The impOSCar - a less trodden path.
When the impOSCar project began way back in 2001, it's true to say that they were being slightly optimistic with their intended schedule of six months development time. The early signs were good and supercoder Jon quickly created an alpha version with the basic outlines of key parameters before setting to work in earnest on the detail. As it's often been said, "The devil is in the detail" because like peeling back the layers of an onion, this instrument became more and more intriguing as time progressed. The combination of digital waveforms, the ability to create your own user waves and subsequent processing through amazing analogue filters meant that, not only would this be a multi-disciplined task, it would take time to get right.
Thrilled by the acknowledgement as to the accuracy of the Oddity in relation to the Odyssey, they question came up: "what if we had added new features along the way?" And the impOSCar provided the perfect opportunity to put some of these thoughts into action. Over time these thoughts and ideas became realities by way of enhanced filter modes, polyphony, multi-effects and more, and all this took a long time to get right without stifling the character of the original instrument. And then came the huge task of accurately modelling the impOSCar filters, separation and overdrive.
The OSCar, with its two 12dB analog filters running in series, its filter overdrive and sublime separation control was not a job for some normal off-the-shelf filter algorithms, getting this right demanded huge dedication and anyone who saw G Force's "April Fool" will now be able to read between the lines to know how much hair-pulling and probe poking was going on. However, we're delighted to say that this painstaking work was fully justified - not only in the way that the impOSCar sounds but also because of the subsequent licensing of these filters to one of the best regarded plug-in instrument manufacturers around today. Yes, due to the rich, versatile and musical sounding filters, even if you decide the impOSCar isn't for you, you'll definitely be hearing a lot more of these filters in 2004 and beyond!
So here we are in 2004 and G Force is only just at a point where they think everything is present and correct, and they're finally happy to release the impOSCar. We think the work, and indeed the wait, has been worthwhile. True, the wait has been hardest for those most eager to lay their hands on it, and to those people we'd like to say a special thanks for bearing with us - G Force appreciates all your encouragement, support and patience.
While the impOSCar is an emulation of the classic British synth the OSCar, we believe it's additional features and astounding array of instantly accessible programing possibilities making it a true "classic" for the 21st Century!
The impOSCar incudes PC VSTi, Mac VSTi and Audio Unit versions.
Features
Mono, duo and 4 polyphonic modes
2 Oscillators, 13 Waveforms
Programmable Additive Wave Matrix
Unique filter section: 9 filter types with Drive, Cutoff, Q and Separation
Two Envelope Generators
Mono, duo and polyphonic arpeggiator with 4 modes
5 Keyboard Triggering modes
Extensive LFO section with sync
6 portamento modes
Powerful Effects section
Programmable Velocity responses
MIDI Learn with storable CC maps
A vast range of sonic possibilities
Retractable keyboard
500+ Patch library. Including sounds from many original OSCar users including Billy Currie (Ultravox), Mark Moore (S-Express) Rick Smith (Underworld), Lee Groves (Basement Jaxx, Terminalhead), Tim Dorney (Republica) and Paul Wiffen, original OSCar sound designer and OSCar programmer to Stevie Wonder & Jean Michel Jarre.
Technical Info
iLok compatible
Copyrighted materials cannot be returned once opened due to copyright law. This includes books, videotapes, DVDs, sample libraries, style disks, sound expansion boards, and software (which may also include software bundled with hardware). 
