Anyone confirm there were only 2 of these made?
via this auction
"OMEGA 8 - OM* REDEYESUPER RARE!!!!!! There have only been 2 RedEye Omega8s custom made! It is basically an Omega 8 with the sine wave and overdrive modifications. See below for the standard Omega8 description
TRUE HYPE
The Omega 8 is an eight-voice, discrete circuit, multi-timbral, stereo, multi filtered, arpeggiating, DSP free Analog Dream Machine.
Overflowing with elaborate MIDI control, dynamic signal processing, and expansive modulation, its sound creation and manipulation could very well exceed the boundaries of your imagination.
Salvational pads, foundational basses, revelatory leads, electrosonic drums, other-worldly FX and thoroughly hypnotic pulsating soundscapes powered by our SE's very own discrete analog sound engine will inspire your most potent creative effort.
The Studio Electronics Omega8 delivers true ANALOG stimulation.
SPECIFICATIONS
Voices: Eight.
Multitimbrality: Eight part, parameters: patch, number of voices, mono or poly: splits, layers, prepared.
Audio outputs: One main stereo and mono output, one stereo TRS output connection per voice.
Audio inputs: One input connection per voice.
Interface: 32 knobs with relative and jump modes, 1 rotary encoder, 35 tactile switches, 24 LEDs.
Display: 16 x 2 back lit liquid crystal.
Memory: RAM: 254 patch locations in program mode, 128 in multi mode, ROM: 254 in program mode.
Weight: 20 lbs.
Dimensions: 4 rack spaces, 15 inches deep.
Power: 90 - 250 volts AC auto switching.
VOICE ARCHITECTURE
VCOs:
Two voltage controlled discrete analog oscillators, one sub wave of Oscillator 1, waveforms: triangle, sawtooth and variable width square; simultaneous waveforms output; syncing of Osc 2 to Osc 1.
VCFs:
Two voltage controlled discrete analog filters: 12 db (classic Oberheim® style) hard-wired into voice board; 24db (classic Moog® style) in docking slot 1; 2 additional filter docking slots––2 and 3, can host our classic Roland® 303, Arp® 2600, and Yamaha® CS-80 style all hardware filters; 12db filter modes: low pass, bandpass, high pass and band reject. Filters do not operate in series or parallel. Each voice can access all four filters.
Envelopes:
Three multiple stage envelope generators: attack, decay, sustain and release with inverting and multiple triggering; additional delay, decay 2, and breakpoint parameters for envelopes 1 and 2; assignable 3rd envelope with up to three destinations and depths. Envelope 1 fixed to filter frequency. Envelope 2 fixed to amplifier level.
LFOs:
Three low frequency oscillators, waveforms: triangle, sawtooth, reverse sawtooth, square, noise, random; three destinations and depths each for LFOs 1&2, with range, delay, key trigger, phase, mode (mono or poly), quantize, midi sync. LFO3 fixed to voice panning.
Arpeggiator:
One, parameters: tempo, direction, range, interval, midi sync.
Glide:
Linear or exponential, parameters: time, mode (auto, legato, glissando), autoglide interval, dynamics, destination.
Unison Mode:
One, two, four, six, or eight voices.
Multi Mode:
Prepared: one MIDI channel, up to eight different patches (synths); split: set point; layer: 4-4...; multi: channelize up to 8 patches (synths).
Additional Features:
Oscillator 2 audio frequency modulation, destinations: OSC 1 frequency, OSC 1 pulse width, filter frequency; white noise generator; auto triggering external input processor on each voice, parameters: input level, trigger level, mix level, window.
Modulation Destinations:
LFOs 1, 2 and envelope 3: VCO 1 and 2 frequency, pulse width, and mix level, VCF frequency and resonance, noise level, Xmod amount, LFOs 1 and 2 rate and depth, VCA level, external mix level.
MIDI Controllers:
Dynamics, modwheel, bender, pressure, tracking, breath controller: LFOs 1, 2 and envelope 3 destinations, including envelopes 1, 2, and 3 attack, decay, sustain, release amounts.
MIDI Specifications:
In out and thru. Receives program change, bank select, glide on/off, glide time, volume, SYSEX. Controllers: dynamics, modwheel, bender, pressure destination and amount (x2). Controller 1 assignments: dyn, mod, pressure, bend, tracking, continuous cont #2 (x2), controller 1 amount (x2). Controller 2 assignments: same as controller 1 (x2), controller 2 amount (x2). Dynamics, tracking, and bender can manipulate positive and negative modulation values. Fixed continuous controller assignments exist for all key functions.
LFOs 1, 2 and envelope 3: VCO 1 and 2 frequency, pulse width, and mix level, VCF frequency and resonance, noise level, Xmod amount, LFOs 1 and 2 rate and depth, VCA level, external mix level.
MIDI Controllers:
Dynamics, modwheel, bender, pressure, tracking, breath controller: LFOs 1, 2 and envelope 3 destinations, including envelopes 1, 2, and 3 attack, decay, sustain, release amounts.
MIDI Specifications:
In out and thru. Receives program change, bank select, glide on/off, glide time, volume, SYSEX. Controllers: dynamics, modwheel, bender, pressure destination and amount (x2). Controller 1 assignments: dyn, mod, pressure, bend, tracking, continuous cont #2 (x2), controller 1 amount (x2). Controller 2 assignments: same as controller 1 (x2), controller 2 amount (x2). Dynamics, tracking, and bender can manipulate positive and negative modulation values. Fixed continuous controller assignments exist for all key functions.
LFOs 1, 2 and envelope 3: VCO 1 and 2 frequency, pulse width, and mix level, VCF frequency and resonance, noise level, Xmod amount, LFOs 1 and 2 rate and depth, VCA level, external mix level.
MIDI Controllers:
Dynamics, modwheel, bender, pressure, tracking, breath controller: LFOs 1, 2 and envelope 3 destinations, including envelopes 1, 2, and 3 attack, decay, sustain, release amounts.
MIDI Specifications:
In out and thru. Receives program change, bank select, glide on/off, glide time, volume, SYSEX. Controllers: dynamics, modwheel, bender, pressure destination and amount (x2). Controller 1 assignments: dyn, mod, pressure, bend, tracking, continuous cont #2 (x2), controller 1 amount (x2). Controller 2 assignments: same as controller 1 (x2), controller 2 amount (x2). Dynamics, tracking, and bender can manipulate positive and negative modulation values. Fixed continuous controller assignments exist for all key functions."
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