Virtual String Machine

THIS MANUAL IS COPYRIGHT GFORCE SOFTWARE LTD 2007.

ALL RIGHTS RESERVED. NO PART MAY BE REPRODUCED WITHOUT PERMISSION.
ALL TRADEMARKS ARE ACKNOWLEDGED.

1 Virtual String Machine

Virtual String Machine
Welcome to the Virtual String Machine. In this instrument there are literally thousands of recordings of
classic vintage string machines, each of which has been painstakingly looped in order to provide you
with the most comprehensive classic string machine library available. These instruments include the
ultra rare (and first ever string machine) Freeman String Symphonizer, the highly coveted Solina, the
eminently desirable Eminent 310, the much-lauded Logan String Ensemble, as well as several other
indisputable classics.
Development of the Virtual String Machine started after wed 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 rigors 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 realized how influential these instruments had been. For example, what would Lonnie Liston Smiths
Expansions have been without that string machine fizz? Similarly, what would the intro to Pink Floyds
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, Tontos Expanding Head Band, Camel, Genesis, Toni
Tone and countless others. The list is literally 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 instrument 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; Wheres 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 shouldnt iron out any of the instruments
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 youre 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, String King were
all mooted, but these implied real strings and obviously thats 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, with regards 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 weve 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-Trons 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 thats a contributing factor, above and
beyond tone, as to why the original instruments were so popular.
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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
personalized 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.
A Brief History Of String Synthesisers - Gordon Reid.
The modern, polyphonic string synthesiser was invented in
1970 by Ken Freeman, a British keyboard player and engineer
who discovered that, if you layered a note with another,
detuned and slightly modulated version of itself, a pleasant
chorused sound resulted. Building prototypes with multiple
oscillator banks and vibrato oscillators, Freeman refined his
ideas while work flooded in, largely because nobody else could
create such a warm and realistic string ensemble sound.
In the spring of 1972, Freeman demonstrated his String
Synthesiser at the Frankfurt Musikmesse. With three oscillator
banks and a sound that has become part of keyboard legend,
it elicited great interest, but it was not destined to become the
first string synth on the market.
In Holland, the Eminent organ company had discovered
that they didnt require multiple oscillators per note to create
the ensemble effect. A new class of chip - the BBD delay
line - made it possible to take the output from a single
oscillator and split this into multiple signal paths, modulating
the pitch of each out of phase with respect to the others to
create a warm and lush ensemble sound. Late in 1972, a
home organ, the Eminent 310 Unique, became the first Eminent 310 Unique
commercially available keyboard to produce this sound,
and it spawned an industry that, over the next decade, was
to manufacture more than one hundred string synths and
multi-keyboards.
When Freemans keyboard arrived in 1973, it had been
renamed the Freeman String Symphonizer. Built by
Lowrey in the USA, this had lost one of the prototypes
oscillator banks, so its sound was thinner and less complex
than that of its forerunner. But it was much brighter than
the Eminent, and provided an interesting alternative to the Freeman String Symphonizer
thicker sounds generated by BBD-based ensemble circuitry.
Recognising that the ensemble sound appealed to rock-
n-roll bands, Eminent decided to separate their string
synth from the rest of the organ to create a lighter, more
portable instrument that players could take on the road.
The result was one of the most important keyboards ever
manufactured; the Solina String Ensemble. Released in
1974 under both the Eminent and ARP names, this remains
one of the most desirable of all electronic keyboards.
Solina String Ensemble
The interest in these instruments was not going unnoticed
elsewhere and, by the time that the Solina appeared,
Italian manufacturer Crumar (run by a gentleman named
Mario Crucianelli) had released the first of a range of smaller
and lighter string synths. But it was Marios brother, Piero
Crucianelli, whose instruments initially had greater impact.
His company was Elka, and the affordable Elka Rhapsody
490 (1974) and Elka Rhapsody 610 (1975) became instant
successes. Of these, the 490 was the smaller and less flexible,
but the sounds of both - simultaneously warm and edgy -
ensured that they became two of the iconic instruments of the
