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iZotope RX Loudness Control

By
Bryan
-

 
No matter if you love it or hate it, the loudness wars continues. iZotope makes some of the best corrective and enhancing audio plugins, so it’s no surprise they would make their own version of a loudness enhancing plugin. iZotope allows for the quick and easy adjust levels for broadcast standards and is available for preorder.

Cambridge, MA (March 25, 2015) – iZotope, Inc., a leading audio technology company, today announced its new RX Loudness Control plug-in. RX Loudness Control will help audio post production and broadcast professionals automatically and reliably create high-quality, industry-compliant mixes. RX Loudness Control will be unveiled and available for pre-order at NAB 2015 in booth SL4330.
 
With the widespread adoption of loudness standards worldwide, the responsibility often remains with content creators to ensure that programs are delivered within the appropriate tolerance of the required loudness standard. With RX Loudness Control, video and audio editors can easily choose the broadcast standard they wish to adhere to from a set of global templates. In faster than real time, RX Loudness Control automatically analyzes the audio and renders out a compliant file and an accompanying .CSV-formatted loudness report in just two clicks.
 
While there are several loudness monitoring and measurement tools on the market, the task of actually bringing the levels into compliance has remained until now a largely manual, time-consuming process. With quick turnaround becoming more and more an accepted norm, the possibility of having a show rejected due to loudness issues has been an ongoing concern. RX Loudness Control takes the guesswork out of conforming to loudness standards regardless of region and editor expertise.
 
“We’re thrilled to offer post and broadcast professionals an automatic loudness correction solution that meets their needs for quality and accuracy,” said Matt Hines, Product Manager at iZotope. “RX Loudness Control will give users absolute confidence in their work, while being easy to use and compatible with most major audio- and video-editing platforms.”
 
The intelligent DSP processing inside RX Loudness Control is brand new and was developed specifically to guarantee transparent loudness correction, and to offer loudness tolerance metering across a range of program types. RX Loudness Control supports mono, stereo, and surround channel counts, up to 5.1, for seamless integration into any workflow.
 
Compatibility
RX Loudness Control supports the Audiosuite DPM and AAX plug-in standard for Avid Media Composer and Pro Tools. RX Loudness Control is also integrated into Adobe Premiere Pro’s open extension API, bringing offline loudness-compliant processing to the Adobe platform for the first time ever.

 
 
Pricing & Availability
RX Loudness Control is available for pre-order at NAB 2015 for $299 (£205 / €279) (MSRP $349 / €325 / £239), with an expected release in Spring 2015.

IK Multimedia SampleTank 3.5

By
Bryan
-

IK Multimedia has a major update to the company’s flagship software sampler SampleTank 3. This includes 11 new sound collections and 12 new libraries. Using the Custom Shop, you can buy these sounds individually or the whole package. This really expands SampleTank to the big leagues.

