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Spectrasonics’ free Flow Capture feature means that all your great musical ideas will always be recorded, without a DAW

Spectraonics has always made ‘players’ instruments’ - the kind that you can happily sit down and noodle on without any discernible purpose. However, this can sometimes result in moments of musical inspiration not getting recorded, so you run the risk of losing them forever.

The company’s new Flow Feature is designed to address this. Available now for the standalone versions of Omnisphere 2, Keyscape and Trilian, this will automatically capture all aspects of a performance via a hi-res WAV file, a MIDI file and an instrument sound settings file that stores all the data of the sound you’re playing, including any edits that have been made to a patch.

The WAV and MIDI files can then be dragged directly into your DAW for further editing, while the sound settings file can be dragged into the instrument UI for easy recall of the patch you were playing. This also has the potential to smooth out collaboration with other Spectrasonics users. 

“As much as we all love spontaneously exploring new musical ideas, you can often lose that magic of inspiration by having to go through the technical processes needed to set up to record it,” explained Spectrasonics Founder and Creative Director, Eric Persing.

“With Flow Capture we created a feature that gives Spectrasonics users the shortest path from inspiration to recording. This new feature is the fastest way to record an idea with your Spectrasonics instruments and we are thrilled to offer this useful tool as a free update to all current Omnisphere, Keyscape and Trilian users.”

The Flow Capture update also includes a tempo function with adjustable metronome and a tap tempo feature (this can respond to MIDI). It’s available now for all Keyscape, Trilian and Omnisphere 2 users via Spectrasonics’ Smart Update system.

Find out more on the Spectrasonics (opens in new tab) website.

I’m the Group Content Manager for MusicRadar, specialising in all things tech. I previously spent eight years working on our sister magazine, Computer Music. I’ve been playing the piano, gigging in bands and failing to finish tracks at home for more than 30 years, 20 of which I’ve also spent writing about music technology. 

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