Virtual String Machine

Expansion Pack
This manual is copyright GForce Software Ltd 2019©. All rights reserved. No part may be reproduced without permission. All trademarks are acknowledged.
VSM Expansion Pack
This add-on pack contains a raft of vintage string sounds
from a veritable treasure trove of rare, iconic and highly
desirable instruments, together with the occasional also-ran,
has-been or outright nasty.
What all of these instruments have in common though is
character, whether it’s the cold, stark tones of the Elektronika
or the layers of lushness that emanate from the Logan String
Melody II. So if string ensembles are your thing, this expansion
pack, combined with the original VSM library will give you
access to an incredible range of sonic and musical possibilities.
After all, where else are you going to be able to apply a
combination of the mighty GX-1 with the lowly Clef Strings and
come up with something new and yet strangely familiar?

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A Second History Of String
Synths - Gordon Reid
By 1975, it seemed that new string synths were appearing almost every
month. Following in the footsteps of pioneering instruments such as the
Freeman String Stringman, the Eko Stradivarius, the Hohner Stringvox, the
Logan String Melody, the Roland RS101… and at least a dozen others.
But keyboard players craved more than just ensemble sounds, and this was
the year in which Yamaha announced what is widely considered to be the
greatest and most desirable of all polyphonic synthesisers. The Yamaha
GX-1 was physically immense, and had a sound to match. OK… it wasn’t
a string synth, but it introduced the string and ensemble sounds that would
become widespread when affordable dual-oscillator polysynths appeared a
few years later.
At the other end of the scale, some very useable low-cost ensemble
keyboards were appearing. Similar in some ways to the Logan String
Melody, the Jen SM2007 String Machine (1976) was
physically identical to a small range of Vox keyboards sold in the 1970s.
This is not surprising. Vox was by this time a brand name of the Thomas
Organ Company, which had already rebadged the Logan and sold it in the
UK as the Vox String Thing, and it seems that they repeated the exercise
with the SM2007, rebadging it as… the Vox String Thing!
The Hohner K4 (1977) was another high-quality string synth with a
murky lineage. Released in the USA as the Hohner Stringer, it appeared
in Europe as the Hohner String Orchestra and the Elgam String Ensemble.
Whether Hohner manufactured any of these is open to question, as all seem
to have been linked with Logan Electronics. As for their character… this was
rich and lush in the style of the Logans, but with a somewhat different timbre
and an unusual Ensemble control that could layer three octaves of the voices,
resulting in a mighty sound.
The following year, ARP released what may be the greatest of the so-
called ‘multi-keyboards’. Described by one of the company’s directors
as a “synthesiser sandwich”, the Quadra (1978) combined four sound
generators: a string ensemble and polysynth reminiscent of the ARP Omni
II, a dual-oscillator monosynth, and a bass synth. Like many other strings
synths, the Quadra’s ensemble sound was based on a divide-down sound

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generator shaped by a single (paraphonic) AR contour generator, but
it benefited hugely from being passed through ARP’s celebrated chorus
ensemble. The Quadra was designed in a hurry and rushed out almost in
desperation, but it still did some things better than any other instrument.
The Farfisa Soundmaker (1978) was a more basic multi-keyboard, with
a string section, a limited polysynth, and a simple monosynth. The strings
aside, its sounds were rather bland, so it was not a great success and is now
extremely rare. Nonetheless, owners are not hesitant to heap praise upon its
ensemble sounds. Descriptions include ‘warm’, ‘silky’, and ‘smooth’, and one
player described it as “more desirable than a Solina”. That was high praise,
indeed.
Even more rare, perhaps, is the Clef Strings. Originally designed as
a project for an electronics magazine, this was supplied as a kit by Clef
Electronics between 1978 and 1982. It could be a surprisingly attractive
and reliable keyboard, and it sounded rather fine, with many useable voices.
Furthermore, it was cheap (£179 for the electronics kit and £49 for the case
in 1982), but the fact that players had to build it before playing it relegated
the Clef to the realms of the electronics hobbyists. Shame.
Like Ken Freeman’s second and fourth prototypes and Korg’s earlier
PE-2000, the Korg Lambda (1979) featured three divide-down
oscillator banks that allowed players to detune banks A and B against
a fixed bank, thus creating a rich ensemble sound. In addition, its
Chorus (i.e. human voice) preset slotted nicely into the class of
sounds often referred to as Vox Humana. The combination of Chorus,
String I and String II is a classic sound, quite different from other
string synths.
Appearing the same year, the Roland VP-330 was one of the
classic keyboards of the late 1970s, and its Strings and Human Voice
sections generated some of the most recognisable sounds of the era.
With just one footage, the Strings sound was generated by a single
divide-down oscillator bank passed through Roland’s fabled ensemble
unit. Enveloping was very basic; it offered variable Release, but its
Attack was paraphonic, which could result in a ‘sucky’ and artificial
sound. Nonetheless, the VP-330’s strings were remarkably useable,
and some players even dumped their Mellotrons in favour of the little
Roland!