IK Multimedia is proud to announce that SampleTank® 3, its industry-standard sample workstation has just received a major update in the form of version 3.5. The update consists of 11 brand new sound collections, which are now also available in IK’s new SampleTank “Custom Shop”. Also introduced – by popular demand – are a spread of new features that make browsing SampleTank 3’s thousands of sounds and patterns even faster and easier than ever before.
Released in 2014, SampleTank 3 has become an indispensable tool for professional musicians due to its jaw-droppingly large 33GB library of bread-and-butter sounds (with over 4,000 instruments from every category), 55 high-quality effects, MIDI patterns, advanced groove tools and a powerfully enhanced sample engine. Now that functionality is being pushed further via the introduction of a range of downloadable sound libraries that will expand and grow alongside SampleTank 3, allowing its world of sounds to be customized to suit the needs of any creative workflow.
An expanding world of sounds
Version 3.5 marks the beginning of a massive expansion of SampleTank 3’s sound content, with new instruments, patterns and loops designed and programmed exclusively for the most powerful sound and groove workstation on the market.
11 new sound collections that cover the entire spectrum of electronic music production needs are now available for SampleTank 3 and SampleTank 3 SE. The new sounds are split between 2 different series: The Elektronika Series contains construction kit loops suited for the most popular electronic dance music genres of today. The Beats Series contains drums, percussion, special effect sounds and MIDI patterns tailored to meet the needs of modern electronic music producers.
The new Elektronika titles feature 8 genre-specific sound libraries. Each of these libraries include over 250 high-quality combinable construction loops that cover every layer of electronic dance music production: drums, grooves, basslines, melodies, stabs, effects and more. Each of these collections have been designed to take full advantage of SampleTank 3’s loop manipulation features to give musicians a new way to interact with the music they love. Genres include:
Chillout: A laidback library of sun-drenched melodies and retro rhythms
Deep House: An essential mix of jackin’ beats and big-room bass for sweaty dancefloors
Drum’n’Bass: A subwoofer-rumbling assortment of bass tones and skittering breaks
Hardcore: A brute-force assembly of powerful percussion and distorted synthesizers
Indie Dance: A toolkit of neon synths and upbeat drums for alternative club cuts
Minimal: A blend of funky sounds and sparse basslines for infinite grooves
Techno: A futuristic blend of robotic riffs, industrial hits and shuffling loops
Trance: A kit of psychedelic chords, driving bass and pads that swell into transcendence
The Beats Series titles feature 3 new libraries comprised of one-shots and construction kits – with 20 sound kits and 120 MIDI patterns, for a total of 250 MB each – that are suited for everything from the head-nodding boom-bap of hip-hop to the hands-in-the-air euphoria of stadium EDM. Specifically designed for pad controller playing, these new choices include:
Nanotube: For avant-garde beatmakers who prefer glitches and noise to traditional percussion
NRG: An inspiring toolkit of powerful drums and uplifting melodies for aspiring EDM producers
Power Up: A remedy for rhythmic inspiration that provides Hip-Hop, Trap, Breaks and Electro Funk drum kits
These three new libraries join The Grid – a beatmaker-centric collection of electronic rhythms and loops released with iRig Pads – to give The Beats Series a total of 4 available titles. And, thanks to SampleTank 3’s powerful loop and pattern synchronization features, musicians can mix-and-match elements of all Beats and Elektronika libraries to create millions of different, unique and inspiring groove combinations.
With the addition of these new collections, SampleTank 3 now offers a total of 12 exciting sound libraries for electronic dance music producers and beatmakers. However, this only marks the beginning, as IK will be releasing a continuous monthly stream of new libraries, with collections geared to meet the needs of musicians and producers working in all fields of music from acoustic to electronic and beyond.
A-la-carte sounds
All the new sounds are available for purchase via the IK online store. Alternatively, they can also be directly purchased from within SampleTank 3 itself thanks to its new integration with the IK Custom Shop. First launched in 2011 for AmpliTube and then T-RackS, and with an active community of over 1,000,000 registered users, the IK Custom Shop is the most convenient way for musicians to purchase inspiring new IK Multimedia gear while using their favorite software or plug-ins.
This means that users can now browse, preview and download this world of new expansion content directly from within SampleTank 3. And since it’s a part of the Custom Shop, every new sound collection is also available for purchase via the same Gear Credits used for T-RackS and AmpliTube. And that means Gear Credits are even more convenient and valuable than ever before.
SampleTank 3’s Custom Shop sports an easy-to-use interface that makes finding new sounds a breeze. It has a visually rich categories menu that displays sound libraries as Instruments, Loops, Beats, MIDI patterns and Collections – with comprehensive audio demos for each library. Beyond this, SampleTank 3 Free users can now upgrade to SampleTank 3 SE or the full version, and SE users can upgrade to the full version seamlessly from within Custom Shop.

 
The latest update to SampleTank 3 is complimentary for current users of all existing SampleTank 3 versions. SampleTank 3 and SampleTank 3 SE users can purchase the new Beats Series and Elektronika Series sound libraries from the IK online store for $39.99* each or 50 Gear Credits in the IK Custom Shop.
The full version of SampleTank 3 is available now via the IK online store and select music instrument retailers with upgrades starting at $199.99* and for $349.99* for new users. SampleTank 3 SE, a fully functional and expandable affordable special edition with 6.5GB of sounds, is available for just $99.99*.
For more information, visit http://www.SampleTank.com

Review: Warm Audio WA76

By
Bryan
-

The 1176 is probably one of the most replicated pieces of gear in the history of audio. It seems everyone has some sort of new and improved software version of the classic compressors and hardware companies always charge an arm and a leg for their rendition. Bryce Young of Warm Audio has released his own version with his own spin, minus the arm and the leg.
 