era.
Meanwhile, just along the coast, a previously unknown Italian
company released the forerunner of what is possibly the warmest,
lushest, and most recognisable string synth of them all. Known as
both the Logan String Melody and the Vox String Thing, this
produced the most wonderful ensemble sounds. When, two years
later, it metamorphosed into the Logan String Melody II, Logan
had extended its palette to include the most evocative cathedral
organs yet heard. The Logans are legendary, still sought-after and
used to this day.
Technology was now racing forward at a previously
unprecedented rate and in 1975, just three years after
Freeman had demonstrated his prototype, three companies
released very different keyboards that were forever to change
the way that players viewed and used their instruments.
Perhaps the most influential was the Crumar Multiman.
Commonly accepted to be the first of the multi-keyboards, this
was capable of generating piano-like, bass, brass and strings
sounds simultaneously, and offered unparalleled flexibility.
It didnt sound bad either. Across the Atlantic, ARP took the
concepts embodied in the Solina and combined them with the
filter and contour generator of a monosynth to create the ARP
Omni, a forerunner of the truly polyphonic synthesisers, later
to be dubbed a paraphonic synthesiser. Then there was the
Moog Polymoog.
Often (but inaccurately) described as the first polysynth,
the Polymoog lacked an ensemble circuit, but combined
some genuinely polyphonic electronics with the paraphonic
architecture of the ARP to provide a wider range of imitative and
synthesised patches. It was unreliable and often derided, but
that didnt stop many of the most influential players of the time
from creating some excellent sounds on it.
By this time, string synths and their derivatives were
mainstream instruments every bit as important as electric
pianos, organs and synthesisers, so it was inevitable that
Japanese manufacturers would turn their attention to them.
Roland had tested the water in 1975 with the RS-101 Strings,
but this was curiously unsuccessful. The same could not
be said of the RS-202 Strings (1976). This introduced the
companys now-classic OFF/I/II ensemble generator, and
produced a transparent sound that was to become a very
desirable alternative to the thicker ensembles of the European
and American keyboards.
Also in 1976, Korg introduced an ensemble that reverted
to Freemans original scheme of layering multiple, detuned
oscillators to create the chorused sound. The PE-2000
Polyphonic Ensemble was a remarkable instrument, not only
producing unique strings, brass and organs, but it was also
the first keyboard to generate the nasal, vocal timbre that
was to characterise much of the Japanese electronic music
of the mid- to late- 1970s.
Even the industrial giant that is Yamaha decided to enter the
market. Known primarily for the mighty GX-1 and its lighter
and more affordable (but still back-breakingly heavy and
Elka Rhapsody expensive) progeny the CS-80, the company took a belt-n- Yamaha SS-30
braces approach to string synthesis, and became the first to
combine Freemans multi-oscillator architecture with a BBD-
based chorus unit. Announced in 1977, the resulting keyboard
was the SS-30, a remarkable instrument that was equally
capable of producing the edgy sounds of the Freeman;
the high, aetherial tones of the Solina; and the thicker, lush
sounds of a conventional ensemble.
By the end of the 1970s, the keyboard-playing world was on
the brink of moving in a new direction, but there were still
Logan String Melody Arp Quartet
numerous variations of the ensemble keyboard to explore.
One such was the ARP Quartet (1979); small, light, cheap,
and therefore surprisingly popular. Another was the Moog
Opus 3. Released in 1980, this compact multi-keyboard
proved to be Moogs only foray into ensemble synthesis,
but still managed to offer a somewhat different approach
and another range of sounds. Then there was Yamahas
SK range, which encompassed the SK-10, SK-20, SK-30,
the dual-manual SK-50 and, finally, the SK-15 Symphonic
Crumar Multiman Ensemble. Released in 1981, this was a cut-down version Yamaha SK-15
of the SK-20; a basic, low-cost string synth that offered yet
another variation on the ensemble sound.
By the time that the SK-15 appeared, the world was no longer
interested in the sounds produced by basic string synthesisers,
and the writing was on the wall for all ensemble keyboards.
Expensive polysynths such as the Prophet 5 and Jupiter 8
were capable of producing many string-like sounds, and the
first of the affordable polysynths had started to appear. In the
Moog Polymoog vanguard of this revolution were the Korg Polysix and the
hybrid analogue/digital Roland Juno 60, genuine synthesisers
incorporating chorus/ensemble sections that made them
capable of imitating many of the sounds of dedicated string
machines. Nevertheless, the sounds of the best ensembles
remained unique, and it was the flexibility and power of the next
generation of analogue and digital synthesisers - rather than
any notion that they imitated dedicated ensembles - that was
finally to kill off the string synths.
