This collection assembles the Omnisphere preset libraries produced by Very Loud Indeed Co into a single bundle of roughly 1,800 patches, aimed squarely at composers writing to picture.
The material leans cinematic rather than commercial: slow-moving pads, unstable textures, granular beds, distressed keys, sub-heavy drones and evolving atmospheres of the kind that sit under dialogue without competing with it. These are patches designed to occupy space in a score rather than deliver a hook.
Because these are presets rather than a standalone instrument, they load into Spectrasonics Omnisphere 2 and inherit whatever host and system support your existing Omnisphere installation already has. Nothing additional is installed as a plugin, and no separate authorisation is involved beyond your existing Omnisphere licence.
The practical appeal is depth of a single aesthetic. Rather than a scattered general-purpose bank, the collection commits to one sonic world and explores it thoroughly, which is far more useful when you are trying to hold tonal consistency across forty cues in one project.
Hurry and get discounts on all VST Plugins up to 90%
Original price was: €99.99.€39.99Current price is: €39.99.
Download instantly from PluginsBoutique
To pick up todayAccess your plugins immediately
Instant Digital Delivery
Your download link will be sent instantly to your email.
Free 2-Day returns if not work
Payment Methods:
Preset libraries occupy an odd position in the software market. They add no code, no interface and no processing — they are simply the accumulated decisions of someone who spent months inside an instrument you already own. Their value rests entirely on whether those decisions are better than the ones you would make yourself under deadline.
Very Loud Indeed Co builds for Spectrasonics Omnisphere 2, and this bundle collects roughly 1,800 of those patches. The orientation is unambiguously cinematic. If you write trailer cues, television underscore, ambient records or game atmospheres, this is the territory.
An important framing point before anything else: this is not an instrument. Omnisphere 2 is required, and everything here depends on it.
Raw preset counts are close to meaningless in isolation — a thousand variations on one filter sweep is still one idea. What matters is the spread. Broadly, the collection distributes across:
Confirm the exact category breakdown of the specific bundle configuration you are buying against the developer’s listing, since bundle contents are periodically revised.
Omnisphere is a deep instrument, and preset designers reveal themselves in which parts of it they lean on. The work here relies heavily on Omnisphere’s granular engine, its extensive modulation routing and its onboard effects rack rather than treating the synth as a straightforward sample player.
The practical consequence is that many patches are not static. They arrive already in motion, which is exactly what scoring work demands — a held chord that changes character across a scene does more narrative work than a chord that simply sustains.
The second consequence is CPU load. Granular processing with heavy modulation and multiple effects is not cheap. On a large cue with many instances, freezing or bouncing tracks becomes a practical necessity rather than an optional tidy-up.
Anyone without Omnisphere 2 should treat that as the real purchase decision. The instrument costs considerably more than the preset bundle.
If patches fail to appear, the cause is nearly always a nested folder — an extra directory level introduced during unzipping will hide content from the browser. Follow the developer’s supplied instructions exactly rather than improvising a location.
Consider a two-minute tension cue building to a reveal.
Start with a sub drone underneath, sitting low enough to be felt rather than heard, and leave it untouched for the full duration. Layer a slow evolving texture above it, chosen because its internal movement covers the section where nothing else happens. Introduce a distressed key patch for the motif — something with enough damage in the tone that it reads as unsettled rather than pretty.
At the reveal, swap the texture rather than adding volume. Because these patches share a design sensibility, an adjacent patch will change the emotional temperature without breaking the sonic world you established. That consistency is the specific advantage of a library built by one designer with one aesthetic, and it is why a scattered general-purpose bank makes cue-to-cue continuity harder.
Freeze each track once committed. Granular patches accumulate CPU cost quickly across a full session.
It is a poorer fit for bright pop production, where you generally want immediate, foreground sounds rather than slow evolving ones.
The Omnisphere third-party market is crowded, and most competing libraries fall into one of two camps: broad general-purpose banks covering many genres shallowly, or small boutique packs of eighty to two hundred patches exploring one narrow idea.
This bundle sits awkwardly and usefully between them — large enough to serve as a primary resource, narrow enough in aesthetic that patches sound related to one another. Whether that suits you depends on your work. A composer scoring one long-form project benefits from the consistency; a producer needing one sound for one track may find a small targeted pack better value.
What cannot be claimed is superiority of sound design, which is subjective and varies patch by patch. Audition the developer’s demos before committing, as you would with any preset purchase.
Composers already invested in Omnisphere who find themselves rebuilding similar cinematic sounds from scratch on every project. If you own Omnisphere and use perhaps thirty of its factory patches repeatedly, a library like this widens your working vocabulary considerably for a fraction of the instrument’s price.
It suits less well anyone who enjoys programming. If you already build your own patches and value that process, you are buying convenience you do not particularly want.
Yes. Spectrasonics Omnisphere 2 is required. These are patches, not a standalone instrument.
No. Omnisphere patch data is specific to Omnisphere.
Any DAW your Omnisphere installation already runs in, since the library adds no host requirement of its own.
Yes, wherever Omnisphere itself is supported.
That depends on your Omnisphere version rather than this library. Check Spectrasonics’ specifications for your release.
Approximately 1,800 across the bundled libraries.
No, beyond your existing Omnisphere authorisation.
Into the Patches area of your Omnisphere STEAM folder, following the supplied structure.
Almost always an extra nested folder created during unzipping. Check the directory depth.
Little, relative to sample libraries, since patches reference Omnisphere’s existing core content.
Granular and heavily modulated patches are demanding. Freeze or bounce tracks on large sessions.
It can be used anywhere, but the design leans cinematic and textural rather than bright and immediate.
Yes. They are ordinary Omnisphere patches and every parameter remains available.
Preset licensing terms are set by the developer. Review the licence supplied with your purchase before commercial use.
The measure of a preset library is not how many patches it contains but how many survive contact with an actual deadline. On that test, aesthetic coherence beats variety — and a collection this size, committed to one clearly defined sonic world, is built for people who need forty cues to sound like they belong to the same film.
The dependency is the thing to be clear-eyed about. Without Omnisphere 2 this bundle does nothing at all, and Omnisphere is a substantial purchase in its own right. With it, this is a comparatively inexpensive way to widen what that instrument gives you.
Browse further sound content in Samples & Presets, or see related VST Instruments. Developer site: veryloudindeed.com.
In stock
No account yet?
Create an Account
Reviews
Clear filtersThere are no reviews yet.