The WA76 has a longstanding relationship with Cinemag, rightly so seeing as these transformers shaped much of the sound of classic recordings going as far back as the 40’s. The Reichenbach transformer was actually used in the original Urei 1176, therefore Warm Audio’s choice of using Cinemag was ideal. Reason being that Cinemag bought out Reichenbach some years ago. This isn’t your average Cinemag transformer though. The WA76’s transformer is the complete resdesign of the original Reichenbach transformer in the 1176. Bryce Young worked closely with Cinemag to ensure that the transformer going into the WA76 is exact to the original Reichenbach transformer used in the Rev D models (this rev D model is the quieter 1176 with the improved circuitry that most companies emulate now days). The signal path is discrete and features a Class A line lever output amp.
 
The layout is a pretty much to spec with the original with the exception of that great looking orange logo on the black face. We pretty much all know how to work an 1176 so there’s no real need to get into the specifics of how they work so lets get into the features. You are given all of the same ratios as the original plus the “all buttons in” nuke mode. If you’re a patient person and love the sound of just the transformer with no compression, you can disengage all ratio buttons and after waiting a couple of minutes for the release to settle out, you can just use the gain staging to add vibe to your tracks.
 
You have the same fast attack and release times as the original. One of the main differences is in the slightly stepped input and output knobs, but more on that later. On the right side of the VU meter, you have the different metering modes accommodating gain reduction and both +4 and +8 output metering. On the rear you have the Warm Audio standard of both XLR and ¼” TRS inputs and outputs as well as a 20DB pad to tame those preamps that do not have an output trim.
 
Like all of the other Warm Audio products, the power supply is on the outside, but really doesn’t pose any problems. It’s just a little more space taken up behind the rack, but who’s looking there anyways? Even the most OCD could handle a little extra real estate seeing as the WA76 comes in around $1400 LESS than the UA Model.
 
So it looks like a real 1176, has all of the features of the 1176… but does it SOUND like the 1176? It’s pretty damn close. Now initially it does sound like a negative thing when you see words like “close” but this is actually a good thing. Yes it does sound close to the original. It has very similar characteristics to the original, I did however, notice more of a weight to the track compared to the original 1176. I found I liked it more than the original. On a vocal track, it establishes dominance in a busy song, on a bass, it adds just a little more oomph without taking over the low mids. There is definitely more “balls” to this compressor than the original. It was a little less subtle than the original on the same settings but that could be very easily fixed by using it more light-handedly. I even took it to a live gig with the same preamp I used in the test and ran it through an acoustic guitar. Even just using the onboard electronics on the guitar, it handled the sharp transients great. The WA76 took a lot of the bite out of the teeny saddle pickup. I didn’t feel too guilt about lugging it around either. It has no feeling of being a discount version of hardware. The knobs and buttons are all solid, its not made of all plastic, and it even looks great.
 
I didn’t really find the stepped input and output knobs that useful seeing as I was just running one unit; but as I kept using the WA76, I was noticing I wanted to put it on stereo tracks and busses. Having these slightly stepped knobs would allow for precise setting both units at the correct input and output, which we all know is the essence of the 1176. I would’ve liked to have seen a push pull knob that would let you switch between stepped and smooth tuning, but at this price range, I understand that some things need to be sacrificed. I’m still baffled at how Warm Audio have managed to cut the fat off of the price point. Everything that needs to be there for an incredible compressor is there. No sound quality was sacrificed one bit for the sake of saving money. They easily could’ve hiked the price up on this one but for some reason, Bryce has seen it in his heart to throw us a bone and let us run with the big guys with quality gear.
 
It almost baffles people I tell about the WA76 because they feel that due to the price that it couldn’t possibly be as good as the original. We’ve all been told that in order to get high-end sound that we need high end gear, and this is very true for most situations; but there is an exception to every rule. All hail the new exception!
 
Below is a song where I used the WA76 on every mono track in the mix. I used it in tandem with some pre-Warm Audio preamps Bryce built. The signal chain was put on Acoustic Guitar, Bass, Vocals, and the kick. The Acoustic has no EQ on it other than a high pass filter and the vocals were just touched to pull some resonance out in some frequencies. Even though the kick was electronic, I ran it back through the signal chain to add a little flavor. If I would’ve had a pair, I would’ve used it across the whole track but that will have to wait until next time. Enjoy!