Released in 1983, the year that digital synthesis conquered
Roland RS-202 Strings the world, and in which the last of the true ensembles were
released, the Oberheim OB-8 was the third in a series of
polysynths that included the OB-X (1979) and the OB-Xa
(1981). With a wider range of modulation options than its
predecessors, it was capable of producing all manner of solo-
and ensemble- string sounds, even without an on-board chorus
ensemble. Its successor was even better. The Oberheim
Xpander, released in 1984, was in many ways the most flexible
analogue polysynth yet seen, and its warm string timbres
PE-2000 became widely used as a counterpoint to the more precise but
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often sterile sounds of the FM synths of the mid-80s. By 1986,
the string synth was dead in Europe, Japan and the USA,
but elsewhere it lived on for a while longer. Behind the Iron
Curtain, technology and affluence trailed the western world,
and string synths were produced late into the 1980s. One of
these was the Junost-21, a combination of a basic analogue
polysynth and a preset ensemble keyboard, designed to be
worn like a guitar and articulated using the controllers on its
Junost 21
stubby neck. Sounding unlike any other string synth, it is a
suitably strange and unusual instrument with which to end a
Brief History Of String Synthesisers.
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If youre reading this message then the chances are you paid for this copy of VSM and please accept
our heartfelt thanks. All revenue from sales of our instruments go back into developing new products
and allows us to create tools that dont necessarily conform to industry demands and expectations.
As software users ourselves, we dislike intrusive copy protection and we firmly believe that legitimate
users shouldnt have to jump through countless hoops before they begin to create music. However,
thanks to piracy, there may come a point when this has to be reappraised. So the message is simple
If you want independent, free-thinking developers to continue a simple approach to installation and
protection, dont steal their software.
Thank you.
Installing VSM
Included on the Master DVD are multiple versions of the VSM. The VSM installer installs ALL versions
via a single installer; one for Mac and one for PC.
Insert the VSM Master DVD into your DVD Drive and select the VSM installer applicable to your
machine type (PC or Mac) and install the instrument formats.
VERY IMPORTANT: Once this is complete you need to manually copy the file named Resources.cpt2
from your DVD to a suitable location. We recommend the following locations:
PC Version: C:/Program Files/GForce/String Machine
Mac: HD/Library/Application Support/GForce/String Machine
The Resources.cpt2 file is 2.5 gigabytes in size if you prefer, you may place it in any location you
wish, such as a dedicated audio or sample storage drive.
Once the Resources.cpt2 file has finished copying to your hard drive, launch the VSM via your host or
the Standalone version. The first time you open VSM you will be prompted to locate the Resources.
cpt2 file and enter the Registration Code EXACTLY as you find it printed within your Quick Start
Guide or sent to you via email.
After installation please check our web site for the latest updates and register your VSM. Registering
your GForce product gives you access to priority support and free updates.
instruments like the Freeman String Symphonizer, we love the way that each note sounds slightly
different and with two oscillators per note the differences can be quite marked. For example the
brightness of each C in the octave, compared to the rest of the notes, leads to the type of tones that
set this apart from other similar instruments within the genre. In short, you will find variations between
different notes on many instruments but as this undoubtedly adds to the overall character it was
essential to preserve it.
To further highlight this, on some instruments we have deliberately preserved the attack portion of
each note because we felt it was essential in capturing the essence of the instrument. This means
that when you set the envelope attack time to zero, there will still be a degree of ramping in. With
others, it was less important and these will have a sharper attack when you set the envelopes in the
same way.
In fact during development we have discovered a few guidelines that might help you get the most out
of your VSM.
When using sounds that already have ensemble or chorus included, the on-board ensemble is largely
unnecessary.
Similarly, be careful of applying mush on top of mush. We dont really recommend using copious
amounts of ensemble and phaser simultaneously and there was a good reason why string machines
rarely (if ever) had both effects present.
Finally, some of you may be surprised at the inclusion of OB8, Xpander and possibly even the
Polymoog string sounds. But these are great counterparts to some of the thinner string machine
sounds and layering them can lead to some special results.
Of course, all rules are made to be broken and thats why we call them hints and tips, not rules.

