The most adaptable and expressive type of synthesis to date is probably FM. However, it has always had a huge fly in the ointment: FM programming is notoriously obscure and difficult to understand, about as far from intuitive as it is conceivable to be. Although the fly-to-ointment ratio of FM has decreased in the modern era of software-based synths, we still don’t often refer to a basic FM synth as such. That is, until now, when BLEASS Omega, an FM synth that is – at last – simple to use, came into being.
By doing away with the mysterious programming interfaces that are frequently associated with FM Synthesis, BLEASS Omega puts all of the glitz, charm, nuance, and dynamic expressiveness of FM Synthesis at your fingertips. Using BLEASS’ exclusive GUI technology, Omega makes it easier than it is with other FM synths, PERIOD, to create and craft sounds. BLEASS Omega offers all of the traditional FM Synthesis features, including passionate leads, thunderous basses, crystalline pads, and expressive electric pianos. And because of the Waveshaper’s analogue-style design and the multi-mode Filter’s robust analogue-like flavor, BLEASS Omega can give those clean FM tones piercing filter sweeps, snarling distortions, and harmonically rich resonances.
BLEASS Omega’s four FM operators are edited simultaneously from a single screen, with all operator envelopes and controls at the touch of a fingertip or the click of a mouse. In a manner that no other FM synth can, this incredibly user-friendly method makes simple work of sound modification and promotes experimentation and exploration.
The sonic range of BLEASS Omega is enormous thanks to the eleven FM algorithms it offers, each of which offers a unique way of connecting the four operators for drastically varied outcomes. Utilizing this versatility to the fullest, the included library of more than 160 expertly created presets gives you a diverse and inspiring sound palette to employ in your music-making and sound-design projects.
The four operators of Omega can only generate sine waves, which should restrict the synth’s variety. Omega has a trick up its sleeve, though, that more than makes up for this: a waveshaper and filter come after the FM sound generating engine. In addition to adding analogue-style overdrive and distortion, the waveshaper also adds low-pass, high-pass, band-pass, and notch filtering to the filter, which is normal for BLEASS. The resulting result is a devastatingly powerful fusion of subtractive analogue’s warm, rumbling, resonant qualities with FM’s crisp, clear, detailed tones.
The bundled library of approximately 200 patches, which showcases Omega’s blend of digital and analogue sensibilities, giving the instrument a voice and character that are unmatched by those of any other synth. All of the traditional FM tones—electric pianos, metallic bells, crystalline pads—as well as traditional subtractive tones and a variety of other sounds are present. The most amazing feature of Omega is BLEASS’ exquisite FM programming interface, which removes so much of FM’s inherent complexity that what is left is both logical and enjoyable to use. Bleass Omega is one of the most fun FM synths you can find.