#omnisphere

[tilt5951]

YOOOO THIS IS FINAL FOR SUREE!!

[acidhydraart]

new song!!

[synthtv]

Explore Spectrasonics' Bob Moog Tribute Library v2 for Ominsphere

[bonitobutillflake]

[soundbanks2342]

Spectrasonics – Omnisphere 2.8 Download

Dive into a world of limitless sonic exploration with Spectrasonics' Omnisphere 2.8. Renowned for its unrivaled sound quality and vast array of synthesis capabilities, Omnisphere 2.8 is the ultimate tool for musicians, producers, and sound designers alike. With an extensive library of over 14,000 meticulously crafted sounds, including synth pads, evolving textures, pulsating rhythms, and much more, Omnisphere 2.8 offers endless inspiration for your musical endeavors.

Unlock the power of Omnisphere's advanced synthesis engine, which seamlessly integrates wavetable synthesis, granular synthesis, virtual analog oscillators, and sample-based sound sources. Create custom sounds from scratch or modify existing presets with intuitive controls and real-time manipulation options. From lush cinematic soundscapes to cutting-edge electronic textures, Omnisphere 2.8 empowers you to sculpt sonic landscapes that defy conventions and spark creativity.

But Omnisphere 2.8 is more than just a synthesizer—it's a complete production powerhouse. Dive deeper into its extensive effects library, featuring a wide range of high-quality processors, including reverb, delay, modulation, distortion, and more. Take advantage of Omnisphere's powerful arpeggiator and step sequencer to add movement and rhythm to your compositions effortlessly.

With its intuitive user interface, comprehensive sound library, and innovative synthesis capabilities, Spectrasonics' Omnisphere 2.8 is the definitive solution for all your sound design and music production needs. Elevate your productions to new heights and unleash your creativity with Omnisphere 2.8 today.

[extraplugin]

Spectrasonics – Omnisphere 2.8 for music

Discover boundless sonic possibilities with Spectrasonics Omnisphere 2.8, a cutting-edge virtual instrument that redefines music production. Tagged under "Spectrasonics – Omnisphere 2.8 for music," this software is a must-have for composers, producers, and sound designers seeking to push the boundaries of their creative endeavors.

Omnisphere 2.8 introduces a realm of diverse sounds, from lush pads to intricate textures, pulsating rhythms, and soaring leads. With its massive library of over 14,000 sounds, including inspiring presets and multisamples, it's a playground for sonic experimentation. The software's intuitive interface encourages exploration and sound manipulation, offering deep synthesis capabilities, granular synthesis, and advanced modulation options.

The real-time effects processing engine provides an array of sonic sculpting tools, enabling users to transform sounds in unique ways. From ethereal atmospheres to aggressive basslines, Omnisphere 2.8 covers an expansive sonic spectrum.

Whether you're a seasoned professional or just starting, Omnisphere 2.8 is a versatile tool that adapts to any musical genre. Elevate your music with its expressive and evolving sounds, tag "Spectrasonics – Omnisphere 2.8 for music," and open the door to a universe of musical creativity that knows no bounds.

[moonrpg]

adventure time snail episode genuinely one of the worst pieces of television I’ve had the displeasure of watching but its heavy use of the omnisphere vst did make me laugh a little. I will keep an ear out but afaik they don’t use that plugin much in at music? like it rlly sticks out in that ep. the slime I guess

[earthidiot]

Lord Enasni’s Notes: The third planet from the middle-aged G-type star Sol in the Orion Spur of the Milky Way Galaxy that is home to the most intelligent species on that planet…if that species were not the troublesome, barely evolved and self-important annoying bunch of primates called humans, unfortunately.

[mydr3aminvi0let]

like why am i gonna put 10 bands into something that's a hobby at the end of the day. ive paid for my own education rent car maintenance daily life ect you are fucking tripping if you don't think i haven't already obtained every vst i ever needed or wanted illegally i really dgaf as long as the music i make is my own. i really don't even fuck with presets for this reason

i wish music production wasn't immediately seen as an occupation. i have no intention of releasing my shit bc im just way too in my head, it's for the better i don't expect so much out of something that's so personal but it gets so insanely expensive when me and most people in this are aware we'll be/are starving artists if we did try to get recognized, because we ARE in it for the sole reason of art n not fame. im not thatt delusional so why do we all have to pay these exploitative prices when it's just a hobby. tf i look like spending 500 on a plugin with 1000 cave sounds and 500 kalimba patches. ratio 1 in 60 for a usable sound. + no bass category on a synth is insulting. ofc if you want something usable you gotta dish out 400 for keyscape or another 400 for trillian if you want a fully fleged plugin (yea im talking about fuckass omnisphere that's what this post is about) im a regular bitch RELEASE MEE.

