Instrument Quotes

Artist feedback on our instruments

Keyboards Magazine Germany - impOSCar

"I'm impressed by impOSCar. Many sound creating features are far extended coherently. ImpOSCar is no common plug-in: distortions are part of its special sound...

The offered sounds are original: bass line sounds are way more brachial than with any other plug-in.

If you like digital FXs you got to put your hands on impOSCar... The wicked, high powered and harsh sounds make it so different to all other simulations of analogue gear."

Keyboards Magazine Germany

Geoff Downes - impOSCar

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"Having been a member of the original Oscar owner's club in the mid-eighties (this was made up of assorted geriatrics, weirdos pot-heads!), I was very curious (and dubious) to see how this new damned elusive impOscar would measure up against its mentor.

You see, there was always that ONE sound that you could get out of the original Oscar and not from anything else which made it really quite special.

Well I can honestly say in comparison, after having worked with impOScar for some months now, the answer is simply: Better - and better. Very inspirational sounds, ease of operation, full polyphony, fatter-than-fat bass and many other very cool features make it without doubt one of the best software synths on the market in my opinion. And most importantly, you can still get that ONE sound that sounds like nothing else. In fact, you can get quite a few more than just one! Bloody brilliant - Get one. Now!"

Geoff Downes (Asia, Buggles & Yes)

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)

Computer Music Magazine - Minimonsta

"A fine emulation of the much-loved Minimoog, and, dare we say, an improvement on the original!"

Computer Music Magazine

Sandy Vee - impOSCar

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"I immediatly felt in love with impOSCar for its unique sound.

For my productions, it's a very versatile synth. I can use it to make a big and fat bassline, for beautifull large pads, or even moving arppegiators. Build a bass sound using the two oscillator in saw, and you will have the most fat bass sound ever.

ImpOSCar is easy and intuitive to program and all the parameters are on the GUI. The filter section is superb, warm and smooth. Close your eyes, and you won't believe its a software synth!

Today, there's a lot of VSTs on the market, but GForce gives us something that sounds unique and different with their reproduction of this classic and legendary british synth."

Sandy Vee (Producer, Remixer, DJ)

Rick Wakeman - Minimonsta

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"There's simply nothing out there that comes close to this little beauty."

Rick Wakeman

David Friend - Oddity

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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)

Sandy Vee - impOSCar2

"I was just crazy about ImpOSCar. But with ImpOSCar2, it’s the big next step in plug-ins."

Sandy Vee (Katy Perry, Rihanna)  

The Crystal Method

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"Having both an OSCar and Odyssey in our studio we of were very excited to hear their virtual counterparts. We were blown away

Both are sonic beasts that truly represent the unique sound qualities of two of our favorite synths. These bad boys are all over the new album. Simply amazing!"

The Crystal Method

Darius Keeler - VSM

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"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)