In MusicRadar's interview with Depeche Mode's techs on the Delta Machines tour it was revealed that ""Sample wise we're using Native Instruments Kontakt and Massive a lot too. We're also using a lot of GMedia ImpOSCar and Synthogy Ivory for pianos too. There are some sounds you can't get with the synths, so we use the samples for those, but there's a lot we can do and we try to use the synths as much as possible. Stripped is a good example of that. The big lead sound is Massive and ImpOSCar all layered up to create that main riff sound." Martin is strictly using software when he puts his guitars down for older material, he has a Roland Edirol controller as well as an Access Virus both commanding Muse Receptors with various plugins loaded.more
Geoff's comments on GForce impOSCar, from the GForce website: "Having been a member of the original Oscar owner's club in the mid-eighties (this was made up of assorted geriatrics, weirdos pot-heads!), I was very curious (and dubious) to see how this new damned elusive impOscar would measure up against its mentor. You see, there was always that ONE sound that you could get out of the original Oscar and not from anything else which made it really quite special. Well I can honestly say in comparison, after having worked with impOScar for some months now, the answer is simply: Better - and better. Very inspirational sounds, ease of operation, full polyphony, fatter-than-fat bass and many other very cool features make it without doubt one of the best software synths on the market in my opinion. And most importantly, you can still get that ONE sound that sounds like nothing else. In fact, you can get quite a few more than just one! Bloody brilliant - Get one. Now!"more
John Foxx's comments on the impOSCar, from the GForce website: "Delicious. Really a new instrument based on that great warm, broad sound of the original. A welcome realisation of a great lost synth of the period. (I remember a conversation with Paul Wiffen where he said the next stage of the Oscar was a poly version, but sadly, the company closed before this was realised). So, the polyphony is finally here and is extremely useful. Some immaculately designed patches. Equally adept at groaning organic leads and delicate evolving soundscape pads. Everything from edible to visible to shredded. I spent an entire day just playing with this one. Got quite lost in all its potential. Also managed to bank and record enough for the start of several new tracks. An inspiration."more
I love how much you can do with it. It's like the Reaktor of analogue. It is a bit of a headfuck, with that interface. Leaning over that small [display] thing trying to dial in plastic knobs that seem to go a bit dodgy over time isn't really ideal. It splits its messages over multiple NRPNs, I think, so if you use the ribbon controller you can see about four different controllers coming in.more
"I use The Oddity, M-Tron and the Minimonsta," Jones says, "and I’m just getting to grips with the impOSCar. I am very software orientated. I now have an amazing multitrack recording studio in a laptop. This has changed everything. But I believe it is the ideas that count, the people involved—not the technology. I am a digital fan, so I am excited to see this proliferation of digital technology, including soft synths and virtual instruments."more
this looks just like an Oscar, but I can't say if it sounds right! I really like the sound... Depeche Mode tour with it on their muse receptors so it must meet their expectations. I use this a lot. it sounds like nothing else but is still very analog.