[tilt5951]

second arc main fight theme. Shiverz droids

[sleepanonymous]

Once again, a round of applause for Mr. Lever. You will see an obscure photo of Vessel and II if you click that link, fyi. I actually can't find Vessel, but II and George are def in it, and a friend says Vessel is too. For obvious reasons, I did not include the photo while formatting this post.

Full Production, Mixing & Mastering catered to by George Lever here at G1 .

Prelude

Working with Sleep Token is always a pleasure. I get this deep seated selfish enjoyment when we start new projects, mainly because I’m safe in the knowledge that the experience is going to be beautifully intense and incredibly rewarding.

Tracking

We started working on ‘Two’ just before winter started in 2016. Working on maturing the structure and fleshing out tones. Its no surprise that when it came to the final tracking that we changed the sonic balance almost completely (this is a running theme by the looks of things) Time restrictions led to us using programmed drums, however we took samples of the real kit to sequence so that it didn’t ‘feel’ completely robotic or lost. Guitars last time around resulted on leaning on my Kemper, however this time we used a live amp and cab for the majority, the momentum from the tubes / movement of the cab is something I’ve had to accept is difficult to recreate ITB. Its easier just to go down the most direct route. I had recently purchased a one of a kind Randall modded amp from a friend in the states. It turns out its an early prototype from when Fortin partnered up with Randall, its not a looker but its a box of pure filth. The Fortin was fed into my Mesa OS, placed an SM57 on the cap joint of the cone and off we went, pretty straight forward really! Bass is a hybrid setup between two real basses and then a 3rd lane of audio from a programmed bass. Because of the way the song’s have been written, keeping the sub lows consistent is vital to ensuring the song flows without feeling disjointed section to section / genre to genre. Vocals is where the most change happened (from a tracking perspective). Originally we had finished and finalised everything with my go-to setup. Modded Oktava > Germanium Chandler > Empirical Labs Distressor. And for the most part it worked. However halfway through the process I bought a Slate VMS. A modelling microphone. Without going into too much detail, its a microphone that can imitate more expensive vintage setups and it does it without any issue whatsoever. Obviously when testing it out and comparing, the VMS won without breaking a sweat. So back to tracking all the vocals again. (The vocalist is amazing however, the repeat performances were just as good, if not better than the original final takes) 

Gear Used

Guitars

Ibanez Prestige (7 string) – Bare Knuckle Aftermaths Fortin Modded Randall Diezel Einstein Mesa Oversized Cab Beyerdynamic m201 & 57

Vocals

Slate VMS – AKG C12 Emulation into Neve Pre

Drums

Sampled the original kit, programmed performances.

Bass

Fender Jazz Customshop Dingwall Combustion

Synths / Samples

Logic Stock Omnisphere Spitfire Albion LA Scoring Strings

Mixing

Everything with Sleep Token (from a mix perspective) is orientated around the vocal. The vocal here is god and attempting to get the mix to flow any other way would have been very strange indeed. Sleep Token were very clear and concise about the structure for the mix, Vocals, Samples, Drums then everything else equal after the fact. Very much like how pop is built actually. It turned out to be the most happily balanced mix I’ve worked on. I expected to have a harder time balancing moving between a few different genres through out the track but in all honesty, it just worked. Which in itself is testament to the quality of the song writing. We worked on a few different ‘perspectives’ for the mixes, however in all honesty. The mixes came together with very little effort and the tracking stage defined a lot of the movements that would happen later down the line.

Testimonial

“Worship” Vessel doesn’t give quotes. – ST

Mastering

I ended up going against my usual workflow for the master chain, trying out new things always lends to another perspective / approach / result. The signal chain looked something like this;

FG-Bomber Slate VMR – Neve EQ Focusrite Red 3 Slate VMR – Custom EQ UBK-1 (the density control on this is awesome!) Izotope Limiter FabFilter Limiter

Lastly…

If you haven’t already checked out Sleep Tokens first release ‘One’. You should. ‘One’ was also produced here at G1 but resulted in a darker sound overall! – G

[nightdreamscorp]

Minhas tentativas/My attempts

PT/BR: Sou um produtor autista e indie que gosta de experimentar. Atualmente, estou focado em três gêneros: Synthwave, Dreamscape e Vaporwave (Broken Transmission e uma tentativa de Late-Night Lo-Fi, que é um tipo de Vaporwave).

