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Description
Dive into the world of vintage synthesis with the GMedia Music impOSCar, a synth plugin that captures the essence of classic analog sound with a modern digital interface. Inspired by the legendary OSCar synthesizer, this plugin is a must-have for any musician seeking that warm, iconic tone. The impOSCar stands out with its dual-oscillator architecture, allowing users to blend waveforms and create rich, textured sounds. Designed for both studio professionals and home producers, it offers a versatile array of sound-shaping tools that cater to a wide range of musical styles.
The impOSCar is equipped with a variety of modulation possibilities, including LFOs and envelopes, providing users with the flexibility to design sounds from subtle pads to aggressive leads. The intuitive interface makes it easy to navigate and customize, ensuring that both beginners and seasoned synth enthusiasts can achieve their desired sound effortlessly. Additionally, the plugin includes a robust library of presets, giving users a head start in exploring its capabilities.
Compatible with major DAWs, the impOSCar integrates seamlessly into your digital workflow, making it a reliable choice for any production setup. Its authentic sound and modern features make it a timeless addition to any music producer's toolkit.
Key Features:
- Dual-oscillator architecture for rich sound design
- Extensive modulation options, including LFOs and envelopes
- Intuitive interface for easy navigation and customization
- Compatible with major DAWs
- Comprehensive library of presets for quick inspiration
- Authentic analog sound with modern digital flexibility
Reviews
Owner Insights
We analyzed real musician discussions from forums and Reddit to find what players love, question, and tweak about GMedia Music impOSCar.
Software and compatibility
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Some users face compatibility issues with impOSCar on M1 Macs, even with Rosetta, causing other plugins to freeze in Logic Pro.
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Features and functionality
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The impOSCar offers unique additive synthesis with trapezoid waves and dual multimode filters, creating distinctive tones not easily replicated by other synths.
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The "Beer Bass" preset uses a bandpass filter, possibly with a formant effect, and involves complex routing with dual filters in series and modulation.
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ImpOSCar 2 is noted to have improved emulation capabilities over the Oddity due to its newer release date.
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Setup and maintenance
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Recreating the "Beer Bass" sound requires flexible modulation, dual filters, and several envelopes or LFOs, highlighting the complexity of the original routing.
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Comparisons
5.0 out of 5
Based on 1 Review and 5 Ratings
40991
as much fun to program as it is to look at
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.
Artist usage
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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.
This article on the recording of the "Barking" album describes the band's then-current studio setup. It states, "Underworld relied on both software and hardware synthesizers. Soft-horses included Logic ES2; GForce ImpOSCar, ImpOSCar2, String Machine, and Oddity; Sonic Charge’s Synplant; Synthogy Ivory (piano); Rob Papen BLUE; and Native Instruments’ Battery 3, FM8, Reaktor 5, and Massive."
“We got excited going through some of the new virtual instruments — Arturia having a Yamaha CS-80 and an ARP 2600, and GForce having an OSCar and an ARP Odyssey, and we were intrigued the things they did.”
Rob Swire discusses his use of the GForce Software impOSCar in a Sound On Sound interview, likening its capabilities to those of Reaktor for analog sounds. He mentions the complexity of its interface, noting the challenges of adjusting its controls and the unique way it handles MIDI messages.
"But we used a lot of [GForce Software] impOSCar and [Way Out Ware] KikAxxe, and even software Minimoogs and Mellotrons."
Harry Gregson-Williams's LA studio complex, Wavecrest Music, commenced operations in Venice Beach in August 2003, and comprises three floors of editing suites, mix rooms and a live room, as well as Harry's own studio on the top level. This houses the following gear:
Sequencing and digital audio
*Steinberg Cubase SX and Ableton Live running on dual 3.6GHz Xeon server with 4GB RAM, two RME HD*SP 9652 soundcards, 75GB mirrored SATA system drives and 400GB mirrored SATA audio/sample storage drives. MIDI is streamed over LAN to Gigastudio PCs, and an Emagic Unitor 8 and AMT8 are used for hardware synths. *Pro Tools HD Accel system running on dual 2GHz Apple G5, with one 192 Analog and seven 192 Digital interfaces.
Samplers
*14x Emu E4X. *24x Roland S760. *7x 3.0GHz Pentium 4 PCs with 80GB SATA system drives, RME HDSP 9652 soundcards and 250GB SATA sound drives with custom and commercial sound libraries, running Tascam Gigastudio 3.
Software synths and plug-ins
*Arturia ARP 2600, Minimoog V and CS80. *Antares Filter and Auto-Tune. *Applied Acoustics Lounge Lizard. *Gmedia Imposcar and Oddity. *GRM Tools. *Korg Legacy Collection. *Native Instruments Absynth 3, Battery 2, FM7, Kontakt 2, Pro 53, Reaktor 4. *Ohm Force Ohm Boyz. *Spectrasonics Stylus RMX, Atmosphere and Trilogy. *Steinberg D'Cota, X-Phraze, Virtual Guitarist, VG Electric Edition, Groove Agent and Halion.
Hardware synths
*Access Virus, Indigo 2 and Redback. *Clavia Nord Rack, Nord 3 KB and Nord Modular. *Korg Trinity Pro X, Wavestation A/D and M1R. *Novation Supernova II Pro. *Roland JP8080, JD990, JV1080 and MKS80. *Studio Electronics SE1, ATC1 and Omega 8. *Waldorf Q, Microwave II, Microwave XT and Pulse.
Recording, mixing & outboard
*Avalon 727 preamp. *Eventide DSP4000 effects. *Lexicon PCM80 and 90 reverbs. *Quested HQ108 speakers in 5.1 setup. *5x Yamaha 02R digital mixers.
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!"
"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."
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."
Album Usage
The GMedia Music impOSCar has been featured on the following albums:
Genre Usage
Based on how artists on Equipboard use this gear, it is most commonly found in the following genres.
Used With
Based on how musicians on Equipboard use GMedia Music impOSCar, it is most commonly used with the following gear.