Omni Trio

Real Name:
Robert Haigh
Profile:
Producer from Barnsley, South Yorkshire. Latterly moved to Hertford.

Rob Haigh's first release as Omni Trio was on his own Candidate Records label in early 1993. This caught the ear of Hertford based trio 2 Bad Mice who helped sign Haigh to Moving Shadow. Through the nineties Haigh developed a unique style of what has become known as ambient (or 'intelligent') Drum and Bass and released six acclaimed albums. The Omni Trio sound is notable for its intricate orchestrated production and atmospheric sound palette.
Sites:
Aliases:
Variations:

Artist

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Albums

SM-8012-2 The Deepest Cut Vol 1 — Omni Trio Omni Trio The Deepest Cut Vol 1 (Album) Moving Shadow, Audio Couture SM-8012-2 US 1995 Sell This Version
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UK ASHADOW 6 CD The Haunted Science — Omni Trio Omni Trio The Haunted Science (Album) Moving Shadow UK ASHADOW 6 CD UK 1996 Sell This Version
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ASHADOW 10MC Skeleton Keys — Omni Trio Omni Trio Skeleton Keys (Album) Moving Shadow ASHADOW 10MC UK 1997 Sell This Version
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ASHADOW 20 LP, ASHADOW20LP Byte Size Life — Omni Trio Omni Trio Byte Size Life (Album) Moving Shadow ASHADOW 20 LP, ASHADOW20LP UK 1999 Sell This Version
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ASHADOW26CD Even Angels Cast Shadows — Omni Trio Omni Trio Even Angels Cast Shadows (Album) Moving Shadow ASHADOW26CD UK 2001 Sell This Version
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SCALE002CD Rogue Satellite — Omni Trio Omni Trio Rogue Satellite (Album) Scale Records SCALE002CD UK 2004 Sell This Version
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AShadow34 Cut Out Shapes (Rare And Unreleased) — Omni Trio Omni Trio Cut Out Shapes (Rare And Unreleased) (Album) Moving Shadow AShadow34 UK 2012
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ACAT002CD Above The Treeline (Rare Unearthed And Unreleased) — Omni Trio Omni Trio Above The Treeline (Rare Unearthed And Unreleased) Candidate Records ACAT002CD UK 2022 Sell This Version
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Singles & EPs

