"Got the VSM - BRILLIANT - finally got my OB8 strings and xpander sounds back!"
Steve Levine (Producer: Culture Club, China Crisis, Beach Boys, Reggae Philharmonic Orchestra)
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.
Artist feedback on our instruments
"I was able to use it on the first track I tried it on - impressive considering I threw-up over the original instruments back in my drinking days."
Bernard Sumner (Joy Division, New Order, Electronic)
"The forward thinking beauty of the M Tron Pro never ceases to please and offer incomparable flexibility & splendid sounds, both in the studio and live environment...and The Streetly Tapes Vol. 2 is as inspiring as ever! At your disposal are sounds ranging from beloved classics to the completely unexpected, offering great creative in congruency & the ability to create super-unique sounds never expected from a 'tron."
Tara Busch (www.analogsuicide.com)
"G Force's Minimonsta plug in does a dead on Minimoog impression. It's makes everything from killer bass sounds for dance beats to fab emulations of vintage '70s synth lead sounds. Of course, in addition to the traditional Minimoog controls, there are great LFO and trademark G Force Morphing sections. The interface is fast and easy to automate. Essential for any DAW."
Charles Nieland - Super Buddha (Producer: Debbie Harry, Rufus Wainwright)
It's difficult to believe ImpOSCar2 is a virtual synth. And a versatile one at that: fat pads, you got them; crunching basses, you got them; and tons and tons of new presets mean fun for all the family.
I love having the ability to resize the plug in. Setting size to LARGE I can still see the ImpOSCar2 on my laptop from the other side of the room !
I salute those crazy scientists at Gforce. Good work, boys, really good work.
Robert Bell (The Blue Nile)
"Today I installed the Oddity... it's beautiful. And with the 24dB filters it sounds much better than the original! I really can recommend this synth."
"Delicious. Really a new instrument based on that great warm, broad sound of the original. A welcome realisation of a great lost synth of the period.
(I remember a conversation with Paul Wiffen where he said the next stage of the Oscar was a poly version, but sadly, the company closed before this was realised).
So, the polyphony is finally here and is extremely useful. Some immaculately designed patches. Equally adept at groaning organic leads and delicate evolving soundscape pads. Everything from edible to visible to shredded.
I spent an entire day just playing with this one. Got quite lost in all its potential. Also managed to bank and record enough for the start of several new tracks. An inspiration."
John Foxx (Electronic Music pioneer)
"The Minimonsta does a great job of blending the classic analogue sound with todays modern technologies but does not compromise the sound. It can be deep and quick at the same time.
Whether I go to the great presets or dial something in, I'm always confident I will get something close to what I want and it has a very transparent sound.
It also never crashes and seems to be very consistent when I turn it on. I love how the effects works and will always lock to beat clock, and that it is very easy to use.
To be honest I probably use Minimonsta, the most. The thing is on every record I make!"
Carmen Rizzo (Coldplay, Seal)
"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)
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