Install locations Mac

Standalone Instrument: Mac HD/Applications
VSM Sounds
Audiounit Instrument: Mac HD/Library/Audio/Plug-Ins/Components
With 17 sampled instruments, 66 sample sets and over 3000 individually looped samples, the VSM
VST Instrument: Mac HD/Library/Audio/Plug-Ins has enough classic string sounds to keep even the most ardent enthusiast happy and occupied for
quite a while.
RTAS Instrument: Mac HD/Library/Application Support/Digidesign/Plug-ins
ARP Omni II (1975)
Install locations PC
One of the all-time classics. Used by artists as diverse as David Bowie, Caravan, Joy Division and
Standalone Instrument: C:/Program Files/GForce/String Machine many, many more. An iconic string machine in our opinion purely because it was used by Kraftwerk
on Trans Europe Express.
VST Instrument: C:/Program Files/Vstplugins/String Machine Bass (20 notes) The classic bass of the Omni II.
RTAS Instrument: C:/Program Files/Common Files/Digidesign/DAE/PlugIns Viola (49 notes)
Viola & Hollow (49 notes) The above viola doubled with a hollow waveform
Thanks to Violins (49 notes)
Art Gillespie, Gordon Reid, Ian Legge, Stefano Daino, Orren Merton, Roger Lyons, Billy Currie, Violins & Hollow (49 notes) The above violin doubled with a hollow waveform
Huston Singletary, Matt Piper, Bruce MacPherson, Marc Weerts, Markus Schmitt, Nick Batt,
Alex Tepper, Jon Hodgson, Chris Joss, Putte, Flemming Bloch, Gaetan Schurer and Ben Hall. ARP Quartet (1979)
This was made by Italian company Siel and was a good, if basic, string, brass, organ and piano
Sound Design instrument, used in recent times by Massive Attack and 4 Hero.
Dave Spiers, Chris Macleod, Hans-Jorg Scheffler, Huston Singletary, Roger Lyons, Billy Currie, Cello Ensemble (49 notes)
Ben Hall, Davy Blakely, Nick Batt, Howard Scarr, Rory Dow. Cello Solo (49 notes)
Violin Ensemble (49 notes)
VSM Quirks and Tips
Violin Solo (49 notes)
As explained earlier in the manual, we spent a huge amount of time acquiring, recording
and looping as many string machine samples as possible. Those of you who know us from past
instruments will know we love the esoteric and oddball and this product is no exception. With

