Long And Mcquade Omnisphere 2
Where can I purchase Omnisphere 2?
Download sales and Upgrades are now available for purchase in our Webstore/Techshop. Physical sales (boxed with USB drive) are handled exclusively through our Authorized Resellers.
Omnisphere 2 is Spectrasonics' flagship synthesizer and is known throughout the world as the most elegant, flexible and comprehensive virtual instrument ever. Building on the legacy of the original version, Omnisphere 2 includes the most requested new feature, Audio Import for user-created audio files, plus over 400 DS. Aug 03, 2018 Visit the post for more. Omnisphere Crack for Mac and Windows is the best software for Sound and video editors Omnisphere Full Crack is an award-winning plug-in combines many kinds of integrated music instrument tools. Omnisphere 2.5.3 Crack Latest Keygen Full Version Free Download Mac & Win See more. Omnisphere 2.6 - Endless Possibilities Omnisphere® is the flagship synthesizer of Spectrasonics - an instrument of extraordinary power and versatility. Top Artists all over the world rely on Omnisphere as an essential source of sonic inspiration. To create your own splits and layers, or modify anything beyond the limited effects and parameters burned into each patch, Keyscape requires Omnisphere 2. This isn't mentioned on the product page at Spectrasonics' site - only in the FAQs. The product page does mention Omnisphere integration, but doesn't say it's required for Keyscape editing.
- The Tama Imperialstar 5-piece drum set is the most affordable Tama drum kit ever to incorporate so many high-end features. With over 40 years of experience, Tama knows what drummers really want. Which is why, no matter how long you've been playing the drums, no matter what budget you have to work with, Tama has the set you need, want, and can.
- Universal Audio Apollo Twin MkII. Thunderbolt Audio Interface & Monitor Controller. Since it’s duplicated as Talkback 1 and Talkback 2 — and even has its own Console channel strip where UAD plug-ins can be inserted. Medium and Long — are available, to ensure that all your inputs remain in sample-accurate sync regardless of which.
If I already own Omnisphere, is there an Upgrade to Omnisphere 2?
Yes! If you already are an Omnisphere customer, you are eligible for the Omnisphere 2 Upgrade - available now in the Webstore/Techshop.
If I already own Atmosphere, is there an Upgrade to Omnisphere 2?
Yes! If you already are an Atmosphere customer, you are eligible for the Omnisphere 2 Legacy Upgrade - available now in the Webstore/Techshop.
Is there a DEMO version of Omnisphere 2 I can try?
Because of the size of our instruments, we don't offer Demo versions. However, you can contact one of our local dealers in your area in order to arrange a live demo of Omnisphere 2. To find a local dealer in your area, please contact your local Authorized Reseller.
How are Spectrasonics Instruments delivered to new users?
All Spectrasonics instruments are available in two different editions: Boxed and Download. The physical boxed editions now contain high quality USB drives and are sold exclusively to new customers through our Authorized Resellers. The download editions are now available and sold exclusively through our Webstore/Techshop.
Aren’t Spectrasonics Instruments delivered on DVD-ROMS?
They used to be, but this is no longer the case. All our physical boxed versions have now been revised with high-quality USB drives. For convenience, we now also offer download sales of new Spectrasonics Instruments direct to customers from our Webstore/Techshop. Both of these new delivery platforms offer much faster and more reliable installations than DVD discs.
If I buy the Boxed version, will I also be able to get a download in the future? If I buy the Download Edition, will I also be able to get a drive? If I have the DVD-ROM edition, will I be able to get the drive or future downloads if I need them?
Yes to all of the above! We are happy to announce that there are now alternative forms of installation available optionally to registered users - no matter which edition you have originally purchased.
Spectrasonics is keenly aware that many users no longer have computers with optical drives and there are numerous scenarios when the convenience of downloading or the speed of a USB drive would be a preferred form of installation for different types of users. To address all the various user needs and scenarios, Spectrasonics has a new Support Services area that offers Alternative Installation USB Drives and Additional Download Installations for optional purchase. These services are available for purchase in our Webstore/Techshop for registered users.
How is the Upgrade delivered? Is it downloadable? How big?
