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Let me share my experience with Omnisphere during the last year.
First when I bought it and started using it, I got disappointed. Omnisphere can really drain your CPU like nothing else and therefore you end up eventually using it for special occasions. You feel quickly lost among the patches in there, and you don't use it much at all
I wanted to sell it at first. But the guys from Spectrasonics told me I was just scratching the surface, that I first needed to dig deeper into it or that I'd regret selling it. And surprisingly, they were right.
As soon as you start ignoring Omnisphere's patches and make your own sounds from scratch, you just realize how good it is.
Is the fact that you can't use you own samples limiting? Yeah it is, for the instrument's own good, though. There's so much to do, and everything can be modulated. So it doesn't matter that you can't import your own samples.
Unexpectedly , the integrated subtractive synth sounds really good. I haven't seen any subtractive synth where you can modulate unison that easily (in Alchemy and Thor you can do the same, though). And it sounds brilliant, even at 16/44.1. Try something else next to it, you'll understand.
To sum it up:
What it can do: Subtractive synthesis with integrated ring modulation, fm, waveshaping, 8 loopable modulation sources per part (4 LFO's, 4 envelopes), in total 20+ modulation sources (Random, velocity, key range can modulate, like with a modular synthesizer in a way). A 40gb library containing the sounds from Atmosphere, Hans Zimmer Guitars, Bass Legends; Symphony of Voices, Distorted Reality plus weird things such as a really burning piano recording. Fx's can be modulated too. Plus, ALL SYNTHESIS ALGORITHMS work on the sample material. So you can add unison, waveshaping, FXM, Ringmod et al too all samples played in Granular mode. The granular thing is quite funny on longer sample sources.
What it can't do (very well):
True FM synthesis, Additive, Physical Modelling. Some of its FX are not my cup of tea such as Distortion and the Modern Compressor. It doesn't import samples, It might be a CPU drain. Its filters could have been slightly better.
Conclusion: it's not a simple Rompler, and if you're a fan of e.g. Nexus, you'll get easily lost and/or. If you want to treat samples, you're better off with Camel Audio's alchemy then, which is also a beast! But if you used to be a fan of Roland and Korg Workstations like I was, you can't be disappointed. For my part, it's the very first time that I don't have the feeling that I'm working with a softsynth anymore. I'm in front of something like a Korg M1, a JD800, a D50, anno 2008. I just wish it had more classic synth waveforms from the nineties and less of those moog subtractive samples. It's not that I hate subtractive synths and moog synths sound really good, but what's the point when you have a subtractive engine in there. It's all software after all, so a hi-q moog saw recording will get through a bunch of digital/virtual filters and will lose its character. Personally, I can live with those limitations, and Omnisphere is probably the one I'm spending the most time with making my own patches and using them. But that doesn't mean it's a jack-of-all-trades synth though, and I admit I don't use it much in my own productions. If I hadn't that many synths, though, I'd use it all the time.
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