Review: LIGHTless for Omnisphere 2 from String Audio


Being not merely just another collection of presets, but a full-on library, LIGHTless brings a host of scoring options and a ton of great new sample content to Omnisphere 2. This is another refreshing find in a sea of EDM sound sets that just generally don’t cut it for the professional musician scoring for a variety of audio-visual mediums.

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Review: LIGHTless for Omnisphere 2 from String Audio


LIGHTless sells for $99.00 from String Audio



LIGHTless is the latest from relative newcomers String Audio. While they have not been on the scene as long as many of the more established names, they have quickly made a big splash with their last several libraries for Kontakt. Claudio Pelissero is no stranger to the scoring scene and his vision has guided String Audio to deliver top-notch sonic meisterwerks. This time around, they turn their attention to delivering that same magical experience for users of Omnisphere 2. Having reviewed their last several libraries, I was initially expecting that this library might contain some of the same source material from those libraries and was pleased when I found out that this rather large library contains all new source material created just for LIGHTless!

LIGHTless delivers a wide array of sonic surprises that at first blush seemed to focus more toward creating a musical dystopian environment. While that is certainly capable of that, there are so many other elements at play in the subtleties of what String Audio has done with the use of Omnisphere’s effects and modulation capabilities as well as implementation of the Orb. During my initial

During my initial playthrough I was initially taken aback by the fact that the modwheel wasn’t really giving me any type of modulation option. As I began to study the library further it became more clear that all of the source material at play here along with the development that String Audio had done was actually sculpting the sounds. That’s not to say that you can’t assign modulation options and further mangle the sound content, but start with the raw presets and go from there is the best advice I can offer. I think you’ll be surprised.

The initial patch view only shows you basic information but if you open it up into patch zoom, you will see much more information about the genre of intended uses, the type of patch and the modulation type. This is the kind of information that I like a developer to provide. I initially had my doubts about all of the patches being named numerically. Why not use some type of name? As it turns out, there appeared to be as many people that like this naming system in libraries as those who like some type of more evocative name. What is the difference between Soundscape12 and Amethystium? In truth, the answer is nothing. After spending a little bit more time with the library, it actually was easier to just write down the word Soundscape and then jot down the numbers down behind it for the ones that I wanted to use in a composition. I didn’t have the long list of names like usual. I’m sure this is one that will still remain a personal preference in workflow, but it works.

Categorically there is a wide selection of sound material to choose from: Bass, Dark Atmospheres, Hits, Keys, Noises, Organics, Pads, Pulses, Scrapes, Soundscapes, Strings and Textures.

I was initially most impressed by the life, movement and self-modulative pulsing within the sounds. I have found it somewhat of a rarity for material that is leaning toward the darker side of the sonic spectrum to have this type of counterbalance at play. There is a type of “halfway point” that comes out. While I found all of the material to be very good there are a couple of categories that really stood out for me.

Dark Atmospheres are sounds that continue to evolve on their own and while they entertain elements of suspense and definitely help to build tension in a composition, they can also sit nicely as a bed to layer other sounds on in order to come up with unique and creative new elements.

The Hits category was a pleasant surprise as it is not merely a single hit, but in many cases a designed hit that has a delay and reverb tail with stereophonic panning affect. Played in rapid multi-note succession creates an interesting moving percussive flow.
The Noises and Organics were again something of a surprise as they are and something I would typically use in an electronic composition frequently but I found that many of them had a really unique character that acted as a type of riser or unique fast panning percussive.

While I found all of the material to be very good, there are a couple of categories that really stood out.

Pads and Strings I’m always a fan of and these don’t disappoint as you can use them for creating a dark mood, developing underscore, or entertaining something more dramatic or suspenseful. They also mix well with other more conventional synthesis.

The Soundscapes and Textures offer a great selection of material for doing much the same thing that the Dark Atmospheres, Pads and Strings do. The Textures I found to behave very much like the Organics were there was a lot of surprising movement and variation to the sounds. As a collection, the material found in the patches alone is a treasure trove of sonic gold.

Nobody needs another picture of another Omnisphere’s FX rack, but I use it to illustrate one point. I love it when the developer goes that extra step to actually add design elements into their sounds that make plentiful use of the onboard effects. This is something that you will find throughout LIGHTless.

I may actually enjoy the Multis more than the main patches themselves simply due to the complexity and depth of many of the sounds. Some of these are actually even hard to describe there is so much going on from a movement perspective. There are six categories of Multis, Dark Atmos, Impacts, Keys, Pads, Pulses, and Textures.

As I started working with the Multis, it became more and more apparent that the trick here is to hold your notes for a longer period of time and let the sound evolve.

While there is not an immediate burst of sound with many of these patches or multis but rather a gradual development in the volume and movement.

The multis it really stood out to me were the Atmos, Impacts, and Textures. That’s not to say that there is anything at all wrong with the other categories, those for me were the ones that I found most useful as I started working with LIGHTless and working it into a composition.

LIGHTless create an interesting juxtaposition. It can be very dark and it can be a little bit light. There are those sounds that will fit in so many scenarios for scoring and there are some that will be dead ringers for suspense, horror, sci-fi or drama with the darker tone. I think the good news is there’s a lot of content here which has all been custom created for this library. You can use the engine inside of Omnisphere 2 in order to bend the sounds and tweak them to your own specific need but I think it’s important to remember that this is not just another pack of presets that use the internal sounds that are already provided with the base library.

dead ringers for suspense, horror, sci-fi or drama with the darker tone

I would summarize it this way, if you are scoring for film, video games, television, media or producing electronic music there is a goodly amount of this library that you will find to be extremely useful in your toolkit.

As with all of my reviews, I would encourage you to check out the official demos to make sure that this is the right tool for you.



LIGHTless contains 332 patches, 106 multis, 331 sound sources and downloads as 2.4 GB. LIGHTless requires Omnisphere version 2.2.0g or higher.

LIGHTless sells for $99.00 from String Audio


Demos of LIGHTless for Omnisphere 2 from String Audio

Videos of LIGHTless for Omnisphere 2 from String Audio