“This is truly an Epic project,” said Eric Persing, Founder and Creative Director of Spectrasonics. “We have been working for many, many years; sampling unique sounds, experimenting, specifying the synthesis features and building the STEAM Engine to run it all. It’s been a very exciting process involving our team of software engineers, sound designers, musicians, and graphic artists from all over the world. We’ve been very deliberate in making it easy to use, and yet extremely powerful. Omnisphere is our new flagship synthesizer, and points the way to all our future virtual instruments. We are thrilled to offer a new product that will have a host of expansion capabilities in the future.”

Although this new synth is extremely powerful, Omnisphere is designed with a unique user interface containing progressive layers of ‘zooming’ to accommodate the complete range of users - from musicians who just want to be inspired by the sounds and customize them in an easy way, to expert synthesists and the most advanced sound designers. Users can go deeper and deeper into the software and progress in their synthesis knowledge by simply exploring additional levels of sound manipulation options. To make sure that all users get the most out of the new capabilities, Omnisphere includes an extensive set of video tutorials and synthesis lessons taught by the renown Spectrasonics sound design team.

Omnisphere offers a host of hybrid synthesis and new control capabilities including Variable Waveshaping DSP synthesis, Granular synthesis, Timbre Shifting, FM, polyphonic Ring Modulation, high-resolution streaming Sample Playback, Harmonia™, Dual Multimode Filter structure, Chaos Envelopes™, an advanced Unison mode, and the innovative Flex-Mod™ modulation routing system - to name a few.

The huge core library of Omnisphere is filled with years of creative sampling experiments and thousands of inspiring patches. Spectrasonics has pioneered several brand-new types of sampling for the core library of this instrument, including unique “Psychoacoustic” sounds and soundsources created with a new Composite Morphing Technique (CMT) - which morphs the harmonic characteristics of one instrument to another. As a bonus, a section of the core library is also devoted to representing the best of Spectrasonics award-winning sample libraries. When all of these organic core library soundsources are combined with the synthesis power of the STEAM engine, the sounds become “alive” in a truly dynamic and expressive way.

Feature :

• Powerfully simple interface design makes key features accessible to every user
• Advanced users can "zoom" into deeper and deeper synthesis capabilities
• Sophisticated Browser with searching, sound attributes, descriptions and images
• 8 independent Arpeggiators
• World's first Arpeggiator with Groove Lock™ - which allows the Arpeggiators to match the feel of Stylus RMX and MIDI Files.
• Special performance-oriented Live Mode interface allows for seamless, interactive creative patch switching and layering on the fly.
• Stack Mode interface allows for complex patch layering, splits, and crossfades (velocity/positional/controller)
• 8-part multitimbral with built-in Mixer, Aux FX and Mastering FX racks
• Advanced MIDI Learn and Automation parameter handling
• Comprehensive integrated Reference Guide
• Hours of free Tutorial Videos available online to registered users
• Windows native 64-bit support and Mac OSX Snow Leopard compatibility

Homepage : http://www.spectrasonics.net/products/omnisphere.php

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Waldorf PPG Wave 3.V

PPG Wave 2 was the very first digital Wavetable synthesizer with analog filters that allowed completely new worlds of sound and endless sonic possibilities. Shortly afterwards, the successor PPG Wave 2.2 came out and was born to make history. With a gigantic arsenal of waveshapes, it could not only reproduce known analog sounds, but also brilliant choirs, bells and whistles. The digital sounds of wavetables had been unheard until then and offered sensational sonic evolutions by smoothly going through 64 waves back and forth.

But the technical possibilities also produced harsh artifacts such as aliasing and others, which could not be omitted back then. Today, although technology is some steps further, Waldorf engineers even managed to get the harshness back in order to recreate the character of the beast.

Wolfgang Palm, the inventor of Wavetable Synthesis, assisted during the development process in order to recreate the PPG as close as possible. "We are very thankful for Wolfgang's very informative advice and insight during development." Says Waldorf CEO Stefan Stenzel.

