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after years of classical piano from Schubert to Chopin, being devoted to church music by playing Bach's Toccata's around Reims Cathedral (by far the most important in french history if you look closely enough - only 2 kings not cronated there) and St Andre church I moved towards electronic music under Jarre's influence.
I bought OASyS in 2006 thinking this would help and it did far more !!
Last May I had the chance to visit Jarre during a concert in Brussels. I was totally amazed by the sounds of vintage analog synths. JM Jarre choice was to forget about latest technology (he obviously managed much better than we do) and go back to basics, natural sounds. OASyS is a great machine for sure (probably the best today) but below what I heard. I still love it but suggest you have a taste of ANALOG.
OASyS is like BMW 5 Series. Good cars ! What I heard was more like Testarossa...
Cyrille

cyrille mirgain wrote: OASyS is like BMW 5 Series. Good cars !

Make that 7 Series. (With an additional Maserati Granturismo EXi.)

7 series too big
5 M5 much more pronouced, just like O

As far as I'm concerned, the Oasys IS the ROLLS of keyboards. Period.

Pr0

I was at Jarre in London in May, and at the Oxygen tour last year and agree that he uses myriads of analogue and classic synthesizers wonderfully. Indeed if you listen to Oxygen or Equinoxe you hear analogue synthesizers in operation in a way arguably unsurpassed in music.

That said, I don't feel it needs to be an either/or thing. Certainly analogue brings substantial qualities - I'm a huge analogue synthesizer fan and own many classic synths.

But even for Jarre (with significant input from Frederic Rousseau), from Magnetic Fields on he has used digital instruments in stunning ways. Have a listen to Zooklook for example.

And then there is Vangelis, merging analogue, digital and real instruments in a seamless way. Have a listen to any of his albums from the ‘Nemo Studio’ era in particular to hear this.

So while I'm a massive analogue synth fan; to me its important to be open to all sound sources and to experiment with them in new and innovative ways. You can even go further and include computer music and avant-garde techniques as developed in IRCAM Paris for example. All are valid.

In this light, OASYS offers huge possibilities - stunning analogue emulations, cutting edge digital and realtime synthesis through STR-1 for example; and access to the vast DX/FM library though MOD-7; to say nothing of Karma, vector synthesis, wave sequencing, waveshaping.....

What inspires me most about the OASYS is the interconnectivity of various synthesis approaches, from analogue to PCM to digital-synthesis; and it works wonderfully (for me) alongside classic synthesizers and other current computer-based composition tools.

Kevin.

Well spoken Kevin!

Huge Jarre fan. And Jarre is a fan of/uses many Korg products. The Oxy Equinoxe periods were very special with analog warmth but even on Magnetic Fields while he ventured into the digital realm the Oberheim strings were very prononuced (analog).

During an interview Jarre stated that music should be in layers such an oil painting filling the canvas and containing layer upon layer until the pallete is full and you have a final work of art. The pallete he uses is sound. I just finished up a short film score using the Big O for my digital pieces and an Andromeda A6 (emulating Yamaha CS-80 sounds) for the analog portions. Had to churn it out quickly but the O is full of so many great sounds/textures it took but an afternoon to record. It all fit very well in the mix. The big O can compliment rich organic analog sounds and vice versa. Ther are no rules to music (all analog all digital etc.), but if the O is part of your pallette I think you'll be off to a fantastic start!

Cheers