Polyphonic 4 octaves, without CONTRL of expressiveness, but with pedals "sustain". Two "gnrateurs" paramtres adjustable sound, but without true freedom prtendre crative or research. More gnrateur a low on the lowest note.
The first section offers a gnrateur "violins" Symphony 8 '+ 4' stackable with attack and mute trs largely modular.
The deuxime gnrateur is a section 8 '+ 4' with a gnrateur classic ADSR envelope, but very comprehensive and unfortunately redclenche each new button presses (one note redclenche plays any agreement required). A solution frquente the era.
The sections "strings" and "synthquot, each with an output spar. Apprciable!
Synth done for scne. Hyper simple manipulation, we can move from the other in two seconds.
The two synths and string sections can be modified sparment, to produce layers of violins varied forms trs (trs sailed and missed) with piano, harpsichord, or brass ensemble ( trs's good "brass" analog!).
The sound of "ground" is one of the best in the history of analog synth: warm, full, gnreux, vibrant, velvety and so on. The rglages can satisfy both a musician popular dance (waltz by Strauss!) That the musician "hovering" (JM Jarre, Tangerine Dream, etc.).
A switch used to switch all the synth-wave "edge" (ear) instead of the "sawtooth" which radically changes the universe of sound.
Another switch allows you to make the layers of violins dphasage trs slow, giving her a "turning point" trs slowly, such as "phasing" slow, giving the following rglages sounds great organ, of beating reed keyboard instrument, etc..
A condition not to ask him what he can not do this synth is the effect on scne. He has a sound that "fills" the sound space tremendously. Regrettable limits of the envelope of the synth part is transcended by an undeniable richness. He knows how to apprcier.
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Anonymous 's review (This content has been automatically translated from French)
Vintage keyboard pleasant to the touch, but not aftertouch or dynamic. 4 octaves are available. There can connect a sustain pedal, or a pedal to control the filter. The Omni II has an overall output mono jack and XLR. Original and very useful ... but it also has 3 separate outputs for the three sections available: Strings, Synthesizer, Bass. Another little side there are the gate outputs, one out and a TRIG VCF CV in.
Level effects, there are only one on board that can be selected with a push button is the famous effect "Together" which gives the sound a bit peculiar to strings. By pressing, the function is canceled and we get a very slow chorus coupled with a phaser. Nothing more, and that's enough ...
Sounds "presets" for the strings section There are 4. Note that the presets for the strings "low" are available only on the first 15 keys (and mono)
The synth section is very simple, and provides two sawtooth waves (an 8 'and 4') that can go through the VCF and ADSR Traditional. The lower section is very limited and offers much the same as the synth section, but two octaves lower and without any possibility of filters or envelopes.
No MIDI, no screen, no USB connector or smart-media, and rightly so. Polyphony for the string and synth section and total.
The use could not be simpler ... Press the button with the LED inside that indicates that the function is ON. And have fun moving the sliders to vary the filter or envelope. Nothing simpler. There is a user manual available here: http://www.oldschool-sound.com/index.php?rub=3
The ARP Omni was the Polymoog (except large modular few exceptions) one of the first polyphonic synthesizers. But very limited. The string section offers almost, I say almost, the sound of the Solina. Almost as famous effect "together" so typical recordings of AIR (Moon Safari has almost in every piece) is still somewhat less pronounced than on the original firm's Eminent (manufactured under license by later in APR the beautiful name of String Ensemble). The sound comes close strongly, but it lacks flavor intensity. In the pedal through a Small Stone on the other hand, it becomes difficult to notice the difference between an Omni Solina and gross ... but it is nicer on it.
At the synth section, although very limited, it can make wonderful sweep, brass very beautiful, tablecloths and much syrupy sounding very 70's with the LFO ... There's even a feature that allows Hollow Waveform transform the sawtooth PWM, for some pretty cool sounds. What makes the sound of that section, it is indeed the filter, inherited the ARP Odyssey, which creates sounds with a typical character of ARP synths. Every little movement on a slider changes the sound of a very effective way.
The lower section is more limited. It just gives her a big non editable Moog Taurus bass style, with a relatively slow attack and an impressive body. Although passed through a filter (using the separate output) like the MS-10, it becomes funny ...
A synth with a special look and sound very, very 70's
I use it since last year to replace my Korg Trident, which is currently under repair. No, it does not replace, the strings are completely different (here we see that it's still very close to the Solina, the sounds of Trident being much closer to the Korg Lambda, much sweeter, more syrupy) and section much more powerful synthesizer on the Korg.
But I love it for its ease of use, its really original and quality construction. It is relatively compact, heavy (20 kg), and the sides are pretty cool in leather. All internal electronics has been revised, the condos that shed so easily have all been changed, and the optical state is almost new (no slider is missing ...)
But I mainly bought for his "American" 70's and the ridiculous price that I found. A purchase that I would do, certainly, but I would take perhaps a version that it offers filters for the bottom section and a perspective a little more vintage ...