The combination of digital waveshapes and analog filters of the PPG was responsible for an unparalleled fat and thrust boosting character. This has been very accurately recreated in PPG 3.v up to the smallest resolution of detail. With PPG 3.V, it is actually possible to switch between several version of the original. Besides PPG Wave 2.2 and PPG Wave 2.3, PPG Wave 2.V and their subtle differences in aliasing and other sources of harshness are adjustable.

Waldorf PPG Wave 3.V is capable of delivering up to 256 voices of polyphony, depending on the host computer. Each voice offers two Wavetable oscillators with optional sample playback with either 8, 12, or 32 bits of resolution. Samples can easily be loaded by Drag & Drop. An 8 part multimode allows multisamples to be used with the same charme and ease of use that the original offered.

Sound is further shaped by a selectable 12 or 24 dB lowpass filter, which is an authentic recreation of the classic PPG Wave 2.2/2.3 Filter, followed by an optional overdrive for extra fuzz. Besides the LFO, three envelope generators serve as modulation sources, either for the original rude or the contemporary smooth modulation.

Up to eight parts can be arranged in poly, dual, quad and mono unison modes, with separate semitone adjustments for automatic chords or melodies. Thanks to the multimode with eight stereo outputs, the instrument is well suited for both studio environment or live on stage.

The Arpeggiator offers up and down modes, besides this an alternate mode and with "cascade mode" a true PPG specialty. For further refinement, several effects are available simultaneously, among these a 4-band equalizer, several overdrive modes, a phaser with up to 12 stages and a chorus with up to six taps. Flanger, stereo delay and reverb are also available.

The original PPG featured a unique user-interface, the "Analog Control Panel" offered direct access to many parameters, while digital menus were edited with somewhat cryptic acronyms that you had to look up in the manual in your lap.

PPG Wave 3.V features the very same concept, with the slight enhancement of comprehensible parameter names and values. Almost all parameters can be subjected to host automation and convenient MIDI regulation by assigned control numbers. This makes it very easy to integrate PPG Wave 3.V into any existing production environment.

Thie Waldorf PlugIn runs on both Windows and Apple computers. On Windows, it requires Windows XP or better, on Mac, OS X version 10.3.9 or higher is needed.

Features :

• Up to 256 voices per instance (depending on available CPU power)
• 8 part Multimode
• 8 Stereo Outputs
• Host automation of most parameters
• MIDI Controller automation of most parameters
• More than 100 new Wavetables created by Wolfgang Palm
• Original Waveterm B Factory Sample Library
• Original PPG Wave Factory Sounds

• 2 Wavetable Oscillators
• Sample Playback with 8 bit, 12 bit or up to 32 bit
• Authentic Aliasing Emulation of the PPG Wave 2.2/2.3/2.V or no aliasing
• 12dB / 24 dB Low Pass Filter
• Authentic Filter Emulation of the PPG Wave 2.2/2.3
• Overdrive behind Filter
• 1 LFO
• 3 Envelopes
• Authentic Emulation of the modulation graininess (switchable with True PPG)

• Poly, Dual, Quad and Mono (8 voices) mode with 8 different semitone offsets to create chords or melodic lines
• Arpeggiator with Up, Down, Alternate and Cascade (PPG special) mode
• True PPG Mode switchable between PPG Wave 2.2, Wave 2.3 and Wave 2.V
• 4-Band EQ
• Overdrive with various types
• Phaser with up to 12 stages
• Chorus with up to 6 stages
• Flanger
• Stereo Delay
• Reverb

• Sample loading via drag&drop or load file dialog
• Multisample playback by using the 8 part Multimode
• 8 adjustable Cutoff / Resonance deviations to simulate analog inexactness
• Finer adjustments of several values in Fine Modulatione mode

Everything runs properly as AudioUnit on Mac, PC, and also on Intel based Mac.

Homepage: http://www.waldorfmusic.de/en/overview.html

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