more likely to get good results because of how Spectrasonics handles the parameter relationships. Improved granular editing parameters mean you can make any preset unrecognizable. Browsing through Omnisphere’s presets generally shows off a lot of crisp, pristine cinematic sounds.

If that leaves you wanting some grit and distortion, head straight to the new Waveshaper. As with the other tools, Spectrasonics has focused on polyphony and the front end of the signal chain instead of just adding effects. For example, when you apply bit-crushing or sample rate reduction, you get fully polyphonic distortion inserted in each voice’s signal chain rather than afterward, which adds dimension to your dirt rather than squashing everything at once. You can even set the Waveshaper effect to process the output of the Specifications Oscillator, the Filter, or the Amplifier, and additional parameters controlling aggressiveness and animating the effect in time give you yet more control. Each of Omnisphere’s eight parts has an independent arpeggiator. Drag and drop a MIDI file, and you can lock the timing to any groove. Omnisphere hides these screens by default, keeping the look clean.

Th e new Zoom modes work well, with some caveats: Switching in and out of the zoomed view requires hitting a specific icon, and enable/disable switches often require switching between modes. For instance, if you want to experiment with toggling the Ring Modulation, Waveshaper, and Harmonia modes, you’ll need to un-zoom any one of the panels. Igi 5 Download Full Version. That slightly slows down an otherwise slick workflow. It’s a minor complaint— partly because of how well-organized everything is, and the fact that you can add realtime control via MIDI or now iPad (see “Omni TR for iPad”)—but it’s an opportunity for still more refinement.

Control and Performance Let’s make this simple: If you can do it in Omnisphere, you can probably control it in real time. For adventurous musicians exploring its tabs and zoom screens, there are seemingly endless possibilities for variation. Right-click any one of those parameters, and a pop-up menu lets you easily map MIDI control or host automation. A new feature even clones from one channel to another, useful on sophisticated alternative controllers like the Eigenharp. There’s access to expression pedals and foot triggers from the main edit screen, and Spectrasonics has added polyphonic (yes, polyphonic) aftertouch support to 1.5. One of Jim Aikin’s few complaints with the original Omnisphere in his December 2008 Keyboard review concerned the lack of latch capability on the arpeggiator, especially since each part has an independent arp (see Figure 2). Wish granted: 1.5 adds new latch options.

You can trigger in legato mode, by host song position, or at the start of a note, in the arp page itself or from the Live mode overview. You can also drag in your own MIDI files and lock the arpeggiator’s groove to them, freeing up new possibilities to make the patterns more human.

The modulation matrix lets you control each of six LFOs, key tracking, MIDI control, and the like. It’s all a drop-down menu affair; you don’t get the kind of drag-and-drop graphical interface we’ve seen in tools like Native Instruments’ Massive or Future Audio Workshop’s Circle. But it’s unquestionably powerful and flexible, still another reminder this is as much a semi-modular synthesis system as a multi-gigabyte wellspring of preset sounds. The interface of Omnisphere’s modulation matrix may look relatively conventional, but the new Orb is anything but. A circular morph pad, the Orb is a do-everything sound shaper that can interpolate between multiple parameters at once, with Lemur-like physics and Kaoss-style motion recording. Using the Orb works with the mouse, but other methods are more fun—you can assign morphing to MIDI, or use Spectrasonics’ Omni TR iPad app. The Orb’s “Dice” control is far more than a randomizer—it intelligently analyzes any patch and automatically changes parameters as you play, in musically useful ways.

Inertia controls the movement of the morph “puck,” and you can record and play back gestures, quantized to groupings of bars if you like. We’ve seen similar-looking interfaces, morphing of multiple parameters, and motion recording in other apps and controllers. Omnisphere, however, is unique in adding realtime, dynamic assignment of parameters for morphing. Of course, you can set these parameters manually if you prefer. Conclusions Omnisphere 1.5 is a marvel.

It balances easy access to preset sounds with deep sonic control in a way no other soft synth has. If you’re just looking for gigabytes of expertly programmed sonic inspiration, it’s an easy choice. The Orb and other smart controls let you vary those sounds—in large amounts or small—using your ears, without having to delve deeply into the synthesis engine. Or, delve as deeply as you please. With thousands of sounds as possible starting points, this much power is almost frightening. Th at leaves only one big frontier for version 2.0, since Spectrasonics is calling this 1.5: Allow sound designers to load samples of their own.

Add that, and you might never have to touch another soft ware synth again. Even without that ability, though, Omnisphere 1.5 is one of the most powerful, deep, and best-sounding synths—hardware or soft ware—in the world, and a definite Key Buy.

CONS Some clicking necessary to move between modes. Still no standalone version. Can’t load your own samples. CONCEPT Mega-soft-synth employing multiple synthesis technologies. SYNTHESIS TYPE Wavetable (variable DSP oscillators), virtual analog, FM oscillators, and granular synthesis. MULTITIMBRAL PARTS 8. SYNTH ENGINE 6 LFOs per patch, 8 multi-breakpoint looping envelopes per patch, 17 filter types, 8 arpeggiators, polyphonic timbre shifting, bit-crushing, waveshaper, ring mod, and glide.

Dual filters per layer. Multimixer, aux effects, and mastering effects racks. COMPATIBILITY Windows 7/Vista: VST, RTAS. Mac OS X 10.5 or higher: VST, AU, RTAS. 32-bit and 64-bit native versions for Windows and Mac OS X.

REQUIRED DISK SPACE 50 GB. PRICE List: $499 Approx. Street: $470 Free upgrade for registered users.

Omni TR for iPad. Far from a me-too gimmick, Omni TR is one elegant remote control—and it’s free at the iTunes App Store. Though it works on your computer with a mouse, the “Orb” controller is far more satisfying when you play it on the iPad’s touchscreen. Omni TR also provides access to multis in both Live and Stack modes, synth edit parameters, and the new arpeggiator latch controls.

Launch the app, it finds Omnisphere running on a WiFi network, and you’re off and running. The only problem is endemic to WiFi: You sometimes have to restart the app if the connection is dropped. But prop an iPad atop a keyboard and connect any recent laptop, and you’ll make just about any high-end hardware synth workstation jealous.