Instrument Quotes

Artist feedback on our instruments

Mikey Rowe

LDN_7718.jpg

The M Tron Pro and it's expansion packs are completely believable and as authentic as they come. I've used these on many records and on tour  - I couldn't do without them in my arsenal of sounds'.

Mikey Rowe (Noel Gallagher's High Flying Birds, Mick Jagger, Stevie Nicks, Sheryl Crow, Elli Ingram, Bill Fay, FSOL, Amorphous Androgynous, Nas).

 

Marius De Vries - Minimonsta

"Responsive, realistic, utterly 3-dimensional..... does to the minimoog what the impOSCar did to the Oscar, and more.... another beautiful synthesizer from GForce. CONGRATULATIONS!"

Marius De Vries (Bjork, Madonna, Moulin Rouge)

Dave Brinkworth - OptiTron Expansion

"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 end up."

Dave Brinkworth (Harmonic 33, Kula Shaker, Azymuth)

James Meeker - VSM

on

"This afternoon I finally had the chance to sit down with my newly purchased VSM.

At first I thought there was something wrong, but then I realized the thudding sound I kept hearing was my jaw hitting the deck.

This is a truly marvelous instrument. Yes, instrument--not some trifling software synth consisting of code; but a living, breathing, snarling (and occasionally swirling, depending on the phaser settings) beast. The credibility of the VSM is such that you have done the world a service by preserving the soul of these wondrous, near extinct instruments. Wandering around the VSM\'s presets is akin to touring a colossal museum dedicated solely to cataloging string machines of ages past.

Amazing job. Truly. Your products are always top on my list of "go to" instruments. Just this afternoon I've already replaced the string parts on three songs with the VSM. Effortlessly I might add."

 

Mac Directory Magazine - Minimonsta

"....this instrument represents a quantum improvement over the original and leaves all competing Moog emulators smoldering in the dust. A perfect recreation with amazing new features."

Mac Directory Magazine - 5 STAR AWARD

Ryan O'Neil - impOSCar2

"What a beautiful instrument - another incredible job!"

Ryan O'Neal (Sleeping At Last) 

John Foxx - Oddity

on
artist_john_foxx_1194336520_thumb.jpg

"The Oddity is beautifully realised. All the power, character, precision, intricacy, grunge and sonic extremes of the original - plus memories. (A real gift - I managed to lose so many good sounds- or record some that I then couldn't reproduce again).



It's also capable of doing things the original never could - basic things such as midi sync, right up to the sophisticated and beautiful morph facility.



As for what defined that original - scorching leads, the swoops down to unstable depths, plus an ability to make new sounds - from abstract to uncontrollable - this can do it all. Just as the original, it responds beautifully to echoes, reverbs, flanges and additional spatial effects, all of which open up new dimensions. Everything from precise early analogue to howling organic electrolife is here.

A great tool for any kind of sonic sculpture."

John Foxx (Electronic Music Pioneer)

Eric Persing - impOSCar

artist_eric_persing_1194336890_thumb.jpg

"... man does it sound great! What struck me right off is that I hear a really musical analog vibe from the filters... quite rare with digital filters (as you well know)."

Eric Persing (Spectrasonics Head Honcho)

David Friend - Oddity

on
artist_david_friend_1194336876_thumb.jpg

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)

Darius Keeler - VSM

on
artist_darius_keeler_1208970318_VZoN_thumb.jpg

"As a producer who often uses string sounds it is very difficult to find samples that have their own identity. The GForce string machine, however, has exactly this.

At last I have a machine that has the capability to create the depth of this sound. The bottom end resonates, the mids can be warm and pulsating, and the top end both pure and piercing without sounding like a digital mess. There is also a unique eeriness about this machine.

All of the controllers, the filters etc are both subtle and effective, and add to the overall diversity of this machine. A true triumph in software."

Darius Keeler (Archive)