SHADOW 32 Mystic Steppers Vol 2 — Omni Trio Omni Trio Mystic Steppers Vol 2 (Single) Moving Shadow, Moving Shadow SHADOW 32 UK 1993 Sell This Version
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CAT 002 Mystic Steppers E.P. — Omni Trio Omni Trio Mystic Steppers E.P. (EP) Candidate Records CAT 002 UK 1993 Sell This Version
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SHADOW 36 R Vol 3 - Renegade Snares  — Omni Trio Omni Trio Vol 3 - Renegade Snares (EP) Moving Shadow, Moving Shadow SHADOW 36 R UK 1993 Sell This Version
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SHADOW 201-2 Two On One Issue 2 — Omni Trio DJ Crystl / Omni Trio DJ Crystl / Omni Trio - Two On One Issue 2 Moving Shadow SHADOW 201-2 UK 1994 Sell This Version
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SHADOW 44 R Vol 4 - Rollin' Heights — Omni Trio Omni Trio Vol 4 - Rollin' Heights Moving Shadow, Moving Shadow SHADOW 44 R UK 1994 Sell This Version
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SHADOW 51 R Vol 5 - Soul Promenade Remix — Omni Trio Omni Trio Vol 5 - Soul Promenade Remix Moving Shadow, Moving Shadow SHADOW 51 R UK 1994 Sell This Version
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SHADOW 51, UK SHADOW 51 Vol 5 - Soul Promenade — Omni Trio Omni Trio Vol 5 - Soul Promenade (Single) Moving Shadow, Moving Shadow SHADOW 51, UK SHADOW 51 UK 1994 Sell This Version
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none Living For The Future (FBD Project VIP Mix) / Live & Direct (Remix) — Omni Trio Omni Trio / Pro-D & Cyrus Omni Trio / Pro-D & Cyrus - Living For The Future (FBD Project VIP Mix) / Live & Direct (Remix)(Acetate, 10") Not On Label none UK 1994 Sell This Version
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none This Is Not The Information Centre / Untitled  — Omni Trio Stooge / Omni Trio Stooge / Omni Trio - This Is Not The Information Centre / Untitled (Acetate, 10") Not On Label none UK 1994 Sell This Version
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SHADOW 32 R2 Feel Good 95 Remix (The Return Of The Mystic Stepper) — Omni Trio Omni Trio Feel Good 95 Remix (The Return Of The Mystic Stepper) Moving Shadow SHADOW 32 R2 UK 1994 Sell This Version
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SHADOW 73 Volume 7 - Beyond The Fundamental — Omni Trio Omni Trio Volume 7 - Beyond The Fundamental Moving Shadow, Moving Shadow SHADOW 73 UK 1995 Sell This Version
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SHADOW 67 Volume 6 - Nu Birth Of Cool — Omni Trio Omni Trio Volume 6 - Nu Birth Of Cool Moving Shadow, Moving Shadow SHADOW 67 UK 1995 Sell This Version
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none Champion DJ (Unreleased Mix) / Renegade Snares (VIP Mix) — Omni Trio Blackstar (2) / Omni Trio Blackstar (2) / Omni Trio - Champion DJ (Unreleased Mix) / Renegade Snares (VIP Mix)(Acetate, 10") Not On Label none UK 1995 Sell This Version
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none Together (V.I.P) / Let The Hustlers Play — Omni Trio Omni Trio / Pulse* Omni Trio / Pulse* - Together (V.I.P) / Let The Hustlers Play(Acetate, 10") Not On Label none UK 1995 Sell This Version
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SM-9050-0 The Haunted Trax EP — Omni Trio Omni Trio The Haunted Trax EP (EP) Sm:)e Communications SM-9050-0 US 1996 Sell This Version
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SHADOW 80 CD, UK SHADOW 80 CD Trippin' On Broken Beats — Omni Trio Omni Trio Trippin' On Broken Beats (Single) Moving Shadow, Moving Shadow SHADOW 80 CD, UK SHADOW 80 CD UK 1996 Sell This Version
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AC12004X Red Rain (E-Coli Mix) — Omni Trio Omni Trio Red Rain (E-Coli Mix) Audio Couture AC12004X UK 1997 Sell This Version

Add Review

mcc3991

mcc3991

July 14, 2022
A new unreleased album from Omni Trio is forthcoming on 2nd September. Check out his bandcamp for more info: https://omnitrio.bandcamp.com/album/above-the-treeline-rare-unearthed-and-unreleased
808-MAN

808-MAN

October 21, 2021
edited 11 months ago
As ive said before i wasnt into Drum N Bass but Haigh was indeed a genius. I loved all his tracks that included female voice riffs. Ghost Rider & Future Frontier to name but a few!.
giroserex

giroserex

October 12, 2018
edited about 1 year ago
Want your mind blown? Omni Trio made most of his music with an Amiga 500, a very early PC from the 80s, it was unique in that it was an all in one self contained sampling + sequencing system, contrast to other solutions at the time, e.g. seperately connected sampler and sequencer via MIDI cable. In any case, by todays standards these devices were more musical. The reason why lies in the design of the Amiga and shall be explained. The digital to analog chip - codename Paula - was 8 bit. The music software installed was capable of 4 mono lanes maximum - each lane used a dedicated part of the paula converter (4 converters in parallel). The samples loaded in the software arranged across the 4 tracks, initiating the sequence converted each sample INDEPENDANTLY into the analog domain where they were then mixed - Note the streams were muxxed IN THE ANALOG DOMAIN. From here the resultant signal - electricity at this point - would feed the users speakers.

Once happy with the arrangement of samples, the finished mix would be, again output via Paula, but this time also into a tape recorder (digital or analog is irrelevant, but likely a 16bit DAT recorder). The DAT was then sent in the post for vinyl and CD pressing.

Note the mix down still happened in the analog, electircal domain, before being digitised by highly linear, 'perfect' converter of the DAT recorder.

This is a far cry from how music is made today. The main reason why music mostly sucks today, EDM in particular is due to a mis-understanding + mis-applicaiton of digital technology by the thousands/millions of whom take upon it themselves to experiment and release what ever they made using only their mouse and stereo headphones in an aux jack.