The Omnisphere 2 Upgrade package is a 60GB download which you can order through Webstore/Techshop.
Is the Omnisphere 2 Upgrade available as a physical product?
Not at this time. Our download service is highly reliable though.. even with slower connections.
Can I download the upgrade?
Yes. The upgrade is now exclusively available as a download in our Webstore/Techshop.
Does an Omnisphere 1 license need to be registered and authorized in my Spectrasonics User Account in order to qualify for the Omnisphere 2 Upgrade?
Yes.
Does Omnisphere 1 need to be installed on my computer before purchasing and installing the upgrade to Omnisphere 2?
No. Upgrading to Omnisphere 2 will supply the complete 60GB Omnisphere 2 sound library, which includes the sounds from Omnisphere 1. If Omnisphere 1 is already installed, you will not lose any custom user-created sounds or third-party libraries.
Do I need to have Atmosphere installed before purchasing the upgrade to Omnisphere 2?
No, but if you are an Atmosphere user you will need to have it authorized and registered to qualify for the Legacy upgrade.
Is there a student discount price for Omnisphere 2?
Spectrasonics doesn't offer student discounts, however qualifying schools and institutions can participate in our EDU program.
Does Spectrasonics allow for used sales/license transfers of Omnisphere 2?
Please see the License Transfer FAQs area of the Knowledgebase for more info on our License Transfer Policy.
Can I upgrade if I bought a used copy of Omnisphere v1?
Yes, but only if that copy of Omnisphere has been properly license transferred through Spectrasonics.
Can I upgrade if I bought a used copy of Atmosphere?
Yes, but only if that copy of Atmosphere has been properly license transferred through Spectrasonics.
If I upgrade my Atmosphere to Omnisphere 2 can I later resell and transfer the license of either instrument used to someone else?
No. Customers who participate in a special upgrade program for any Spectrasonics virtual instruments are not eligible for license transfers either for the original instrument or its subsequent upgrade. For example, if an original owner of Atmosphere takes advantage of our special “legacy” upgrade program to Omnisphere 2, the owner is not permitted to resell either instrument and no license transfer will be granted.
If I upgrade my Omnisphere v1 to Omnisphere 2 can I later resell and transfer the license of either instrument used to someone else?
Since it is the same original license, Omnisphere 2 would still be eligible for a future license transfer. However, Omnisphere 1 cannot be transferred as a separate product.
Are Omnisphere 1 and Omnisphere 2 different instruments/products?
No. Omnisphere 2 is simply the next major version of Omnisphere.
Is Omnisphere 2 a Stand-alone app or a Plugin?
Omnisphere 2 includes a standalone application and VST/AU/AAX plug-in platforms that work in all the major DAWs and hosts.
What is the STEAM engine?
STEAM™ is our in-house core technology that is the foundation of Omnisphere, Trilian and a new generation of Spectrasonics instruments.
So does Omnisphere replace Atmosphere?
Yes, Omnisphere is Atmosphere's successor.
What are the minimum system requirements for Omnisphere 2?
You can view them HERE.
Is it compatible with xxx?
Check our Compatibility FAQs in the Knowledgebase which we keep up to date with the latest info.
Will Omnisphere 2 replace my Omnisphere plug-in?
Yes. Omnisphere 2 is the next version of Omnisphere. When installed, the Omnisphere 2 Upgrade contents (20GB) merge with the existing Omnisphere 1 library and become one product, replacing Omnisphere 1 as a plug-in.
When opening older projects which use sounds from Omnisphere 1, will they load the same?
Absolutely - it is still Omnisphere! Version 2 is fully backwards compatible with version 1 projects.
Will custom saved patches/multis be negatively affected when upgrading to Omnisphere 2?
No. They will open and operate the same as always.
Will third party patches be negatively affected when upgrading to Omnisphere 2?
No. All third-party Omnisphere v1 libraries are fully compatible with Omnisphere 2.
Does Omnisphere 2 use Copy Protection?
Yes, please see the Copy Protection FAQs area of the Knowledgebase for more information on our system.
Does Omnisphere 2 include a manual?
