"The next instrument I put down was a synthesized bass which helped pull the elements together and made things tighter. I used an OSCar mono synth for that, on its own, as well as MIDI'd up to a Yamaha DX7. I find that a good combination soundwise because the OSCar has a very warm and thick sound and the DX7 is a bit thinner but adds the definition. If I want just a deep bass sound I'll use only the OSCar synth."more
For Billy Currie, Ultravox's most recent major tour was particularly rewarding, partly because he discovered a new instrument - the OSCar - that assisted his live performance greatly. 'Yeah, I was particularly pleased with the last tour we did. You're always on a high when you're in front of an audience - or I am anyway - and it's even better if you've got a new instrument that stimulates you, like the OSCar did for me this time around. 'I got it just before we went on tour, which looked as though it was going to be a problem. But when an instrument excites you that much, it gives you so many new ideas that it doesn't matter if you haven't quite figured out how to play the damn thing yet. If you make a mistake you can probably bluff your way through it anyway, and there's a possibility the audience might actually get off on it because it shows you're fallible - that you're not just some studio musician who doesn't care about the music. The OSCar has basically taken the place of the Odyssey. The Odyssey was still just about usable in the studio, but live it was becoming a liability because it went out of tune so easily. I really don't think I could have done another tour with it, so the OSCar arrived at just the right time. I like almost everything about it, and it's not just the sound. There's the duo-phonic facility, the simple facility to play two notes at a time, which is a big bonus for me, and the sequencer on it is so easy to use: I put a sequence in it and triggered it in threes for the single, as well as doing the main synth solo on it. The other thing about the OSCar is that it just feels right as an instrument, which is a rare thing for a synth, I think. In fact, it's one of the few electronic things that seems to have been designed for musicians, as opposed to a lot of stuff - especially the stuff coming out of Japan - which is just developed in laboratories. I've been in touch with OSC and they've always been very helpful, which makes a change from a lot of other companies. They've maintained my enthusiasm for the instrument and right now I'd say it's the most exciting synth in my line-up - even though I'm using it with a PPG and a Yamaha GS1 on stage.'more
There is a list of the used instruments on the "Revolutions" album by Jean-Michel Jarre. Its inside the front cover. The text contains the following instruments (and two choirs): "Roland D50, Roland D550, Fairlight CMI II, Fairlight CMI III, Synthex, AKS, Oscar, EMS Vocoder, Dynacord ADDI, Cristal Baschet, AKAI MPC-60, Emulator, Ensoniq ESQ1, ARP 2600, Kawai K5, Geiss Matrisequencer, Cavagnolo MIDY 20, Elka, AMK 800, Drums, Simmons SDX, Bass, Trumpet, Megaphone, Guitar, Choir." Cd cover can bee seen at http://www.45worlds.com/cdalbum/cd/8370982more
The OSCar is a classic mono-synth from British manufacturer Oxford Synthesiser Company (OSC). It came in 1983 and though it was in the same class as the Arp Odyssey and Minimoog mono-synths, its late arrival makes it one of the more advanced programmable mono-synths of its time! It's got a really cool sound, digitally controlled dual oscillators with analog filters, and plenty of programmability all packed into a quirky little plastic case with 37 keys. MIDI also appeared on later revisions as well.
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