• (RP) IPA: /ˈɒmnɪbəs/
• (GA) IPA: /ˈɑmnɪˌbʌs/

omnibus (the last form is nonstandard)

1. (dated) A vehicle set up to carry many people (now usually called a bus).
   • 1892, Walter Besant, “Prologue: Who is Edmund Gray?”, in The Ivory Gate: A Novel, New York, N.Y.: Harper & Brothers, […], OCLC 16832619 ↗, page 16 ↗:

     Athelstan Arundel walked home all the way, foaming and raging. No omnibus, cab, or conveyance ever built could contain a young man in such a rage. His mother lived at Pembridge Square, which is four good measured miles from Lincoln's Inn.

2. An anthology of previously released material linked together by theme or author, especially in book form.
3. A broadcast#Noun|broadcast programme consisting of all of the episodes of a serial that have been shown in the previous week.

   The omnibus edition of The Archers is broadcast every Sunday morning at 11.00.

4. (philately) A stamp#Noun|stamp issue#Noun|issue, usually commemorative, that appears simultaneously in several countries as a joint issue.

• French: omnibus, bus
• German: Omnibus, Bus
• Italian: autobus
• Portuguese: ônibus, ónibus, autocarro
• Russian: авто́бус
• Spanish: autobús

• Portuguese: compilação
• Russian: сбо́рник
• Spanish: compilación

• Spanish: antología semanal

omnibus (not comparable)

1. Containing multiple items.

   The legislature enacted an omnibus appropriations bill.

omnibus (omnibuses, present participle omnibusing; past and past participle omnibused)

1. (transitive) To combine (legislative bill#Noun|bills, etc.) into a single package#Noun|package.
2. (intransitive, dated) To drive#Verb|drive an omnibus.
3. (intransitive, dated) To travel#Verb|travel or be transport#Verb|transported by omnibus.
   • 2005, Simon Schama, in Simon Schama; Paul Moorhouse; Colin Wiggins, John Virtue: London Paintings, London: National Gallery Company, ISBN 978-1-85709-385-8, page 23:

     [John] Virtue has often sung his ode to pollution; the artist's friend. Whether to embrace or reject the begrimed air, the half-choked light has historically sorted out the men from the boys in London painters. […] Claude Monet was in two minds about it, cursing it from his room in the Savoy in 1899 for blotting out the fugitive sun. Yet by far the strongest of his paintings – completed in a studio a long, long way from the Thames – were the greeny-grey early-morning images of crowds tramping and omnibussing their way to work over hostile bridges, unblessed by even a hint of watery sunshine.