All our instruments include a comprehensive online Reference Guide, which is accessible directly through the plug-in. The integrated Reference Guide is searchable and we can keep it up to date with the software releases. You can check out the Reference Guide HERE.
How fast of a computer will I need to run Omnisphere 2?
As with all virtual instruments - the faster the better. Omnisphere 2 is designed to run optimally on modern computers. See the System Requirements for more information.
Does Omnisphere 2 need more CPU power than Omnisphere v1?
Not significantly more. Some newer patches require more resources than older ones. However, many new patches do not require more resources.
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Does Omnisphere 2.5 need more CPU power than Omnisphere 2.4?
Not significantly more. Some newer patches require more resources than older ones. However, many new patches do not require more resources.
Is Omnisphere 2 compatible with 32-bit and 64-bit systems?
Omnisphere 2.4 and earlier are compatible with both 32-bit and 64-bit systems. Omnisphere 2.5 and higher are compatible exclusively with 64-bit systems.
Can I easily switch back and forth between Omnisphere 2.5 and Omnisphere 2.4?
Yes! We have a rollback installer that’s easy to use for this purpose if you are unsure if you are ready for 2.5 or not.
Does Omnisphere 2 use streaming?
Yes! Omnisphere 2 streams from the drive for quick loading of the sounds. Drive streaming is configurable as well.
Can I selectively install parts of the Omnisphere 2 library since it is so large?
Because of patch compatibility, Omnisphere 2 must always be installed with the complete library. However, you can install the 60 Gigabyte library to a secondary or external drive if you wish.
Will Omnisphere 2's streaming benefit from a faster hard drive?
Fast drives are a smart way to go of course. There's a chapter in the Reference Guide devoted to optimizing Performance with Omnisphere 2.
Can I install Omnisphere 2 on a different drive?
Yes, you can definitely install the library to a secondary or external drive.
Can I Use My Own Audio in Omnisphere 2?
Yes! You can now use any WAV or AIFF audio files in Omnisphere as soundsources for creating your own amazing sounds! Omnisphere 2 supports bit depths up to 24-bit files and sample rates up to 192kHz.
Will the audio import in Omnisphere 2 be for single audio files or multi-samples?
Omnisphere 2 supports one audio file of any length per soundsource. You can layer up to four soundsources in a patch and 8 patches in a multi. Keep in mind that Omnisphere's focus is as a synthesizer and will never be a sampler with multiple velocities, key-mapping, round-robin, etc. - there are other instruments out there that do that very well.
Omnisphere 2 allows you to easily turn your audio files and even your audio tracks/mixes into synthesis source for Omnisphere 2's powerful oscillators. It's remarkable how much you can creatively mangle one sound and transform it into something awesome!
on Aug 09, 2015 in Recording & Production 20 comments
Choosing and setting up studio monitors is, of course, one of the most important aspects of designing a good recording/mixing space. Every decision made during the recording process—from mic placement to final mix tweaks—is based on what’s heard in those monitors, and while headphones can provide a helpful reference, the sound from the speakers is usually what’s relied upon for the critical choices made throughout the process.
There are plenty of suitable—even excellent—studio monitors out there, at all sizes and price points, but setup is just as critical as choosing a good pair. A flawed or problematic setup—even with good speakers—can get in the way of achieving the best recordings and mixes. Here are 6 suggestions—things to avoid—to get the best results.
1. Avoid the Hype
Consumer speakers are often designed to make everything played through them sound as good as possible. However, this is not the goal for studio monitors. The purpose of monitoring is not to promote a consistently enjoyable listening experience, but to reveal the truth about the sound of the recording or mix—good, bad, or ugly, what you hear through the monitors must reveal not only what sounds good, but more importantly, what’s wrong, and what needs to be fixed.
The sound of many consumer speakers is often “hyped”—this usually means that the bass and/or the treble (and maybe presence) frequencies are accentuated, for a punchier, brighter, more “in-your-face” tonal balance. This can give music a more exciting quality, but it’s not what the mix actually sounds like. If you make key decisions about level balance and EQ based on a pair of hyped-up speakers, that mix may sound good right there in that room, but it won’t sound like that anywhere else—in fact, it’ll likely sound lacking on other, less-hyped playback systems.
