Omnisphere 2 Vs Komplete 11
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- Omnisphere 2 Torrent
- Omnisphere 2 Vs Komplete 11 Crack
Here is the release of the Omnisphere 2 update for Push Browser.
- The KOMPLETE 12 SELECT bundle contains 13 Native Instruments products and it replaces the previous bundles KOMPLETE 11 SELECT, KOMPLETE SELECT and KOMPLETE SELECTION. KOMPLETE 12 SELECT can be purchased as a single bundle and it is also included with all MASCHINE hardware products (except MASCHINE MIKRO MK3) as well as KOMPLETE KONTROL S-Series keyboards.
- Native Instruments KOMPLETE 11 The World's Leading Production Suite KOMPLETE 11 is the world’s leading collection for music production, performance, and sound design. All the tools you need – any production task, any type of music, anything you can imagine.
- Founded in 1994, Spectrasonics is a leading innovator of world-class, award-winning virtual instrument software plug-ins, used by the top recording artists, producers, remixers and film composers on.
This preset pack contains the presets for Omnisphere 2 only and can be downloaded and used to browse the newest presets in Omni2.
Compatibility
V2.2.0 has completely updated the Trilian library with new labelled macro controls and now includes a library for both Trilian and Omnisphere. Komplete Kontrol Software v2.0+ Maschine Software 2.6+ Supports Komplete Keyboards (all versions) Supports Maschine Hardware (all versions) Works on PC / MAC. Supports 64 Bit.
- Works in Live 9 Standard+ (Tested in 9.5)- Supports VST Only (no AU Support)
- Works on PC/MAC
- Supports 32/64 Bit
- Supports Push MK1 + MK2
- Works in Omnisphere 2 Only
All features of the Omnisphere 1 presets are available, same mappings just updated instrument racks.
Please Note: the new instrument racks contain both the EQ8 and Glue Compressor so these need to be part of your Live installation for the presets to work (Live Intro does not contain these)
Updated Rack
Each preset has a slightly updated instrument rack
There is now a Glue Compressor at the end (in an OFF state but ready if needed) and the Macro knobs control basic EQ filter and Compressor. The VST Instrument has the same mapped controls ready for action.
A ReadMe file is included for more instruction. If you have the original preset pack you will know how it goes.
Download
Omnisphere 1 is completely free to all users with a hope that users who find the pack useful will donate.
To download Omnisphere 2 presets:
Info Page
Omnisphere 1 VST Push Presets
Well, here it is. The complete Omnisphere Patch Browser for Push.
I would recommend for new users to maybe download the single template file to check it out and then tackle the whole pack when you are sure it is for you.
What Is This?
Push is fantastic but lacks the ability to browse presets in a VST instrument. The only way to even load a VST into Ableton via Push is to 'wrap' the VST in an Instrument Rack which can then be placed in the User library and loaded from Push. This is a fine solution that will allow you to load the VST but then you still have to use mouse/keyboard/ipad app to browse presets.
So, as many users have started to discover, if Push can load a VST in an Instrument rack then it is conceivable that if you created a rack for EVERY preset then you could basically browse the presets from Push.
How Does This Work?
Rather simply in terms of installation and usage. Basically Instrument racks can be created for each preset and stored in a folder scheme. When you go to Push you can browse through the folder scheme in the same way you can in your explorer. Find an instrument and load it. You can then add more, swap out with another and it is very quick. Installation is as simple as copying the folder full of instrument presets to your Live user folder.
What about Controlling the VST?
Got that pretty much covered. Before starting the wrapping process I first configured a 'default' rack for Omnisphere which contains about 80 MIDI mapped parameters for channel 1 (layers A/B) in Omnisphere. Push can directly access these parameters in banks of 8 so you have complete access to all these. They are all arranged and grouped logically and you will have access to controls in BOTH the A/B layer such as:
- Cutoff Res Keytrack- Amp ADSR
- Filter ADSR
- Orb Controls
- Layer Vol Pan
- Waveshaper Bitcrusher
- Glide and Solo controls
- Mute layer
- Many more useful controls
It is not possible to map every control (such as FX) as all controls will need to be mappable in EVERY preset but I think it is very comprehensive.
The MACRO knobs in the rack are blank. This is for 2 reasons. The macro knobs do not update their value when switching presets so this is a real issue when creating racks. Secondly, you have access to the full mappings which is more useful than macros. The macros can be used for your own custom groupings.
How Did You Do This And What's Involved?
I use Live 9 and Windows 7 64bit. The preset files should work over MAC/PC if you know what you are doing. I own a LEGAL copy of Omnisphere and am using the 64bit version which is updated to the latest. Again, this should work just fine with the 32bit
The process is is not overly complicated for someone with some basic scripting knowledge. There are some great examples of what to do. For this project it was very time consuming due to the huge amount of presets to go through and the fact that manual intervention was needed for each four group. Apart from that though, the whole process was automatic.