Todas as minhas produções serão gravadas em demos e talvez algumas delas se tornem lançamentos. Making Music in The Night é um página e uma série de postagens onde irei mostrar eu fazendo músicas com tentivas e erros até se tornar bem legal para se tornar um Album, EP ou um Single

Vamos lá. EN: I am an autistic indie producer who enjoys experimenting. Currently, I focus on three genres: Synthwave, Dreamscape, and Vaporwave (which includes Broken Transmission and some Late-Night Lo-Fi).

Making Music in The Night is a page and a series of posts where I will show myself making music with trials and errors until it becomes really cool to turn into an Album, EP, or Single.

Let's go.

Arranjos, plugins e presets/ Arrangement, plugins and presets

PT/BR: Primeiro, irei mostrar como ficou meu arranjo e depois mostro os synths que eu usei e o presets.

EN: First, I going to show you my arrengenment and after I show you synths and presets.

PT/BR: Eu usei um synth de instrumento de cordas, baixo estilo anos 80, sinos e arps.

Plugins e presets que foram usados:

Instrumentos de cordas: Adagio Expressivo - Omnisphere - Baixo: BASS Aviator - DIVA (Oblivion Sound Lab - Neon Circuits) - Sinos: BELL 106 Pluck - DIVA (Oblivion Sound Lab - Neon Circuits) - Arp: ARP Absently Bemused - DIVA (Luftrum - 9) - Melodia: LEAD Obie Saw - DIVA (Oblivion Sound Lab - Nen Circuits)

A maioria que eu usei foi o VST Diva, eu gosto dele porque ele tem uma liberdade para ter esses sons mais retro anos 80 e mais nostalgico.

EN: I used 3 instruments: Strings Ensemble, Bass, bells and arps. Plugins and presets are used: - Strings Ensemble (Adagio Expressivo - Omnisphere) - Bass: BASS Aviator - DIVA (Oblivion Sound Lab - Neon Circuits) - Bells: BELL 106 Pluck - DIVA (Oblivion Sound Lab - Neon Circuits) - Arps: ARP Absently Bemused - DIVA (Luftrum - 9) - Lead: LEAD Obie Saw - DIVA (Oblivion Sound Lab - Nen Circuits)

Most of what I used was the DIVA VST. I like it because it offers the freedom to create those more retro 80s sounds and a more nostalgic feel.

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Progresão de acordes e melodias/Chords Progressions and melodies

PT/BR: Eu usei esses acordes para fazer os instrumentos de corda (que eu vou chamar de Pad).

EN: I used this chord progressions for make Strings Pad.

PT/BR: Já no segundo momento do Pad 2 eu fiz uma melodia como se fosse tocando uma orquestra so de cordas, mas com os mesmos acordes. Como eu fiz isso? Você duplica uma pattern e depois bem no cantinho do pattern clica em "Make unique" - (Tornar único).

EN: In Pad 2, I used the same chords progression but adding new melodies.

How can I do this? Simple, duplicate same pattern and in the top left corner and select "Make unique".

PT/BR: Agora iremos mexer no baixo. Foi usado as linhas de baixo do Pad e cortei para ir mais rápido.

EN: I used same bass notes in the strings pattern and chop the bass notes.

PT/BR: Agora vamos ver os Arps, como o arp é automático quando você faz um acorde, eu gostei do som. Eu usei a mesma progressão de acordes do instrumentos de cordas.

EN: Let's check the Arps. I used automatic arps for this and I love the song

PT/BR: Vamos dar uma olhada nos sinos, para eu fazer a melodia deles eu fui seguindo as progressão de acordes e depois fui alterando algumas notas.

EN: Let's check the bells, for make the bells I following chord progression and change few notes.

PT/BR: Na segunda melodia que seria o solo, eu fiz de cabeça para combinar com a música. Como se fosse uma guitarra elétrica.

EN: In the Lead, which would be the solo, I improvised to match the song. As if it were an electric guitar.

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Mixagem, automações e canais/Mixing, automations and channels

PT/BR: Vamos brincar um pouco com a mixagem e também com os canais. Irei mostrar os plugins que eu usei e não irei falar muito, mas as sequências de fotos vão está em ordem para não se perderem.