Fortunately, most speakers sold as studio monitors shoot for a (more desirable) neutral balance, capable of providing a proper reference for decision making. Yet I still sometimes come across people who apply their own “hype” to their monitors, via amp/preamp tone controls, or by cranking the bass and treble adjustments provided on the back of many powered speakers.
Fig 1 Low-and High-Frequency adjustments on the rear panel of a studio monitor.
But these controls are there not to add thump and sizzle, they’re intended to be used subtly, if at all, to compensate for speaker placement (see below), or for a particularly dead, or an overly bright, splashy room. Usually, if that’s the case, a dB here or there is probably all the adjustment you’ll need, and cutting bass or treble may be more effective than boosting.
2. Avoid the Walls
Most people have noticed that when a speaker of any size is placed against a wall, it’ll deliver stronger bass response. This can be a strong temptation to use this acoustic phenomenon (a function of standing waves) to provide some additional heft, especially from smaller (less than 8”) woofers. But this room-enhanced bass will have an uneven frequency balance, and can trip you up when making critical decisions about low-end EQ, and the balance of key mix elements like kick drum and bass guitar. Many, if not most, monitors are designed to deliver the smoothest low-end response when placed at least a foot or two from the nearest room boundary (wall, floor, or ceiling), and while this free-standing placement, without reinforcement from room boundaries, won’t deliver as much thump, the bass that is present will be a more correct indication of the low-frequency energy that’s actually present in the recording, which is extremely important. One of the most common flaws of small- or home-studio mixes is either too much or too little low end, or uneven bass, caused by EQing to compensate for irregularities that are unique only to the room and monitors in use during mixing.
Fig 2 Free-standing placement (L) vs wall-placement (R) of studio monitors.
Most monitors come with a recommendation for placement, and many include adjustable low-end response, to match the speakers to the placement—“full space” for the (preferred) free-standing placement, “half-space”, for wall placement, and sometimes even “quarter-space”, for corner placement (though I’d avoid that!). Virtual dj apk pure.
Fig 3 Rear-panel speaker controls for different speaker placements.
But these bass controls won’t increase the low end over what the speaker can deliver in full-space, free-standing position—they’re designed to reduce the excessive, uneven bass that would result from placement near a room boundary. If you really feel you need more low end than your speakers provide, don’t try to coax it out of a smaller pair of monitors by using the room—instead, either trade up to a larger woofer size (8” or more), or add a subwoofer (see below).
3. Avoid Asymmetry
Even if you avoid backing the monitors up against the wall, reflections from room boundaries will still affect the sound. Ideally, you’ll want to position the speakers symmetrically—that is, equidistant from the walls to the left and right of the primary listening position—the “sweet spot”. So, if the left speaker is 3 feet from the left wall, you’ll want the right speaker to be 3 feet from the right wall.
Omnisphere 2 Cheap
Fig 4 Stereo monitors symmetrically positioned between side walls.
That way, any effects from reflections should be similar—balanced—at the sweet spot. If one speaker is closer to the nearest side wall than the other, you may be misled into reducing the level or ambience of mix elements panned to that side, or your panning placement may be skewed to one side, making the mix sound off-centered when heard on other systems, or in headphones.
4. Avoid Poor Angles
Positioning the monitors either too close together or too far apart can mess up your stereo panning decisions. Speakers that are too widely spaced may provide a stereo image with a hole-in-the-middle. This can cause you to bunch too many mix elements near the center, resulting in a mix that doesn’t effectively use the stereo sound field. Conversely, speakers that are placed too close together may lead you to overly wide panning choices—when the resulting mix is heard on other systems, mix elements may be bunched together in the left and right speakers and the center, with gaps between, sounding like one of those old mono 60s mixes that was turned into fake stereo—again, not properly making use of the stereo sound field.
The ideal angle for stereo monitors is ~ 60° (between speakers, or ~ 30° between each speaker and the “sweet spot”).
If you’re using nearfield monitors, a typical setup would have the speakers around 3 feet from the listener, and 3 feet from each other—this not only maintains the optimal angle for stereo, but minimizes the effect of mid- and high-frequency room reflections.