For more information on the WA76, visit http://www.warmaudio.com/products/wa76-discrete-compressor/

AAS Strum GS-2 Plugin

By
Bryan
-

Sometimes you just don’t have the money or the level of talent you need for a project. Acoustic guitar tracks are also tough to track in less-than-ideal environments. It’s not like an electric guitar where you can throw any mic on a cabinet and be done. When you don’t have the time or the patience, AAS has you covered with a virtual acoustic session player.

It’s with excitement that Applied Acoustics Systems announces the release of
Strum GS‐2, an all-new version of its award-wining guitar track production plug-in.
Strum GS‐2 reproduces the sound of acoustic guitars and also the playing techniques of a guitar player—making the production of guitar tracks in a DAW environment a straightforward endeavour. Strum GS‐2 embeds an elaborate chord recognition and voicing module which automatically voices chords played on the keyboard as a guitar player would on the fretboard. Strumming and picking swings into action with an auto-strum function and special strumming keys. Elaborate rhythm figures available from a large collection of MIDI loops are on hand to supplement chord progressions.
Strum GS‐2 is a complete redesign of its predecessor. In addition to the synthesis and strumming engines which have been completely reviewed, Strum GS‐2 ships with a new streamlined interface, a new equalizer and compressor module, a new multi-effect processor, brings native 64-bit operation on Mac OS X and Windows, and much more. Strum GS‐2 also features an all-new factory library comprising an impressive number of nylon and steel acoustic guitars of various sizes, both in natural and production-ready configurations.
“We have completely reviewed the modeling behind Strum—from the string to the body—and reconsidered how the different elements interact with each other; we have also re-examined how strumming is performed, now giving us a whole new level of realism, tone control, and expressivity,” said Marc-Pierre Verge, CEO of AAS. “With its extensive collection of guitars and the ability to tweak them as required, Strum GS‐2 is an even more clever solution than ever for creating great- sounding acoustic guitar tracks. Playing guitar on a keyboard has never been easier!”

Strum GS‐2 is available now at a suggested retail price of US$199 but until April 28th, 2015, it is offered at the introductory price of $149.
Upgrades are available for Strum Acoustic GS-1, Strum Electric GS-1, and Strum Acoustic Session users starting at $39.
Strum GS‐2 runs on both Mac OS X and Windows in 32- and 64-bit host sequencers supporting the VST, Audio Units, RTAS, and AAX Native plug-in formats.
Strum GS‐2 – Acoustic Guitar https://www.applied-acoustics.com/strum-gs-2/

Zynaptiq Morph 2.0

By
Bryan
-

Lacking movement in your tracks? Want to mangle sound to the point where it’s unrecognizable? Morph 2.0 is the plugin for you. Morph 2.0 is the second installment of the plugin that adds subtle or strong altering of audio content.

MORPH 2 is a real-time plug-in for structural audio morphing, the sonic equivalent of one object slowly changing its shape to become a different object – for example, one face becoming another. Super-charged with a selection of 5 different morphing algorithms, a stunningly clean formant shifter as well as a lush reverb that seems to extend sounds much like some highly revered vintage hardware boxes, MORPH 2 opens up a whole new universe of sounds to explore. Create seamless morphing transitions, new hybrid sounds that combine aspects of existing ones, physically impossible instruments, the furthest-out creature and robot voices, talkbox-esque effects and other outrageously unique new sounds. Whether you’re a sound designer for film or games looking for that signature sound, or a music producer or remix artist wanting to create new content from existing recordings…look no further, MORPH is for you!

The MORPH features at a glance:

  • 5 Unique feature-aware structural audio morphing algorithms.

  • Morphs between two input channels or input and side-chain.

  • Dual morphing circuits with crossfade option.

  • High-quality formant shifter.

  • Uses cutting edge signal transform technology for superb fidelity and intelligibility.

  • Both inputs can be mixed into the output or switched to solo.

  • Built-In Hall Reverb.

  • Fully real-time for immediate results.

