"Can be fun & can get you into deep shit .... that's the thing about time machines, and that's what Ilove about the M-Tron Pro with the OptiTron Expansion Pack.....you know when you start to mess with it, you never know where you're going to...
We never pay artists for endorsements nor enter into an endorsement with an artist who has never used our instruments. Artists may be eligible to endorse our products provided they meet all of following conditions:
The artist must already own at least one GForce Instrument and express a genuine love for it.
The artist must prove popularity, e.g. have produced at least 1 top ten hit in a significant charts system in the last 24 months.
The artist must provide scans of at least 5 interviews in music oriented magazines, such as Groove or Bravo, alternatively video interviews on MTV or music shows on local television.
The artist must provide scans of at least 5 interviews published in magazines focussed on music production, such as Future Music, Electronic Musician, Keyboard, Sound & Recording or a combination of both magazine types.
If the artist has an existing or prior endorsement by another audio company (hardware or software), the artist must send signed confirmation that the existing or prior endorsements do not conflict with endorsement by GForce. For example, if the artist still has to mention an existing and prior product endorsed by another company he can not be endorsed by GForce.
The artist must provide prominent mention of GForce instruments in each booklet during the period of endorsement.
The artist agrees to mention GForce instruments prominently in any production centric interview within the period of endorsement.
The artist agrees to supply patches and demo tracks for inclusion in GForce products and use on the GForce website.
The artist must send a set of photographs (cleared for publishing by GForce), to be updated every 2 years.
The artist must provide a list of at least 5 appearances of GForce instruments on each album within the endorsement period, e.g. "Ambient background on track 02 using impOSCar2 preset ToDieFor"
Failure to meet any of the above conditions will result in termination of the agreement and any licenses that have been issued under this agreement will be revoked. GForce Software Ltd reserves the right to revoke any NFR license at any time for any reason.
The artist can end the endorsement period at any time by buying normal single user license.
David Friend - Oddity
The following was sent to us after the release of the original Oddity, not Oddity2. It is included here, not as a direct endorsement of Oddity2, but because of David's fascinating recollections of his time at ARP
"Hi guys. My name is David Friend and I was a co-founder and president of ARP Instruments and the lead designer of the original Odyssey.
Dave Mash at Berklee College bought me a copy of your software and we had a lot of fun with it in his office today. You guys did a fantastic job of getting every detail right, including incorporating some features that we couldn't have even dreamed of at the time (like memory).
One little known fact about the Odyssey is that there were actually two very different voltage controlled filters used iin different production years. We started out with the same 24db/octave VCF that Al Pearlman had designed for the ARP 2600, but it was a little on the expensive side. Also, Bob Moog claimed that our filter design infringed on one of his patents. About a year into production, we switched to a 12 db/octave VCF that I had designed a few years prior. It changed the sound of the instrument, making it brighter and more nasal-sounding. I came to really dislike that sound, so we came up with a new and less expensive 24db/octave filter the next year. I would guess that 75% of all the Odysseys built used the 24db/oct filter.
Anyway, a few keyboard players recognized the difference and actually had both versions around. Steely Dan, for one, had both. That is, until one of them crapped out during a recording session. They took it out back and ran over it with a truck then drove a spike through it thus permanently affixing it to the wall of the Record Factory Studios in LA. They called me at 2 in the morning so I could hear them banging the spike through the instrument. Not what you want to hear, especially in the middle of the night. Anyway, until I got your box, it was the thinnest Odyssey in the world.
The very first Odysseys were white and had wood sides. There weren't a lot of those made, maybe a few hundred.
The black one you use on the box was the mainstay production unit for two or three years. Toward the late 70s, we replaced the pitch-bending knob with three pressure sensitive pads for bending sharp, flat, and adding vibrato.
Over its lifetime, the Odyssey outsold the Minimoog by more than 2:1. The first synthesizer to be sold in retail music stores was the ARP 2600, back in 1971, I believe. I think I made the first sales call of a synthesizer manufacturer on a retail music store -- Manny's Music on 46th St. in New York. They threw me out, but later became the biggest ARP dealer in the world.
By the way, the stability of the ARP VCOs was the result of simply brilliant analog design by Al Pearlman. He is the best analog engineer I've ever met. Precisely compensating for the temperature sensitive characteristics of a semiconductor junction is not easy, and Al understood it far better than any of the engineers at Moog who had horrible problems with stability.
Anyway, it certainly seemed strange when I first saw an instrument that I once had on my drawing board turning up in museums. But having one completely emulated in software is the really the ultimate! Thanks for this wonderful labor of love."
David Friend (ARP co-founder and lead designer of the original Odyssey)