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One of the nicest ‘pure’ string synths ever released, the Godwin Model
749 String Concert (1980) was another to show Logan-esque
characteristics. Like the String Melody II, it offered ‘cello, viola and violin
registrations, plus attack and release controls with wonderful, slow maximum
times and, best of all, true polyphony rather than the paraphonic architecture
of so much of the competition. However, improving upon the Logan, the 749
had fully variable modulators so, instead of offering preset voices, it allowed
players to control the ensemble effect, making it far more subtle than other
string synthesisers.
By 1981, polysynths had become affordable, and the dividing line between
string synths and polysynths was becoming very blurred. The core of the
Firstman FS-4V was a four-voice synthesiser with individual oscillators,
filters and amplifiers for each voice. However, unlike conventional oscillators,
the voice boards in the FS-4V incorporated a divide-down section tapped at
multiple octaves for a string ensemble sound. Unfortunately, the instrument
proved to be rather unreliable, which is a shame because, when working, the
FS-4V was capable of some interesting and unusual string sounds.
The Teisco SX-400 (1981) was another Japanese instrument that failed
to make a significant impact. This was also a 4-voice polysynth at
heart but, unlike the Firstman, it was built like a tank. What’s more, it
featured a whooshy, noisy ensemble effect that produced some of the
lushest sounds of any string synth or ensemble. Had it appeared in the
mid-70s, it might have become a classic, but it was at least five years
too late to do so.
By 1982, it was becoming difficult to sell a ‘pure’ string synthesiser or
ensemble, and manufacturers were repackaging all of them as multi-
keyboards. As you might glean from its name, the Crumar Trilogy
sported three sound creation sections: String, Organ, and Synth.
Given the company’s pedigree in this area, it wasn’t surprising that
the strings were warm, even though the sound was hampered (again!)
by a paraphonic architecture. Unusually, a number of the controls in
the synthesiser section also acted upon the strings. These included
frequency modulation (vibrato) and four types of pitch-bend for bowing
effects.

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The Sequential Prelude – a repackaged Siel Orchestra 2 – was
perhaps the most surprising string synth to appear that year. Mind
you, its lineage shouldn’t be held against it; Siel manufactured many
low-cost string synths, and the ARP Quartet had been a repackaged
version of the original Siel Orchestra. But the later model had a huge
advantage over the former – a 5-band equaliser made it capable of
producing a much wider and more interesting range of string sounds.
Perhaps the most interesting keyboard of 1982 was the Technics
SX-K200. At first sight, this seemed to be destined for the toy bins
occupied by Bontempi organs in the 1970s, but a closer inspection
showed that the it was an important instrument that anticipated the
direction that much of keyboard technology would take in the 1980s. Most
importantly, the SX-K200 was the first keyboard to include PCM samples
as part of its sound generation. Nonetheless, its Orchestral Presets were
generated by Technics’ analogue organ technology, so the SX-K200 also
qualifies as one of the last of the analogue string ensembles!
Before releasing the DX7, Yamaha released two (relatively) low-cost digital
keyboards for the domestic market. One of these was the CE25 Combo
Ensemble (1983), which included three FM-generated strings voices
among its twenty presets. Surprisingly, the CE25 was both velocity-
and pressure- sensitive, and it offered a Symphonic Depth control
that determined the amount of chorusing applied to the sound. The
results could be superb, and even today the CE25’s strings can hold
up their heads in respectable company.
The Sequential Circuits Fugue (1984) was probably the last
ensemble synth released in Europe, Japan or the USA. However,
production of this type of instrument continued for many years
behind the Iron Curtain. The free world new little or nothing of the
Electronica EM25 and numerous other instruments built
in Soviet Russia and the DDR before the wall came down, but it
later proved to be a combination of a string synth, a limited organ
and a basic polysynth. The EM25 was far from ‘lush’ and, rather
than emulate the rich sounds of the classic Italian string synths, it
produced yet another flavour of rather harsh, but often interesting
string ensemble sounds.