Price: $179
For more information, visit http://www.zynaptiq.com/morph/

Elysia xpressor Coffee and Cream Edition

By
Bryan
-

The Elysia xpressor is an extremely creative compressor that has become a mainstay in studios all around the world. Now the 500 series version is shedding the blue exterior for a sleek wooden cream and coffee run for a limited time. These things look great! Get them fast, theres only 50 each

We are delighted to unveil a unique look to our line by offering a limited series of our best selling compressor – the xpressor 500 – with hand made wooden front panels, available in both “coffee“ and “cream” flavors.
The xpressor 500 coffee combines beautifully streaked Macassar ebony with maple, accented with custom anodized chocolate aluminum knobs. The xpressor 500 cream sports a lovely flame maple on walnut look, with a matching set of custom gold knobs. The wood has been carefully treated with a hand applied wax/oil finish to preserve its natural appearance.
The xpressor 500 coffee & cream is strictly limited to fifty pieces each, hand made by the elysia team. It is available right now, and it is our pleasure to be able to thank our supporters by offering these luxury editions with no extra charge at all.

Price: $975.00
For more information, visit http://www.elysia.com/hardware/xpressor-500-coffee/
 

Fiedler Audio AD 480 Reverb Rack Extension

By
Bryan
-

Fielder audio has delved into the world of Propellerhead’s proprietary Rack Extension format with a new reverb. The AD 480 is a tweaked emulation of the reverbs of days past. Now with a few more options, you can get this new reverb for your Reason projects.

Fiedler Audio/ Munich, Germany, March 23th, 2015 (ictw) – Fiedler Audio have just launched the AD 480 Reverb Rack Extension for Propellerhead Reason and Reason Essentials. The AD 480 Reverb now makes its first desktop appearance on the Rack Extension platform after its successful life as an App for iOS devices. Now that legendary, big machine, dense and warm reverb sound that makes great records and epic live sound is available for Reason.
The AD 480 Reverb RE algorithm is inspired by the sound of the sought after studio reverb units that were only available for the big budget recording studios and major touring acts.
The AD 480 Reverb RE is capable of simulating a great variety of acoustic spaces and its parameters allow to shape the sound in many different ways. The Parameter “size” practically provides an “algorithm” – a set of reflections – from a continuous range of values corresponding to a certain room size and thereby offering a lot more freedom than other reverbs with fixed “algorithms” (room sizes). Powerful filters shape the sonic color of the reverb tail and the “cross feed” function enables to control the directional behavior of the reverb tail according to the panorama angle of the input signal. The unique “dim” parameter determines the spatial dimensions of the reverb without influencing its first reflection pattern. At this parameter’s maximum the reverb is identical to the AD 480 Reverb for iOS.
The back panel of the AD 480 Reverb RE offers stereo outputs for the mixed signal as well as for wet and dry separated, providing great routing flexibility. The vast number of CV-inputs allow to automate and modulate almost all of the AD 480 Reverb REs parameters and support discovering entirely new ways to creatively use reverb in any kind of audio production.
Features Overview
professional reverb sound effect with variable room size
reverb time and spatial dimensions independently tweakable
extensive filter layout for a wide spectrum of sound
54 new presets with unique sound
108 excellent presets from the iOS version
separate outputs for mixed, wet and dry signals for flexible routing
20 CV-inputs for insane modulation

 
Pricing & Availability
The Fiedler AD 480 Reverb RE is available from the Propellerhead Rack Extension Store for Euro 69,- and USD 85,-

Pro Tools 12

By
Bryan
-

Pro Tools 12 is now here with all sorts of different purchase options. This update focuses more on the experience, giving you a myriad of tools for the modern musician. You can choose from flexible plans to lease or own the operating system, even going as far as offering a yearly plan that keeps you up to date for a lower rate. I’m not really seeing anything as far as performance enhancements but some people have claimed it’s faster.