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Crumar Multiman (1975) Logan String Melody (1974)
The Multiman was another multi-instrument featuring strings. This instrument had modulation options Used on Steve Hacketts Defector and Spectral Mornings albums by Nick Magnus and at one time,
but no chorus or ensemble. the string machine to own.
Cello (49 notes) Cello (49 notes)
Violin (49 notes) Viola (49 notes)
Violin (49 notes)
Elka Rhapsody (1975)
This instrument had a great spelling error on its front panel, with the ViolonCello sound. We didnt Moog Opus III (1980)
think this was something worth retaining. Again, no ensemble or chorus, just modulation. A very A multi-instrument from Moog with a very distinctive sound.
desirable string machine during the 70s and used by Billy Currie and Vangelis (Heaven & Hell)
4 Ft Strings (49 notes)
Strings (49 notes)
4 Ft Strings 50% chorus (49 notes)
Violin & Cello (49 notes)
4 Ft Strings 100% chorus (49 notes)
Violin & Strings (49 notes) A mix of all waves with the cello down in the mix
8 Ft Strings (49 notes)
8 Ft Strings 50% chorus (49 notes)
Eminent 310 (1972)
8 Ft Strings 100% chorus (49 notes)
A dual-manual organ with built in string section. This instrument, along with a Small Stone Phaser,
Combi (49 notes)
was used to create the classic strings on Jean Michel Jarres Oxygene.
Combi 50% chorus (49 notes)
Lower 4 Ft (49 notes) High Strings from the upper manual.
Combi 100% chorus (49 notes)
Lower 8 Ft (49 notes) 8 Ft Strings from the upper manual
Upper 4 Ft (49 notes) High Strings from the lower manual.
Moog Polymoog (1975)
Upper 8 Ft (49 notes) 8 Ft Strings from the lower manual.
Sizzling strings from a rare, fully functional Polymoog.
Upper 16 Ft (49 notes) 16 Ft Low strings from the lower manual.
S4 R8 Hi (49 notes)
S4 R8 Lo (49 notes)
Freeman String Symphonizer (1973)
S4 R16 Hi (49 notes)
Our favourite string machine. The original inspiration to every string machine that followed and still full
of character. Bob Moog was awarded the Polar Prize for his contribution to music and, in our opinion, S4 R16 Lo (49 notes)
Ken Freeman should be awarded a knighthood for his. Take a bow, Ken! S8 R8 Hi (49 notes)
Strings 1 (49 notes) The basic Freeman tone S8 R8 Lo (49 notes)
Strings 2 (49 notes)
Strings 3 (49 notes) OB8 Strings (1983)
A string patch taken from the luscious Oberheim polysynth.
Junost 21 (C. 1980) Strings (49 notes)
Strings from a rare Russian strap-on synth. What more can you say?
Strings (49 notes) Roland RS202 (1976)
A classic string machine used by Tony Banks, Rod Argent and many more.
Korg PE2000 (1976) Strings 1 (49 notes)
A wonderful string ensemble used by Tangerine Dream and Edgar Froese. One of Gordon Reids Strings 1 Ensemble 1 (49 notes)
desert island keyboards. Strings 1 Ensemble 2 (49 notes)
Strings 1 (49 notes) Strings 2 (49 notes)
Strings 2 (49 notes) Strings 2 Ensemble 1 (49 notes)
Strings 2 Ensemble 2 (49 notes)

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Solina (1974) 1: PATCH MANAGEMENT OVERVIEW
One of the most highly prized and sought after string machines made. Used by Kasabian, Stevie
Wonder, Herbie Hancock, Pink Floyd, Lonnie Liston Smith and countless others. A genuine classic A Patch consists of either one or two layers of sample sets from the recorded String Machines. These
and the inspiration behind this instrument. layers are called LAYER A and LAYER B. Think of them as similar to two oscillators of a synthesizer
Bass Cello Violin & Viola with modulation (49 notes) with the difference that Layers A and B essentially operate as if they were two separate instruments,
Viola (49 notes) each having independent tuning, pan, level, filter type and filter and amplitude envelope settings.
Voila with modulation (49 notes)
Violin (49 notes)
Patch Loading
Violin with modulation (49 notes)
Loading a Patch will load samples into
Layer A and Layer B, as well as their
Xpander (1984)
individual settings. To load a Patch
A very useable string sound from the last of the truly great Oberheim synths. simply click on the desired Patch from
Strings (49 notes) the list of patches in the window. This
takes a few seconds as the samples are
loaded into your computer memory.
Yamaha SK15 (1981)
One of the last of the string machine genre, this was a budget model designed for the masses.
It had a wide appeal.
8 Ft Ensemble (49 notes)
8 Ft Strings (49 notes)
16 Ft Ensemble (49 notes)
Patch Saving
16 Ft Strings (49 notes)
Saving a Patch will memorise the
Yamaha SS30 (1977) sample sets from both Layer A and Layer
B and their individual settings. To save
Another legendary string machine. Used by Billy Currie on many classic Ultravox tracks including a Patch simply click on the Patch Save
Vienna. For some odd reason this appears not to have been available in the USA. Button, name your Patch accordingly
Big Patch 1 (49 notes) A lovely patch using a mixture of tones and select to save.
Cello 1 (25 notes)
NB: Patches are saved to the USER folder, which you will see in the Patch drop-down list. You
Cello 2 (25 notes) cannot save user sounds to any other location if you want to see them in the patch list, but you
Voila (49 notes) can create sub-folders within the USER folder to catalogue your own patches effectively.
Violin 1 (49 notes)
Violin 2 (49 notes)

