The virus is a very special synth with some very unique DSP on it. Just because omnisphere is the new hot thing doesn't mean they're at all comparable. Omnisphere 1 retired my Virus Ti 2, and Omnisphere 2 is the nail in the coffin. Really no need for a huge dongle running software on dsp chips when I have an itb solution already. I really wish Access would just make it a native plug in already or make a special usb sized dongle for it.
on Jan 08, 2017 in Synths & Sound Design 4 comments
Omnisphere 2.5 features a newly designed graphic user interface, which includes Retina/hi res graphics for 4K monitors. The new interface has been given an aesthetic refresh for a cleaner, more modern look and features larger controls. This is a speculation type of post, using some specifics gathered and trying to deduce a conclusion about the future of the Access Virus.Only time will tell what will be realized, and anyone can think of what can be or can not be expected in view of these facts. Activate the Access Virus A Hardware Profile in Omnisphere 2.5 or higher. FRONT PANEL SETUP. You can set up the DEFINABLE 1 and 2 knobs to control Effects Send and Noise level by following these steps: Press CRTL and using the PARAMETER buttons go to the 1 DEFINABLE 1 Mode page. Use the VALUE buttons to set it to MidiContrl.
There's no doubting the joy of using a real hardware synthesizer. The tactile controls are difficult to beat. But when it comes to sound these 7 virtual synths more than hold their own.
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/
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.
Review: https://ask.audio/articles/review-rob-papen-blue-ii
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.
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
Review: https://ask.audio/articles/review-uhe-repro1
Course:https://ask.audio/academy?nleloc=application/uhe
![Access Access](/uploads/1/2/6/0/126028143/206753866.jpg)
7. AAS Modeling Collection
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.
Omnisphere 2 Demo Download
![Omnisphere 2 vs access virus update Omnisphere 2 vs access virus update](/uploads/1/2/6/0/126028143/178035996.png)
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.
Web:https://www.applied-acoustics.com/modeling-collection/
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!
Related Videos
Spectrasonics Omnisphere 2
We are happy to announce the release of a major update of our flagship software synthesizer, Omnisphere®. With the new version 2.5, Omnisphere becomes the first software synth in the world to offer a Hardware Synth Integration feature, which transforms over 30 well-known hardware synthesizers into extensive hands-on controllers that unlock Omnisphere’s newly expanded synthesis capabilities. Simply put, this ground-breaking new feature makes using Omnisphere feel just like using a hardware synth! The extensive new FREE update also features a newly announced hi-resolution interface, support for Windows Multitouch, new Granular Synthesis capabilities and a stunning new sound library of over 1000 brand new sounds, bringing the total number of included sounds to over 14,000.
Hardware Synth Integration
This remarkable innovation bridges the physical experience gap between software and hardware, giving users intuitive control of Omnisphere by using the familiar layout of their supported hardware synth. The initial release officially supports over 30 popular hardware synthesizers from Moog®, Dave Smith Instruments®, Roland®, Korg®, Novation®, Nord, Access, Studiologic, Sequential® and more to come. The supported hardware synths cover a wide range of types and price ranges for different types of users.
On the technical side, the new Hardware Synth Integration feature in version 2.5 goes far beyond the typical “MIDI Learn” approaches that most software synthesizers employ. Under the hood, our development team has carefully designed unique “Hardware Profiles” for each supported hardware synthesizer, making the special features of that synthesizer work seamlessly with Omnisphere by translating MIDI messages from the hardware into satisfying sonic results in Omnisphere. This new system allows us to enable sophisticated interactions from a single touch of a knob, including the ability for Omnisphere to automatically switch interface pages, recall entire FX racks, assign multiple scaled parameters and even instantly create complex modulation matrix routings on-the-fly! This new development system also allows us to add new profiles for new hardware synths in the future. Most importantly, it’s easy for musicians to use - simply select the hardware synth from the drop-down HW menu and Omnisphere is now linked to that hardware synth!
Expanded Synthesis Capabilities
The new version 2.5 vastly expands the synthesis capabilities of Omnisphere by doubling its voice architecture to Four Layers per patch! Each patch can now utilize up to 12 envelopes, 8 LFOs and the Modulation Matrix has been doubled to 48 modulation routings. Newly designed State Variable Filters are included, which were specially created for the OB-6 hardware profile and can seamlessly blend between lowpass, notch and hipass filter modes. Over 100 New DSP Oscillator Wavetables based on the supported hardware are included and featured in the new hardware profiles.
New Hardware Sound Library
Omnisphere 2.5 includes a stunning new “Hardware Library” with over 1,000 new patches created by Eric Persing and the renowned Spectrasonics Sound Development team. Each hardware profile has a corresponding set of sounds in the Hardware Library which were specially designed using that hardware synth as an Omnisphere controller. These inspiring new sounds feature a wide range of categories and many have a distinctly ‘classic analog’ flavor! Best of all, the new sounds are available for ALL users, regardless of using the hardware or not!