Avid® today announced that the next generation of the industry-standard digital audio software, Pro Tools® 12, is now available. This release features new flexible licensing options, offering customers the choice to subscribe for as little as $24.99 per month, or to buy it outright with an annual upgrade plan.
These new options make it easy for users to stay current with future software upgrades and innovations as they are released at no additional charge. Pro Tools 12 delivers on Avid’s commitment to deliver more choice to customers for accessing and deploying their tools, a key element of Avid Everywhere™.
With Pro Tools 12, customers will also get access to forthcoming Avid Cloud Collaboration, Avid Marketplace and Avid Artist Community innovations, designed to provide a more efficient, collaborative and profitable connection between artists, media professionals and their audiences.
Avid Cloud Collaboration
Avid Cloud Collaboration is an integrated set of collaboration workflows that makes it easy for groups of artists and audio professionals to work together on the same project. These integrated workflows eliminate the time-consuming manual file management required when relying on generic cloud storage solutions by automatically synchronizing project changes across the group.
Avid Marketplace and Avid Artist Community
The Avid Marketplace delivers a convenient in-app purchase experience to Pro Tools for plug-ins and apps from Avid Connectivity partners, and a community for connecting talent with collaborators, for buying and selling content, and for storing their work.
The Avid Marketplace enables artists and professionals to:

  • Get plug-ins and apps immediately: With the Avid App Store, artists can find and immediately download the latest plug-ins and applications from Avid Connectivity Partners directly from within their creative tools (available now)
  • Find new talent and start new collaborations:  With the Artist Community, any media professional and organization can search for the skills and specialties they need on a project, find new talent and potential collaborators and start a working relationship (coming soon)
  • Share their work with the world: The Avid Content Marketplace provides a new channel for artists to monetize their work by sharing it with a wide network of potential purchasers – with all licensing and rights agreements worked out through automatic templates (coming soon)
  • Store their work and collaborate with other professionals: With Avid cloud storage audio professionals can post sessions to their own cloud storage space and invite others to collaborate on projects (coming soon)

Seventeen additional plug-ins and nine new plug-in bundles are now available in the Avid Marketplace and as in-app purchases in Pro Tools.

For more information on different pricing options and to purchase, visit http://www.avid.com/US/products/family/Pro-Tools
 

Review: Toneworxx Rainer and Grimm Toronto House

By
Bryan
-

Finding good sound sets can be a task. It seems lately companies have just been taking the standards, dousing them in effects, and calling it “original”. The guys over at Toneworxx and Prime Loops don’t subscribe to this approach and have tapped Toronto remix duo Rainer & Grimm to not only develop a sound set that caters to their signature style, but to also provide you with loops and even midi files. This gives you the option to integrate loops they’ve created into your own projects. Simply place each of the very well labeled .mid files into your sequencer or DAW of choice and as easy as that, you can add your own flavor with the virtual instrument of your choice. This is a great tool that many sample set producers will not let you have. It seems other companies like to keep their cards too close to their chest. Not Prime Loops.
 
The package comes in a very nicely arranged zip file with a dry version and an effected version. Each of the sounds in the folders corresponds to one of the 5 song sets they’ve already assembled for you. As far as the package goes, for drums you get 5 kicks, 8 HiHats, 3 Claps, 2 Snares, 4 Percs, and 2 Cymbals. Some of the samples come with a version with effects added as well. You also get 19 Synth one shots, 3 vocal one shots (each having dry or reverbed), 9 Vocal loops, 32 synth loops, and 15 bass loops. You can pretty much drag and drop sections of the loop files into your DAW and you’ve got full songs that you can add your own personal signature.
 
Overall I love the file structure and the sheer amount of options Prime Loops gives you. The fact that you’re not just given a folder with one shots and a couple of loops makes the process of using the sample pack much more fun. The samples are already mix quality and take the burden of having to process them to work in real world mix environments. One of the things that stood out most is having the midi file chord progressions to use with your own sounds. I could transpose and use other products while still retaining the feel of the original pack.
 
Coming in at $24, you’re given a lot of content, clocking in at around 233MB. The One shots sound great but I do wish the pack came with a few more drum sounds. The samples sounded so great it left me wanting more which in retrospect is exactly what a company would want. I’m going to be picking up quite a few of their libraries very soon. If you’re looking for a great signature pack with high quality house style, you’ve found your package with Rainer and Grimm: Toronto House.
For more info, visit https://primeloops.com/rainer-and-grimm-toronto-house.html

Spectrasonics Omnisphere II

By
Bryan
-

April 30th is a big day. That’s when the software synth that all others strive to be releases its second installment with Omnisphere II. This update is a big one packed with countless new effects, patches, and functions. The preset browsing has even been updated with a new Sound Match feature that will look for other sounds in your library that are similar to the patch you are editing. Let’s hear what the brains behind the biz has to say about Omnisphere 2.0.