The trick is to layer music with paralleled lo-rez converters and THEN digitise the finished work with one high res converter. This was how digital music was introduced, sounds were ALWAYS mixed in the analog domain, including those behemoth synthezisers.. This is why the 80s 'sounded' great - Music taste has little to do with it. 99% of EDM music today is mixed INSIDE the computer and subsequently played through a stereo sound card / device (then to speakers). Here, the signal CANNOT move around like it does with the Paula chipset. No matter how clever software devs think they are, they cannot match the superior (temporal/timing) resolution of universe and even then one would need a super computer. Unlike the Paula, the objective of converters today is 'Accuracy' and their application rooted in 'Transparent Transfer', i.e. transfer of finished mixes to the public in as losslessly a way as possible (in those days, the CD).

If guitar strings, which also generate waves, were transparent, we would not hear them. Synth designers of the olde understood this. Disenfranchised sound card and chipset designers of late do not. A guitar string could be viewed as an non linear 8bit converter give or take infinite time. The same could be said for a all acoustic instruments because physical inertia of the string and that in an electical medium is essentially the same. When string is plucked, the result is chaotic - musical - far from linear. A 24bit converter cannot replicate this because they were concieved to maintain linearity of the passing signal and achieves this by means of digital filters which fuck with the timing of samples as they enter/exit the converter. Therefore anything 24bit is inherantly linear and is thus, not musical.

The distinction between linear converters, (those as initially used for transfer of finished work but later permeated production), and converters like those used in the Amiga (Paula) seems to be largely un-ackowledged by IC and sound device manufacturers, including those used by supposed 'pros'. Listeners, artists, composers, producers, engineers, pro' s depend on equipment manufacturers, who in turn, trust those who design chipsets and the latter are oblivious. Since 1990, the DNA of Electronic music (DNA being the equipment used to make it) has de-evolved, from musical to highly linear un musical. The last of the mohicans, are synthesizer designers - who phased out production in the late 90s as personal computing and music piracy took over. This is the reality. The degredation was gradual enough to go unnoticed, consequently most music today produced sounds less musical by default.

Although lack the of musicality in digital is acknowledged in some production circles, the reason as to why (see above), remains 'a secret' among engineers (unless you've read this far). The proposed workaround, is far from optimal - artists have to ADD musicality MANUALLY using plugins. This is a waste of time considering it can otherwise be done AUTOMATICALLY with properly designed equipment like the Paula to begin with. Omni Trio certainly did not have to worry about making his work sound musical (read: harmonious), it was merely an (un)intentional side effect of the equipment he used. Only the arrangement was his doing. Modern artists inspired by Omni Trio do not realise that the technlogy has changed since - in fact they believe it should be easier - this is the/a problem.
See 12 replies
Theroux

Theroux

January 9, 2015
Very underrated and easily my most favorite (and possibly the best) DnB artist ever.
djease

djease

October 25, 2014
Spot on. Essential releases. Inspired.
Bigchamp69

Bigchamp69

December 10, 2011
edited over 4 years ago
Rob was and could still be the best DnB producer ever in the scene. How come you say ? What about Rupert (Photek) or Karl (Dillinja) D-Bridge, Dom (Dom n Roland), DJ Crystl add Tech itch, Krust to!.. and 1 or 2 more.
Rob was a game changer, musically no one touches him. Listen to his first three releases. The vocals, the snares, the melodies, the composition and the beats. Everything fitted, nothing was over cooked or under cooked, he could produce hard dark tunes, tunes full of vocals, it did not really matter because musically it sounded better and still does than the rest. Rob was/is classically trained, so he understands composition and structure of music in general, not many producers do and lets face its not a prerequisite. People see Rob as the sound and vocal man .. he had all bases covered, for me the best there was and still is. Dom and Rupert (Photek) come real close as does Dillinja (never gets enough credit) all genius's in their own right, but for me Rob Haigh (Omni Trio) is the best.
lostscrapvinyl2022

lostscrapvinyl2022

September 23, 2010
edited over 12 years ago
Omni Trio is one of the most influential UK Jungle/DnB producers to my knowledge and I personaly recommend this release to new Drum 'n Bass listeners and Oldskool Ravers, Junglists, and Breakbeat heads. If you haven't already heard, Omni Trio is a legendary pioneer and his music rates a 6/5.

I know, not possible on Discogs... but I thought it would be cool if they had a 10/10 rating system to be more specific; In which case I would rate Omni Trio a true 10/10 for his work from what I heard of '92-'95...

I have all his tracks from then, and so should you!

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