I used a program for Windows called AutoITv3 which can basically be programmed to operate keyboard/mouse strokes but in a very powerful way. My script ties in direct with the Live main window and the VST plugin window and will step through each preset in Omnisphere 1 at a time, copy the preset name and then save the instrument rack with the VST name. It will run through a single Omnisphere category at a time and stop when it reaches the end. The folder structure is created and the presets are saved in the location and a nice addition is a TXT file is also created that lists all presets in that folder for additional reference.
Here are some stats on what was involved:
- Programming script was revised 8 times during the process to make it efficient and reliable
- Each preset took 5.8 seconds to be converted to an Instrument rack
- The whole process was redone 3 times due to missing parameters found in the Omnisphere default template (Grrrrr)
- About 90 solid script hours were needed to rip all the presets in categories.
- There are roughly 14,000 preset files (of which about 8000 are unique presets
- Each preset file is about 64KB
- There is about 1GB of preset files
- Omnisphere is a MASSIVE beast and the stats listed are ONLY for patches (Multis and layers will come at some stage maybe..)
Sounds Full On and I am Interested.. How Much Sir?
Some users are offering VST wrapped presets as a business model rather than through desire. I had a drive to want to browse VST presets from Push so I am offering these FREE for any users and just asking for a donation if you feel it helps you.
Can I get the preset files changed or make a suggestion?
All suggestions welcome but here is the short of it.
To make a change to the way the presets have been constructed means re-ripping ALL presets. That is a Massive task that I simply wont do. If you are very serious about needing it done then I could offer to do it for a fee but for the effort it takes to set my PC running for days making presets it's really not worth my time for a few $$$. Presets were created for My use and offered for donations. If you don't pay, you don't have any say.
I am more willing to help other users do it for themselves as this will benefit the community more greatly than shelling out $$$ for each preset pack. Just express interest in doing it yourself and I will send you the script.
If you would like to buy me a license for any other VST I will create preset files in return but unless I purchase it, I wont be making presets. Any preset packs I DO make will always be Free to download.
If you would like to contribute and learn the scripting (Windows only.. MAC have to find their own solution) then I can upload my script and open a support thread to help people put together their own script. Like I said, it ain't that hard but does occupy your computer for a while.
Downloads
Info Page
**Download is free and no registration needed.
Donations
You are under no obligation to pay for these patches but donations are greatly appreciated and will assist in me getting more plugins I can wrap.
Disclamer
This package is provided 'As Is'. There may be some small mistakes with some patches not being the correct ones or the odd spelling mistake and if you find these I will try and fix.
A lot of time and effort went into this so please do not re-post this on another site but rather link back to this thread.
Have fun!
on Jan 08, 2017 in Synths & Sound Design 4 comments
Any top-10 (OK, top-7) list of virtual synthesizers will, ultimately, be pretty subjective—everyone has their own idea of what constitutes the coolest toys when it comes to making and mangling sounds for creative musical ends. Even so, a list of the most impressive soft synths will certainly end up including some models that would be on anyone’s wish list, along with a few more personal choices—and this collection pretty much fits that bill.
I tried to limit this list in a few ways, to make it more manageable.. I omitted instruments that are primarily samplers—even though many of the models here utilize samples as source material, they don’t mainly present them as realistic simulations, but as raw material for heavy processing. I stuck to synths that are—at least to me—geared to playability, and not primarily sound design or scoring effects. And I selected synths that are not emulations of specific classic hardware models, but stand on their own merits.
So without further ado, here are a few of my choices for the slickest soft synths around.
1. Spectrasonics Omnisphere 2
Omnisphere is one of those synths that would probably turn up on just about everyone’s lists. Like many of the synths on this list, Omnisphere (currently Omnisphere 2) combines a number of synthesis techniques, including both oscillators and sample-based source material (including user waves), wavetable synthesis, granular synthesis, and even FM. Combining a huge factory library with comprehensive programming options, the emphasis is on heavily processed sounds of all kinds, from traditional synth tones to dense swirling pads to arpeggios to shifting, chugging, twinkling soundscapes and musical noises that defy easy description. Playability includes nice touches like the Orb, a real-time joystick-type controller that can simultaneously vary many parameters. Omnisphere has been around for quite a while, and has certainly earned its place on a list of soft synths that hardware synths really can’t touch.
Web:https://www.spectrasonics.net/products/omnisphere/index.php
Review: https://ask.audio/articles/review-spectrasonics-omnisphere-2
Courses:https://ask.audio/academy?nleloc=application/omnisphere
2. NI Massive
Native Instrument’s Massive is another synth that’s been around for years, and its popularity and sound pretty much guarantee it a place of honor. Massive follows a traditional subtractive synthesis models, with oscillators (three, plus noise) filters (two), amplifier, modulation (LFO), and effects. But there’s much more to it than that simple description suggests.