                                       

Introducing Omnisphere 2 from Spectrasonics on Vimeo.

We are excited to announce a major upgrade to our flagship software synthesizer Omnisphere. Version 2 features a host of powerful new synthesis capabilities and thousands of new sounds for every type of user, from sound designers and composers, to studio and live musicians.
The upgrade includes the most requested Omnisphere feature: Audio import for user created soundsources, along with major new synthesis capabilities and creative tools, 3,000 new sounds, 25 new FX, an enhanced User Interface, and innovative production/browsing features like Sound Match™ to instantly locate any related sounds in the library, and Sound Lock™ to create endless useful patch variations by locking sound aspects while browsing other patches. These are just a FEW of the many new additions offered in Omnsiphere 2.

  • Audio Import – Use your own audio file as a soundsource in Omnisphere
  • Over 400 New DSP Waveforms for the Synth Oscillator – an increase of 100X
  • Wavetable Synthesis – Each Waveform is now a Morphing Wavetable
  • Powerful New Granular Synthesis algorithm
  • Deeper FM/Ring Mod capabilities for aggressive timbres
  • 8 New Filter Types – New Power Filters, Vowel, Resonators
  • New Unison Drift models Analog Polysynth behavior
  • Expanded Modulation with new sources and many more targets
  • Polyphonic LFO and Modulation Envelope options
  • Soundsource Reversing
Now includes over 10,000 sounds!
  • More than 3,000 New patches and soundsources from acclaimed Spectrasonics Sound Design Team
  • New Omnisphere EDM library with cutting-edge, modern sounds
  • New Exclusive Soundsources from Diego Stocco’s Custom Built Instruments
  • New category of Phrase-based Soundsources for granular synthesis
  • Hundreds of new Circuit Bent Soundsources
  • Many Innovative new Psychoacoustic Soundsources
  • New Melodic Cave Stalactites Soundsources
  • …and much, much more!
New Interface:
  • Redesigned Wider User Interface with many improvements
  • New Show Modulation pane opens modulation routings/sources on left side
  • New Mini-Browser available at all times
  • Larger Full Browser Design
Enhanced Browsing Experience:
  • Sound Match™ feature instantly locates any related sounds in the library
  • Sound Lock™ allows endless useful variations by locking sound aspects while you browse
  • Easy Sound/Project Sharing for collaborators and third party libraries
  • Greatly Improved sound organization system
  • Fast Progressive Loading allows rapid auditioning
  • Browse Patches by Mood
  • Expanded Genres
  • Browse by Oscillator type
  • Boolean search options
New Arpeggiator Features:
  • Note transposition for step seq-style patterns
  • Arp pattern lock while browsing
  • Speed Offset control allows slow down/speed up effects
  • New modulation capabilities
25 New FX Units:
  • Innerspace
  • Quad Resonator
  • Thriftshop Speaker
  • Classic Twin
  • Bassman
  • Hi-Wattage
  • Rock Stack
  • Brit-Vox
  • Boutique
  • San-Z-Amp
  • Stompbox Modeler
  • Metalzone Distortion
  • Toxic Smasher
  • Foxxy Fuzz
  • Analog Phaser
  • Analog Flanger
  • Analog Chorus
  • Analog Vibrato
  • Solina Ensemble
  • Vintage Tremolo
  • Envelope Filter
  • Crying Wah
  • Stomp-Comp
  • Precision Compressor
  • Studio 2-Band EQ
Flexible New FX Features:
  • 16 FX units per patch
  • Full matrix modulation of every FX slot
  • New Aux FX rack per patch with Pre/Post fader sends
  • Hundreds of New FX Presets and Racks
  • Lock FX while browsing
Improvements/Special Features:
  • Live Mode with key splits
  • Enhanced Orb with Attractor mode
  • Tweak Trilian Custom Controls Interface inside Omnisphere
  • Global Clock Speed (Halftime, Doubletime, etc)

– and more!

Price: $499.00
For more information, keep your eyes peeled at https://www.spectrasonics.net/products/omnisphere-2/

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