All the notable features of the original instrument are evident here as well as several enhancements including a more intuitive additive section, polyphony, increased LFO waveforms and a chorus and delay effects section. The impOSCar was two years in production and since its release it'amount of s become one of the most respected virtual synthesisers on the market. From sublime to screaming, from clean and clinical to phat as phuck, the OSCar did it all. All of these features contributed to its sound which could be summed up in one word- Awesome. In a sea of monophonic subtractive synths available at that time it was unique and refreshing in many ways: It looked interesting, it had an additive synthesis section, it had memories, it was duophonic and monophonic and, with the exception of the filter, it was all digital. However, to those in the know, OSCar has been a highly prized item and the secret weapon in many programmer's sonic arsenal. Because it was released at the same time as MIDI and early affordable polyphonic synthesisers affordable the instrument wasn't a huge commercial success and only 2000 were produced before the company ceased trading. OSCar was manufactured between 19 and was used to great effect by artists such as Ultravox, Jean-Michel Jarre, Stevie Wonder, Underworld, Orbital and even Oscar Peterson. The impOSCar is modelled on the unique and wonderfully esoteric British synthesiser, the OSCar.
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