Development of the Virtual String Machine (V1) started after we’d been asked to find a Solina for the UK band, Kasabian. Finding one in top condition, at a reasonable price and ready to survive the rigours of life on the road was an almost impossible task, and the idea of a definitive String Machine was born - both as a way of preserving all the iconic and esoteric sounds from that genre of instruments, and also as a way of introducing these tones to a new generation of computer-based musician.

This idea was further compounded after we trawled some of our favourite tracks from the last few decades and realised how influential these instruments had been. For example, what would Lonnie Liston Smith’s ‘Expansions’ have been without that string machine fizz? Similarly, what would the intro to **Pink Floyd’**s ‘Wish You Were Here’ have sounded like without those moody string machine chords? And can anyone imagine ‘Oxygene’ without the tones imparted by the Eminent 310 and Small Stone Phaser?

Although seen by some as a one-trick-pony, string machines, in their numerous forms, have graced tracks by artists as diverse as Air and Pink Floyd through to The Cure, Parliament, Herbie Hancock, Joy Division, Jean-Michel Jarre, Thomas Dolby, Tonto’s Expanding Head Band, Camel, Genesis, Toni Tone and countless others. The list is endless and when a couple of friends worked on the Goldfrapp album ‘Supernature’ and we first heard the tearing Roland string tone on the track ‘Number One’, once again, we were hooked on these old school sounds.

Over the course of the ensuing year, we embarked on creating the instrument, as well as locating and recording almost every string machine we could find. Finding top condition examples was no easy task and we had to pass on many a battered instruments before finding something worthy of recording. However, during this long but fun process, we were fortunate enough to be in contact with Gordon Reid, a respected keyboard player and technical journalist who was researching a series of articles documenting the history of the genre and who had amassed a huge selection of immaculate instruments. These contributed significantly to our instrument, as did his answers to the many questions we threw at him during the recording sessions, “Where’s the kettle?” being the most common.

After the sessions we would depart having recorded every sound of every note and begin the huge task of editing and looping, mindful of the fact that we shouldn’t iron out any of the instrument’s fundamental character. With over 3000 individual samples included here, it will be clear to all that this was a lengthy and highly involved process, but in our opinion, it was essential to do it this way. For example, due to its architecture, each note of the Freeman String Symphonizer sounds different, and if you’re going to stand any chance of capturing this instrument in its full glory, individual note samples are downright essential. Ditto the Polymoog.

Then came the big question, “What to name the instrument?” Of course, all the obvious choices were considered, with superlatives falling like rain. Super String Machine, Mega Strings, and String King were all mooted, but these implied real strings, and obviously, that’s not the focus of this instrument. At one point, we hit upon Analogue Replica String Ensemble, and although the acronym made us laugh, we were ‘advised’ against it.

Seriously though, regarding feature-set, we knew from the off that it should have a vintage style phaser, an ensemble and a multi-band filter with no self-oscillation. With these tools, plus filter and amplitude envelopes, we think we’ve provided an intuitive and powerful feature set that compliments the fundamental samples.

We also deliberately kept the note range limited to 49 notes because this note limitation forces the artist to play within certain boundaries and not ‘overcook’ any string parts, in much the same way as the M-Tron’s 8-second limitation forces you to adapt your playing style and allowing the music to breathe. Put simply, there is beauty in limitation and maybe that’s a contributing factor, above and beyond tone, as to why the original instruments were so popular. Of course, if you want to stray outside strictly retro string machine territory, with the multitude of instrument samples available, coupled with the powerful editing features, the VSM makes creating personalised and unique tones a cinch. Or you can simply choose to layer the sounds from different string machines to create your own hybrid retro instruments.

Enjoy.