New High Resolution Interface
Omnisphere 2.5 features a newly designed graphic user interface, which includes Retina/hi res graphics for 4K monitors. The new interface has been given an aesthetic refresh for a cleaner, more modern look and features larger controls. The new GUI is now easier to use and scalable to fit comfortably into your workspace. The Live Mode page has also been redesigned to show much more relevant information onstage at a single glance.
New Granular Layout
The Granular page of Omnisphere 2.5 now sports a full waveform display and a clearer view of what each of the grains are doing at any moment. This new layout makes it far more intuitive to grasp how Omnisphere’s powerful Granular Synthesis engine is working on the audio source.
Windows Multitouch Support
Spectrasonics is proud to announce that version 2.5 of Omnisphere is now fully supporting Windows X Multitouch computers and tablets. This means that the new Live Mode page can function as a fully functional stage interface when used fullscreen on a Windows computer.
“Since the beginning of computer-based music, the biggest limitation of software synthesizers has been the lack of physical interaction. It’s hard to beat the immediacy of a physical synthesizer that you can touch! We are very excited to be able to finally eliminate that problem by utilizing the world’s finest hardware synthesizers to fully control Omnisphere.” said Eric Persing, President of Spectrasonics. “We’ve never felt that the worlds of software and hardware synths should be divided into different ‘camps’. Our virtual instrument users can now experience the joy of the hardware synth workflow and hardware synth users can now fully expand their capabilities into the vast sonic world of Omnisphere!”
Omnisphere v2.5 features:
• Hardware Synth Integration!
• New Hardware Library adds over 1,000 new patches for all users:
- Over 14,000 Sounds total now included
• Vastly Expanded Synthesis:
- Four Layers per patch
- Doubled Mod Matrix
- Over 100 New Wavetables
- New State Variable Filters
- 8 LFOs, 12 Envelopes
• New Hi-res, Resizable Interface
• New Granular Layout
• Improved Live Mode Page
• New Shared Signal Path routing
• New System Tuning/Scale functions
• Windows Multitouch support
• FREE for all Omnisphere 2 users!
Hardware Synths supported include:
• Sequential Prophet X
• Sequential Prophet 6
• Dave Smith Prophet 12
• Dave Smith OB-6
• Dave Smith REV2
• Moog Sub 37
• Moog Subsequent 37
• Moog Voyager
• Moog Sub Phatty
• Moog Little Phatty
• Moog Slim Phatty
• Korg Minilogue
• Korg Monologue
• Korg Prologue
• Roland System-1
• Roland System-1m
• Roland System-8
• Roland SE-02
• Roland SH-01A
• Roland JP-08
• Roland JU-06
• Roland JX-03
• Roland VP-03
• Novation Peak
• Novation Bass Station II
• Novation Circuit Mono Station
• Access Virus A
• Access Virus B
• Clavia Nord Lead 1
• Clavia Nord Lead 2
• Studiologic Sledge
Watch Eric Persing’s Keynote Presentation Video:
Wondering which one to get? Watch our Hardware Recommendations Video:
Pricing and Availability
Omnisphere 2.5 is available now as a FREE update for all registered Omnisphere 2 users!
How to get Omnisphere 2.5:
Current Omnisphere 2.4 users: Simply use the “Get Updates” feature on Omnisphere’s splash page!
Earlier Omnisphere 2 users: Download and install the 2.5 updates from your User Account.
Omnisphere 1 users: You can upgrade to v2.5 directly for the same standard upgrade price!
All specifications subject to change without notice. All trademarks are the property of their respective holders
Hardware Synth Integration
This remarkable innovation bridges the physical experience gap between software and hardware, giving users intuitive control of Omnisphere by using the familiar layout of their supported hardware synth. The initial release officially supports over 30 popular hardware synthesizers from Moog®, Dave Smith Instruments®, Roland®, Korg®, Novation®, Nord, Access, Studiologic, Sequential® and more to come. The supported hardware synths cover a wide range of types and price ranges for different types of users.
On the technical side, the new Hardware Synth Integration feature in version 2.5 goes far beyond the typical “MIDI Learn” approaches that most software synthesizers employ. Under the hood, our development team has carefully designed unique “Hardware Profiles” for each supported hardware synthesizer, making the special features of that synthesizer work seamlessly with Omnisphere by translating MIDI messages from the hardware into satisfying sonic results in Omnisphere. This new system allows us to enable sophisticated interactions from a single touch of a knob, including the ability for Omnisphere to automatically switch interface pages, recall entire FX racks, assign multiple scaled parameters and even instantly create complex modulation matrix routings on-the-fly! This new development system also allows us to add new profiles for new hardware synths in the future. Most importantly, it’s easy for musicians to use - simply select the hardware synth from the drop-down HW menu and Omnisphere is now linked to that hardware synth!
