STUDIO ELECTRONICS
Feb 1, 2001 12:00 PM, By Dave Longo
In this era of simulated or virtual analog synthesizers and software synths, few manufacturers are putting out bona fide analog polyphonic synths. Sure, some notable analog modular units are on the market, but if you're looking for a genuine analog synth with convenient modern features such as programmability and MIDI, where do you turn?
Try Studio Electronics and its impressive history of building monophonic analogs. The company is producing two new polyphonic programmable analog synthesizers: the Omega 8 and Omega 2, which are 8-voice and 2-voice rack-mountable models, respectively. For this review, I looked at the lower-priced Omega 2, which offers many of the same features as the Omega 8.
TWO FOR TWO
Offering two voices and 2-part multitimbral performance, the Omega 2 is a true duophonic synthesizer. You can arrange both voices to separate note ranges and perform keyboard splits, stack the voices, or assign them to separate MIDI channels for individual control. You can also assign stereo panning settings to each voice. The Omega 2 features individual stereo outputs for each voice, a main stereo out, and a mono out. The front panel has a rotary encoder for making rapid control changes, 12 individual knobs, 30 switches, 21 LEDs, and a 16-by-2-character backlit LCD for viewing patch names and parameters. The Omega 2's memory stores 256 sound patches and 128 multipatches. Flash ROM capabilities allow users to burn in new operating systems and sounds as they're updated. This well-built and sturdy 2-rackspace device weighs about ten pounds.
The Omega's voice architecture consists of two discrete voltage-controlled oscillators per voice, along with one subwave of oscillator 1. You can access the oscillators' triangle, sawtooth, and variable-width square waveforms independently, use them in tandem, or synchronize oscillator 2 with oscillator 1.
Equipped with two filters per voice — including a 24 dB lowpass classic Minimoog ladder filter and a 12 dB Oberheim filter that offers highpass, bandpass, lowpass, and notch settings — the Omega 2 also sports built-in slots for an optional Roland TB-303 — style filter ($129) and an optional Arp 2600 — style filter ($139). With both filters installed, the Omega 2 provides a total of four filters per voice.
Other features include a single VCA per voice; three LFOs; three exponential multicurve, invertible envelopes; a white-noise generator; audio frequency modulation; multiple triggering; autotriggering; an external audio input; and an arpeggiator.
The Omega 2 offers more than 30 modulation-routing possibilities that can run simultaneously. You can assign almost every parameter in the machine — front-panel knobs, switches, and buttons — to a continuous controller, including the extremely cool exponential polyphonic glide and dynamic autosensitive glide.
I hooked the unit to a Latronic Notron performance sequencer and master controller and found that the Omega 2 responded flawlessly to the Notron's controller features. In fact, the stock internal patches offer a good array of standard analog bass and lead sounds. The well-laid-out controls make it easy to modify sounds immediately, and it didn't take long to get up and running. If you want to create sounds from scratch, the Omega 2 offers an incredible number of sonic building blocks to get you started.
SWEEPING GENERALIZATIONS
With the Minimoog filter turned on, I instantly noticed that increasing the envelope amount subtracts from the filter frequency, causing a bright-to-dark frequency sweep that is a lot deeper than that of most analog synths. This feature lends itself to extreme subsonic bass tones. While running a sequence from the Notron, I turned up the suboscillator and created an irresistible bass and a lead line patch that was fat and punchy but retained excellent definition between the two discrete elements. When I fed the Omega a stereo audio source that consisted of a full mixed track and processed the sound while triggering the oscillators, the synth yielded bizarre textures that warped the source material beyond recognition (in a good way). Besides letting you process sounds through the external inputs, the Omega allows you to control external sounds through breath- and trigger-patches.
If you long for a fat-sounding analog synth with the character and quirkiness of certain classic, discontinued American models, the Omega 2 is the machine for you. It easily duplicates any number of vintage sounds and goes beyond that to create vibrant new tones and timbres.
Dave Longo, a Los Angeles — based engineer and producer, performs drum ’n’ bass under the stage name Dpro.
PRODUCT SUMMERY
STUDIO ELECTRONICS
Omega 2
$1,995
PROS: Genuine analog synthesizer sounds. Expandable filter options. Extensive modulation-routing possibilities.
CONS: Very expensive. Polyphony is quite limited by current standards.
Overall Rating (1 through 5): 4.5
Contact: tel. (818) 776-8104 e-mail analogia@studioelectronics.com Web www.studioelectronics.com
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