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 SOUNDS
ARP Quadra
Phased Strings (49 Notes):
Strings recorded with the Quadra’s onboard phaser. Mix with the VSM phaser for
some madcap modulation.
Clef Strings
Strings 1 (49 Notes):
16 ft Strings from the self-build
string ensemble.
Crumar Trilogy
16 ft Strings (49 Notes):
Lower octave strings from the Italian
organ, synth and string ensemble
multi-Instrument.
Elektronika EM25
16 ft Strings (36 Notes):
Lower Octave notes from a very rare
Soviet String Ensemble. Not the
most lush of string ensemble sounds
but still one with character.
8 ft Strings (49 Notes):
Mid Octave notes from a very rare
Soviet String Ensemble.
Strings 2 (49 Notes):
8 ft Strings from the self-build string
ensemble.
8 ft Strings (49 Notes):
Mid octave strings from the Italian
organ, synth and string ensemble
multi-Instrument.
4 ft Strings (49 Notes):
Higher Octave notes from a very rare
Soviet String Ensemble.
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Farfisa Soundmaker
8 ft Strings (49 Notes):
Mid Octave notes from one of our
4 ft Strings (49 Notes):
Higher Octave notes from one of our
favourite Italian multi-instrument
string ensembles.
favourite Italian multi-instrument
string ensembles.
Firstman FS-4V
16 ft Strings (49 Notes):
Lower Octave notes from the very
4 ft Strings (49 Notes):
High Octave strings.
rare and sweet sounding FS-4V
multi-instrument. 4 & 2 ft Strings (49 Notes):
A mixture of mid and high octave
8 & 16 Ft Strings (49 strings.
Notes):
2 ft Strings (49 Notes):
A combination of lower and mid
octave strings. Very high octave strings.
8 ft Strings (49 Notes):
Mid Octave strings.
Godwin Model 749 String Concert
Cello (49 Notes):
Very simple 16 ft strings from a
Viola Chorus (49 Notes):
8 ft strings with the on-board
dedicated string synthesizer owned a chorus.
million years ago by Rob at
www.failedmuso.com. Violin (49 Notes):
Basic 4 ft strings.
Cello Chorus (49 Notes):
Violin Chorus (49 Notes):
16 ft strings with the on-board
chorus being used to full effect. 4 ft strings with the on-board
chorus.
Viola (49 Notes):
Very simple 8 ft strings.
Hohner K4 (AKA Hohner
Stringer, Hohner String
Orchestra and Elgam String
Ensemble)
Cellos (49 Notes):
An interesting multiple Cello sound.
Cellos Ensemble (49 Notes):
The previous sound but via the on-
board Ensemble.
Strings (49 Notes):
The basic Hohner String sound.
Logan String Melody II
Cello (49 Notes): Viola (49 Notes):
The cello preset from one of our The viola preset.
favorite String Ensembles.
Violin (49 Notes):
Orchestra (49 Notes): The violin preset.
Strings Ensemble The orchestra preset from one of our
(49 Notes): favorite String Ensembles.
The Strings via the on-board
ensemble.
All Strings (49 Notes):
Polymoog
A combination of the Cellos and
Strings. Vox Humana Lo (49 Notes): Vox Humana Hi (49 Notes):
A low octave version of the legendary A higher octave version of the
Numan sound. legendary Numan sound.