Massive’s oscillators are more than just simple analog waves (like sine, square, sawtooth, pulse, etc.)—they’re Wavetables, which, besides those basic, traditional shapes, also include a large collection of richer and more complex wavetables to use as raw material, making for a much wider range of possible sounds. The overall subtractive architecture is familiar enough to be accessible to most synthesists, yet it offers extra levels of flexibility, accessed from the various programming tabs in its center panel, like the Routing panel, where you can view and tweak the signal flow of the various modules that make up a patch, and the drag-and-drop icons that make quick work of building up modulation patching. All in all, Massive’s combination of accessibility and flexibility have made it a perennial favorite among synthesists of all stripes.
Web:https://www.native-instruments.com/en/products/komplete/synths/massive/
Courses:https://ask.audio/academy?nleloc=application/massive
3. NI Reaktor
Another entry from Native Instruments, Reaktor (currently Reaktor 6) is not really a synthesizer per se—it’s potentially every synthesizer you could imagine. Reaktor is an object-oriented programming environment for building your own synthesizers, and it’s one of the most powerful tools available for those who want ultimate control over their instruments. But you don’t have to have a degree in computer programming or DSP to use Reaktor—while it does contain a daunting set of under-the-hood tools and building blocks, it also comes with a large collection of finished synthesizer designs—called Ensembles—and there are many more available from third-parties as well. Some of these are available as separate, stand-alone synths, like NI’s own Razor (an additive synthesis design), Prism (a physical modeling instrument), and Monark (a well-regarded take on the venerable Minimoog).
But the real power of Reaktor comes when you go behind the front panel, and delve into the nuts & bolts of synthesizer architecture. Taking full advantage of everything the programming environment has to offer may require a significant investment in time and energy, but for inveterate tweakers it’s well worth the effort, going well beyond even the possibilities available from assembling your own modular synth in the real world.
Web:https://www.native-instruments.com/en/products/komplete/synths/reaktor-6/
Developed with the help of a number of international DJs, this innovative mixer aims for relevance in both functionality and operation to give you total creative freedom. Designed with an integrated system approach to simplify the ever-expanding DJ booth, the DJM-2000 has. Pioneer professional dj mixer djm 2000. May 23, 2017 Flagship 4-Channel Digital Mixer. The DJM-2000NXS combines advanced performance features and an intuitive layout to empower unbridled creativity in the booth. A newly designed Peak Limiter eliminates distortion and clipping even at club volumes, all four channels are equipped with a Peak Level Meter so you can check your input levels at a glance. Pro DJ Link When used specifically with Pioneer's CDJ-2000 or CDJ-900 turntables via Pro DJ Link, the DJM-2000 becomes an even more powerful musical tool. The mixer incorporates four Ethernet ports in the back of the unit allowing up to four of the most recent CDJ turntables to be connected (via LAN cables) while sharing only one music-filled.
Review: https://ask.audio/articles/review-native-instruments-reaktor-6
Courses:https://ask.audio/academy?nleloc=application/reaktor
4. Rob Papen Blue II
Rob Papen offers a number of popular synths (like Predator, Blade, and others, including the now-discontinued Albino), but Blue (currently Blue II) is probably the flagship of the line. Utilizing when Papen has dubbed “Cross-Fusion Synthesis”, Blue II combines FM, Phase Distortion, Waveshaping, and Subtractive synthesis, to create one highly flexible and great-sounding instrument. No less than six (!) oscillators freely combine all the different methods of sound generation in a single patch, and the graphic display makes routing and processing relatively easy for a synth with so many options. The helpful graphic displays include features like a straightforward FM matrix and graphic envelopes, along with sequencer and arpeggiator pages, and make Blue II’s programming power readily accessible, making it easy and efficient to tweak sounds—far easier than twiddling hardware knobs blindly.
Omnisphere 2 Vs Komplete 11 Ultimate
5. LennarDigital Sylenth
LennarDigital’s Sylenth has become a very popular synth of late. Unlike many of the other entries in this list, it’s not a be-all, do-all, end-all design. Sylenth is designed to do one thing—emulate classic analog synthesis—but do it exceptionally well. It’s a dual-layered design, with 4 traditional analog-style oscillators, and a classic subtractive synthesis architecture. All the virtual analog components were carefully designed to offer the rich sound of their real analog counterparts, with alias-free oscillators, and filters that include nonlinear saturation and self-oscillation options.
A comprehensive set of envelopes, modulators, and an arpeggiator is rounded off with a full array of audio effects—everything needed to achieve classic analog synth sounds with the warmth and edge of traditional hardware synths is included. A faux LCD panel helps simplify programing the more tweaky features, and flexible routing allows for the two oscillator layers to cross-feed the filters, making for an especially nice bit of analog character in the digital world.