5. Avoid Reflections
You don’t want your listening environment to be completely free of (mid/high-frequency) reflections—that would be an unnaturally dead-sounding room for working on music. But you do want to avoid strong, short reflections, that may produce excessive comb-filtering (tonal irregularities due to wave interference), which can muddy up the sound, for example, making it hard to tell exactly how much “room tone” is in the recording itself, and how much ambience and effects to add. Weaker, longer reflections—like from the back of the room—can provide enough overall ambience to make for a comfortable listening environment without too much interference. What you’ll want to avoid is having the speakers pump sound at strongly reflective surfaces in the front, that will reflect too much back to the listening position. These could be tall equipment racks off to the side, near the monitors, or flatscreens that are in the path of the speakers’ direct sound wave. The console itself (or tabletop, in smaller rigs)—right in front of the listener, between the monitors and sweet spot—can be a significant source of these undesirable strong, strong reflections.
While you may not be able to completely avoid all such reflections (as attempted with certain high-end studio designs), you can try to minimize them. Avoid placing reflective elements at ear/speaker height in-between speakers and listener. Many speakers have a narrower dispersion in the vertical plane—if you position them at ear level, with their tweeters directly aimed at the listener’s ears, you may avoid having a lot of sound reflect off the console/desktop, making for a cleaner monitoring environment.
Fig 6 (Top) Potentially problematic reflections off the console/desktop; (Bottom) Reflections avoided by proper angling & narrow vertical dispersion.
6. Avoid Excessive Levels
There are a number of reasons why consistently monitoring at too loud a level is not a good idea. There’s the obvious long-term danger to your hearing. And “ear fatigue” will set in sooner at louder levels, which will likely result in questionable mixing/EQ choices.
Many people are familiar with the Fletcher-Munson curves, which describe an aspect of human hearing.
Fig 7 Fletcher-Munson curves show the EQ needed to compensate for the ear’s varying sensitivity to high & low frequencies at different SPLs.
Our ears are more sensitive to high end and, especially, to low end, at higher listening levels—in other words, we hear a little more treble and a lot more bass when the music is cranked up! But while this may make for an exciting, enjoyable listening experience, if you consistently monitor at such loud levels (above 90 dBspl), your decisions about how to set the level of bass in the mix will only be valid at those loud listening levels. People who play your mixes at lower levels will perceive a lack of bass, resulting in exactly the opposite of what you heard—much weaker bass, and a thin, sometimes screechy, mix.
Most engineers recommend working/mixing at consistent average levels of around 83–85 dBspl (you can measure this with an SPL-Meter apps for your smart phone), occasionally checking the mix at both higher and lower SPLs, finding an overall balance/EQ that works well at all monitoring levels.
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7. Avoid too Much Sub
One more extra suggestion. If you feel you need more low-end from a smaller (≤ 6”) pair of monitors, you can add a subwoofer to the setup. But be careful to balance the output of the sub to the monitors. The sub shouldn’t be used to “crank up the bass”—instead, it should be employed to extend the bass to lower frequencies, below what the main speakers can handle. Typically, this means the sub will provide frequencies below 80 Hz or so, adding up to an octave to the frequency response of your average small monitor.
Fig 8 A properly-calibrated subwoofer doesn’t boost or enhance low-frequency response, but extends it.
When setting up the sub, whenever possible use an SPL meter and test signals (tones/noise) to dial up a a sub level that matches the level of the lowest frequencies of the main speakers (an octave or two higher), insuring as even (flat) a response as possible all the way down to the limits of the sub’s response. While it’s tempting to crack the sub a little, for the excitement factor, your mixes will benefit more in the long run from a well-calibrated subwoofer. Ideally, you shouldn’t even realize it’s operating, until you switch it off—if its contribution is obvious, then it’s probably too loud, and, as described earlier, this can lead to mixes lacking in bass energy when heard on other systems.
And that’s all for now. Hopefully, these suggestions will prove helpful for anyone who’s looking to get the best results from their studio monitors.
Do you want to learn more about acoustics? Watch this excellent video course by Joe Albano HERE.