Jen SM207 String Machine

(AKA Vox String Thing)
Lo Strings (49 Notes):
A mix of Cello and Viola settings via
the on-board ensemble.
Korg Lambda
Epic Strings (49 Notes):
A heavily detuned combination of
Strings 1 and 2.
Strings 1 (49 Notes):
The basic Strings 1 patch from the
Lambda.
Strings 1 Ens 1 (49 Notes):
Strings 1 via the Lambda’s on-board
Chorus.
Hi Strings (49 Notes):
A mix of Viola and Violin settings via
the on-board ensemble.
Strings 2 (49 Notes):
The basic Strings 2 patch.
Strings 2 Ens 1 (49 Notes):
Strings 2 via the Lambda’s on-board
Chorus.
Sequential Prelude (AKA Siel
Orchestra 2)
16 ft (49 Notes): 4 ft (49 Notes):
Lower Octave notes from the Italian HighOctave notes from the Italian
made piano, organ, brass & string made piano, organ, brass & string
ensemble. ensemble.
8 ft (49 Notes):
Mid Octave notes from the Italian
made piano, organ, brass & string
ensemble.
Technics SX-K200
Chorus Strings (49 Notes): Ensemble Strings (49
A string preset from one of the last Notes):
string ensembles to be made. The second string preset from one of
the last string ensembles to be made.

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Teisco SX-400 Yamaha GX-1
Strings (49 Notes): Unison Strings (49 Notes): Lower Cello 1 (49 Notes): Strings 2 Hi (49 Notes):
A rich violin sound from one of A unison version of the same violin The lower manual Cello sound from Higher octave strings 2.
the also-ran Japanese instrument sound. one of most iconic instruments ever
makers. produced. Strings 2 Lo (49 Notes):
Lower octave strings 2.
Strings Ensemble (49 Strings 1 Hi (49 Notes):
notes): Higher octave strings 1. Violins Mix (49 Notes):
A slightly richer violin sound Recorded from the GX-1’s line
enhanced by the on-board ensemble Strings 1 Lo (49 Notes): out. This is a bandpass filtered
effect. Lower octave strings 1. combination of Strings 1 & 2.

Roland VP330
Strings Ensemble (49
Notes):
The classic Roland string sound from
the classic Roland Vocoder.

Yamaha CE-25
Strings 1 (49 Notes): Symphonic 1 (49 Notes):
The first string patch on this FM Strings 1 with the on-board CE-25
based instrument offering a lovely Symphonic feature activated.
contrast to the usual analog string
ensembles. Symphonic 2 (49 Notes):
Strings 2 with the on-board CE-25
Strings 2 (49 Notes): Symphonic feature activated.
The second, and thinner FM based
string patch. Perfect for fattening up Symphonic 3 (49 Notes):
via the VSM ensemble. Strings 2 with the on-board CE-25
Symphonic feature activated.
Strings 3 (49 Notes):
Another thinner FM based string
patch. Again, perfect for fattening up
via the VSM ensemble.