Web:https://www.lennardigital.com/sylenth1/
Course:https://ask.audio/academy?nleloc=topic/sylenth
6. U-he Diva & Zebra 2 & Repro 1
U-he is not a synth, it’s a company—actually it’s software developer Urs Heckmann (plus a small staff), who’s come up with many excellent and characterful synth designs (and effects plug-ins) over the years, many available as freeware (like the popular Zoyd synth, and the unique Triple Cheese, which uses comb filters to generate/process its sounds). The U-he line includes several synths, but I want to focus on two of the most popular, Zebra 2 and Diva.
Love the new box graphics and also the new desktop icon. /studio-one-4-wallpaper.html. How can I use them once they are made? Skip jonesPresonoidJoined: 15:38:49Messages: 1744Location: Corpus Christi, TexasOffline@ FlorianWas actually going to suggest someone update the wallpaper thing. Currently I am using the Presonus wallpapers located in the downloads section of the site.Intel Core i7 860 / 2.8 GHz8 GB DDR3 SDRAMWin 7 64bitMaschineAkai MPK25, Novation Impulse 49Komplete 8Big Fish Audio-RigSaffire Pro 14 FirewirePresonus AudioYamaha HS-8 (Monitors)Presonus FaderportPresonus Studio One v2Acid Pro 7. Will you have them available for download?
Urs describes Zebra 2 as a “wireless modular synthesizer”—it incorporates many types of synthesis, including subtractive, additive, and FM, along with an equally versatile array of sound-modifying tools like comb-filtering (physical modeling), all freely patchable. Only modules used in a particular patch are displayed, reducing front-panel clutter, and making for a more streamlined interface. The centrally-located modulation grid offers an easy way to connect modules, and helps visualize signal flow in complex patches. And for performance, Zebra 2 offers a “Perform” panel, with no less than four (!) programmable and assignable X/Y pads.
Diva, on the other hand, is a more dedicated analog-style synth—it models the sounds of various classic analog synth modules. But two things set it apart from other analog modelers. The first is that you can mix and match components/modules inspired by different synths, creating hybrid designs. The other is Diva’s cutting-edge approach to modeling analog circuits, which promises to achieve the next level in emulating the nuance of real analog instruments. This faithfulness to real analog sound brings with it a bit of a CPU hit, but users have embraced it, so this Diva may be worth her high-maintenance ways.
Web:https://www.u-he.com
How To Download Omnisphere 2
Review: https://ask.audio/articles/review-uhe-repro1
Course:https://ask.audio/academy?nleloc=application/uhe
7. AAS Modeling Collection
Omnisphere 2 Torrent
As I said earlier, lists like this typically combine entries that are on everyone’s top-10 with choices of a more personal nature—this last entry probably reflects my interest in physical modeling techniques. AAS—Applied Acoustic Systems—makes a variety of virtual instruments and “sound banks”—their instruments are based on physical modeling, which, as you may know, is a method of creating a sound by emulating the physical way that sound is created in the real world. So instead of traditional oscillators, filters, and envelopes, you’ll typically find exciters, disturbers, and resonators—simulations of different vibrating materials, striking, plucking, bowing, and blowing techniques, and complex resonances and timbral responses.
AAS’s modeling collection includes instruments that put these kinds of tools to use emulating strings, guitars, electric pianos, and even analog synth circuitry, but the two I want to mention are Tassman, a general-purpose physical-modeling synth, and their latest, Chromaphone, which is dedicated to modeling all manner of percussive sounds. Both of these instruments let the user synthesize highly realistic sounds, thanks to the physical modeling of acoustic sound-generation, but those sounds don’t necessarily have to emulate actual instruments—for more creative applications, the modeling tools can be used to create very acoustic-sounding instruments that don’t—maybe couldn’t—actually exist in the real world, but sound (and play) like they do! Physical modeling technology is widely used nowadays for processing—component modeling is routinely employed to simulate the circuit path of classic analog hardware, including synth components like oscillators and filters—and it’s gradually being applied more to instrument design.
Wrap-up
Like with any list, there are plenty more great synths I could have included but didn’t, for one reason or another (I decided to limit my choices to separate plug-ins, eliminating obvious possibilities like Alchemy and Sculpture, which are exclusively built-in to Logic). I also didn't include any audio examples—how can you boil the characteristic sound of synths that each offer so much variety into a few seconds of one or two patches? There are plenty of audio demos available online, along with trial versions of most, if not all, of the synths I mentioned, and I think the best approach for anyone who wants to get to know what particular models are capable of is to go ahead and try ‘em out yourself—a little homework that, for once, should actually be a lot of fun!