OBS: Irei mostrar os os volumes de cada canal, separei em grupos para ficar mais legal de entender.

EN: Let's play around a bit with mixing and also with the channels. I'll show you the plugins I used, and I won't talk much, but the photo sequences will be in order so you don't get lost.

PS: I will show the volumes knobs of each channel, I separated them into groups to make it easier to understand.

PT/BR: Vamos falar das automações. Eu criei 3 clipes de automações: Um para o baixo, um para o kick e outro para o pad.

Para criar as automações você clica com botão esquerdo do mouse e clica em "Create an automation clip" (Criar um clipe de automação). Para os plugins nativos e mais rápido e mais fácil, mas para os plugins de terceiros tem que clicar com botão direito em cima de um icone de knob.

EN: Let's talk about automation clips. I create 3 automations clips: On for the bass, one for the kick and one for the pad.

To create automations, you left-click and select "Create an automation clip." For native plugins, it's faster and easier, but for third-party plugins, you have to right-click on a knob icon.

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Efeitos/FXs

PT/BR: Irei falar dos efeitos. Coloquei somente o básico para ser mais simples nas transições. Os efeitos de transições coloquei apenas nos momentos em que precisava para não ficar tão poluido. E sim foram somente um Crash e um Crash reverso. EN: Let's check these FXs. I adding some basics: One crash and one reverse crash.

I only applied transition effects at moments when they were needed to avoid making it too cluttered.

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Masterização/Mastering

PT/BR: Para finalizar, vamos falar da masterização. Usei apenas apenas 3 plugins nativos do FL Studio: Fruity Parametric EQ, Fruity Stereo Enhancer e o Fruity Balance.

Fruity Balance foi usado para criar um clipe de automação para aumentar e diminuir o volume, para não mexer no volume do canal.

EN: For final step. I used 3 native plugins only: Fruity EQ, Fruity Stereo Enhacer and Fruity Balance.

Fruity Balance is used for create a automation volume.

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PT/BR: Obrigado por verem meu tutorial de como eu fiz essa demo/ID, ele está disponível no meu Soundcloud. Me seguem para mais tutoriais desses tipos, caso não agradarem esse tipo de formato, posso gravar em video.

EN: Thank you for watching my tutorial on how I made this demo/ID. It’s available on my SoundCloud. Follow me for more tutorials like this. If you don’t like this type of format, I can make a video.

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Agradecimentos/ Thanks to PT/BR: Obrigado ao Tumblr Brasil, por eu está començando a escrever por aqui e sempre atualizar do que estou fazendo de novidades nas minhas produções, investir em dominio para ser sempre o meu blog de atualizações aqui no Tumblr e a Geminicodes por ter feito um tema pra mim que eu adorei.

EN: Thank you to Tumblr Brazil for allowing me to start writing here and always keeping updates on what I’m doing with my new projects, investing in a domain so this can always be my update blog here on Tumblr, and to Geminicodes for creating a theme for me that I loved. PS: My english is rust, I am studying by myself, feel free to correct me.

Tumblr Brasil: @equipebrasil Geminicodes: @geminicodes

Apoia-me/Support-me:

Soundcloud YouTube Ko-Fi Instagram Buy Me a Coffee

[the-scrombler]

Small detail I noticed but it’s cool to know Marina canonically uses a Mac, Logic Pro and Omnisphere to make her music (much like the actual Splatoon composers!)

[ivo3d]

Sneak-peak of a light art group exhibition at Fénydóm Budapest/ my cell/part - 'instinct - ancestor' (omnisphere 2017 animation variant/adapted to the given space) from 01.03.2024 - 17.03.2024, another projection-mapping installation.

[beingharsh]

pirated omnisphere for the adagio warm strings preset and it's sooo dreamy/creamy/steamy

[soundrooms]

D R E W S C H L E S I N G E R | TiNY DESK STUDiO 2022

A MacBook AIR M1 running Ableton Live with a few other plug-in’s including Omnisphere, Virtual CZ, Korg Prophecy and Wavestation and the wonderful Aalto by Madrona Labs. Effects are all Sound Toys along with Valhalla’s Vintage Verb. To the side is my Cornwall EMS Synthi connected to a tiny Eurorack POD with some random modules, a slope generator and a few other utilities. The keyboard is a small QuNexus, Genelec 8010 monitors and a Rode interface.