Expanded Synthesis Capabilities
The new version 2.5 vastly expands the synthesis capabilities of Omnisphere by doubling its voice architecture to Four Layers per patch! Each patch can now utilize up to 12 envelopes, 8 LFOs and the Modulation Matrix has been doubled to 48 modulation routings. Newly designed State Variable Filters are included, which were specially created for the OB-6 hardware profile and can seamlessly blend between lowpass, notch and hipass filter modes. Over 100 New DSP Oscillator Wavetables based on the supported hardware are included and featured in the new hardware profiles.
New Hardware Sound Library
Omnisphere 2.5 includes a stunning new “Hardware Library” with over 1,000 new patches created by Eric Persing and the renowned Spectrasonics Sound Development team. Each hardware profile has a corresponding set of sounds in the Hardware Library which were specially designed using that hardware synth as an Omnisphere controller. These inspiring new sounds feature a wide range of categories and many have a distinctly ‘classic analog’ flavor! Best of all, the new sounds are available for ALL users, regardless of using the hardware or not!
New High Resolution Interface
Omnisphere 2.5 features a newly designed graphic user interface, which includes Retina/hi res graphics for 4K monitors. The new interface has been given an aesthetic refresh for a cleaner, more modern look and features larger controls. The new GUI is now easier to use and scalable to fit comfortably into your workspace. The Live Mode page has also been redesigned to show much more relevant information onstage at a single glance.
New Granular Layout
The Granular page of Omnisphere 2.5 now sports a full waveform display and a clearer view of what each of the grains are doing at any moment. This new layout makes it far more intuitive to grasp how Omnisphere’s powerful Granular Synthesis engine is working on the audio source.
Windows Multitouch Support
Spectrasonics is proud to announce that version 2.5 of Omnisphere is now fully supporting Windows X Multitouch computers and tablets. This means that the new Live Mode page can function as a fully functional stage interface when used fullscreen on a Windows computer.
“Since the beginning of computer-based music, the biggest limitation of software synthesizers has been the lack of physical interaction. It’s hard to beat the immediacy of a physical synthesizer that you can touch! We are very excited to be able to finally eliminate that problem by utilizing the world’s finest hardware synthesizers to fully control Omnisphere.” said Eric Persing, President of Spectrasonics. “We’ve never felt that the worlds of software and hardware synths should be divided into different ‘camps’. Our virtual instrument users can now experience the joy of the hardware synth workflow and hardware synth users can now fully expand their capabilities into the vast sonic world of Omnisphere!”
Omnisphere v2.5 features:
• Hardware Synth Integration!
• New Hardware Library adds over 1,000 new patches for all users:
- Over 14,000 Sounds total now included
• Vastly Expanded Synthesis:
- Four Layers per patch
- Doubled Mod Matrix
- Over 100 New Wavetables
- New State Variable Filters
- 8 LFOs, 12 Envelopes
• New Hi-res, Resizable Interface
• New Granular Layout
• Improved Live Mode Page
• New Shared Signal Path routing
• New System Tuning/Scale functions
• Windows Multitouch support
• FREE for all Omnisphere 2 users!
Hardware Synths supported include:
• Sequential Prophet X
• Sequential Prophet 6
• Dave Smith Prophet 12
• Dave Smith OB-6
• Dave Smith REV2
• Moog Sub 37
• Moog Subsequent 37
• Moog Voyager
• Moog Sub Phatty
• Moog Little Phatty
• Moog Slim Phatty
• Korg Minilogue
• Korg Monologue
• Korg Prologue
• Roland System-1
• Roland System-1m
• Roland System-8
• Roland SE-02
• Roland SH-01A
• Roland JP-08
• Roland JU-06
• Roland JX-03
• Roland VP-03
• Novation Peak
• Novation Bass Station II
• Novation Circuit Mono Station
• Access Virus A
• Access Virus B
• Clavia Nord Lead 1
• Clavia Nord Lead 2
• Studiologic Sledge
Watch Eric Persing’s Keynote Presentation Video:
Wondering which one to get? Watch our Hardware Recommendations Video:
Pricing and Availability
Omnisphere 2.5 is available now as a FREE update for all registered Omnisphere 2 users!
How to get Omnisphere 2.5:
Current Omnisphere 2.4 users: Simply use the “Get Updates” feature on Omnisphere’s splash page!
Earlier Omnisphere 2 users: Download and install the 2.5 updates from your User Account.
Omnisphere 1 users: You can upgrade to v2.5 directly for the same standard upgrade price!
All specifications subject to change without notice. All trademarks are the property of their respective holders