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 SOUNDS
NB: Because we sample and loop every note of VSM’s 49 note sound-sets, loading
a Stereo bank will take longer than Mono banks. Occasionally, we may have sampled
notes over a lengthy duration (somewhere approaching 20 seconds per note) and as
such there are bound to be moments when you may think “Is this really loading?” It is.
Mellotron MkII (1962)
MkII Violins Mono (49 Notes)
The iconic and legendary Three Violins
sound, originally recorded by Harry
Chamberlin. Because the original
instrument was only 35 notes,
Oberheim 8-Voice (1977)
All of these sound sets were recorded
using the 8-Voice’s magnificent Unison
mode where stacking all 8 SEMs
triggers up to 16 oscillators from a
single note. With VSM we have the
ability to replay these polyphonically
and now in stereo.
Oberheim OB-12 (2000)
Granted it’s an Italian Viscount branded
‘Oberheim’ but in recent years it’s been
acknowledged as a pretty damn good
synth, with a character of its own.
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we’ve pitch shifted various notes to
accommodate VSM’s 49 note key
range. We’ve also committed the
cardinal sin of looping each note.
Please don’t tell anyone.
Strings 1 Stereo Hi (49 Notes)
Strings 1 Stereo Lo (49 Notes)
Strings 2 Stereo (49 Notes)
Strings 1 Stereo Hi (49 Notes)
Strings 1 Stereo Lo 49 Notes)
Strings 2 Stereo Hi (49 Notes)
Strings 2 Stereo Lo (49 Notes)
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Orchestron (1975)
The Orchestron was an optical organ
that used celluloid discs as a method
of sound storage and was designed
as a rival to the Mellotron. Because
it used discs, as opposed to tape,
it circumnavigated the Mellotron’s
8 second note limitation and played
continuously once a key was pressed.
Its lo-fi, grainy quality isn’t for
Roland Jupiter 6 (1983)
Granted it’s not the JP-8 but in recent
years the JP-6 has attracted a serious,
dedicated following thanks to it’s
character and features that weren’t
available on the Jupiter 8, such as Unison
Detune. This sound-set comprises of a
unison detune patch processed though a
Roland Dimension D.
Roland JP-8000 (1996)
Another virtual analogue instrument,
but one that attracted a cult following
due to its very respectable sound.
We’ve heard from several professional
keyboard players who still reach for
the JP-8000 when it comes to string
ensemble sounds.
everyone, but it does have immense
character. The original Orchestron
had a 37-Note range from F-F. To
make this fit with VSM’s 49 Note C-C
range we’ve pitch shifted some notes
up and down.
Violins Mono (49 Notes)
Cello Mono (49 Notes)
Unison Strings Stereo Hi
(49 Notes)
Unison Strings Stereo Lo
(49 Notes)
Noisy Strings Stereo Hi
(49 Notes)
Noisy Strings Stereo Lo
(49 Notes)
Ensemble Strings Stereo
(49 Notes)
Strings Stereo Hi (49 Notes)
Strings Stereo Lo (49 Notes)
Roland VP330 (1979)
Finally. Stereo recordings of both the
MkI and MkII VP-330 strings.
Yamaha CS-60 (1977)
Essentially half a CS-80 (although in
practice it’s less than half), the CS-
60 preset strings aren’t too shoddy.
However, they really need an ensemble
to bring them to life. We’ve spiced up
Strings 1 by recording it via a Roland
Dimension D. The CS-60 Strings 2
preset was recorded via the external
input of the Roland RS-505 Ensemble
(Mode II).
Yamaha SY-2 (1975)
The SY-1 and 2 were the first Yamaha
portable synthesisers, sharing many
internal components with the mighty and
mythical GX-1. The stereo ensemble
recordings here were processed though
a Roland Dimension D.
Credits and Thanks
Gordon Reid, Davy Blakely, Richard James, Russ Butterfield, Duncan Parsons,
MkI Strings Stereo (49 Notes)
Graeme Rawson & Ian Legge.
MkII Strings Stereo (49 Notes)
Patch Design
Richard James, Russell Butterfield, Davy B, Dave Spiers & Chris Macleod.
Ensemble 1 Stereo Lo
(49 Notes) Legal Notice
Ensemble 1 Stereo Lo
(49 Notes) All product names used in this product are trademarks of their respective owners and
Ensemble 2 Stereo Hi are in no way associated or affiliated with GForce Software Ltd. These trademarks of
(49 Notes) other manufacturers are used solely to identify the products of those manufacturers
Ensemble 2 Stereo Lo whose tones and sounds were studied and or recorded during development of this
(49 Notes) product.
The data contained within this product is licensed to you for use in your own musical
compositions both for commercial and personal projects. Redistribution of the data in
any other form is strictly forbidden.
Put simply, we went to a great deal of expense and effort to provide VSM users with
something cool and unique and we do not want to see any of this work miraculously
Strings Ens Stereo Hi appear in other products or provided in other formats. It also goes without saying that
(49 Notes) we do not want to see this work passed around on the internet and will pursue anyone
Strings Ens Stereo Lo who thinks it’s a good idea.
(49 Notes)
Strings Mono Lo (49 Notes)
Strings Mono Hi (49 Notes)
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