Editing Patches
Any edit made to a Patch causes the
gold text in the Patch Selection window
to change to RED. This reminds you
that the patch has been edited and that
you will need to save it before loading
another patch.

Of course you can choose to ignore

this and not save the edited patch
before loading another one. However,
the moment you do this your edit will
vanish. Simple eh?

7 Virtual String Machine

2: SOUND SELECTION TUNE
This sets the coarse pitch range for the samples for the selected Layer from
LAYER A between -12 and +12 Semitones, or -1 and +1 Octave. Layer A and Layer B
can have independent Tune settings.
Click and Hold within the Layer A window to see the list of
available instruments and their associated samples. Scroll
to the set of samples you want to load and release the
mouse button. There will be a short delay and the screen
will tell you that the selected samples are loading. Once DETUNE
the load is complete the name of the samples will
be displayed in the Layer A window. This sets the fine tune range for the samples for the selected Layer from
between +100 and 100 Cents. Layer A and Layer B can have independent
NB: When Layer A is selected and active, all the layer Detune settings.
specific controls will be illuminated red. Those parameters
or controls that dont have a red illumination are global and
not layer specific, eg Phaser and Ensemble effects.

PAN
Using this, its possible to create big, wide sounds. For example Layer A
LAYER B Panned to the left and Layer B panned to the right.

Click and Hold within the Layer B window to see the list of
available instruments and their associated samples. Scroll
to the set of samples you want to load and release the
mouse button. There will be a short delay and the screen
will tell you that the selected samples are loading. Once LEVEL
the load is complete the name of the samples will
be displayed in the Layer B window. Adjusts the volume level for the samples for the selected Layer. Again,
its possible to have independent volumes for Layer A and Layer B.
NB: When Layer B is selected and active, all the layer
specific controls will be illuminated green. Those
parameters or controls that dont have a green illumination
are global and not layer specific, eg Phaser and Ensemble
effects.
3: LFO

SOLO BUTTON
Each Layer has an associated Solo Button and clicking on this will
make only that Layer sound. This is ideal for quick editing
of individual layers.
LFO SPEED
This determines the vibrato speed for the samples
in the selected Layer. Use this in conjunction with the
Amount knob to create pitch movements. Layer A and
Layer B can have independent LFO Speed settings.

When the LFO Sync button is activated, the LFO Speed knob will display
LINK BUTTON a range from 16/4 (a four bar cycle) to 1/32 (a 32nd note cycle) when you
move-over this knob.
Its possible to link both Layer A and Layer B controls so that a
change to an illuminated parameter affects both layers.
For example, if you want to set up an identical attack time for
Layers A and B, click the Link button and alter the attack time to
suit. You will hear the alterations affect both Layer A and Layer B
at the same time.

8 Virtual String Machine

LFO AMOUNT 5: FILTER ENVELOPE
This control determines the vibrato amount or depth and is used in
conjunction with the LFO Speed knob to help create pitch movements. FILTER AMOUNT This slider determines the amount of filter
Layer A and Layer B can have independent LFO Amount settings. envelope applied to your layer sound.

FILTER ATTACK Used to alter the Attack Time of the filter

envelope.
LFO SYNC FILTER DECAY Used to alter the Decay Time of the filter
The LFOs can be synchronized so that they modulate precisely in time envelope.
with your track. To activate LFO sync press this button and whenever you
FILTER SUSTAIN Used to alter the Sustain Level of the filter
move the mouse over the LFO Speed knob you will see the
envelope between 0% and 100%.
current setting.
FILTER RELEASE Used to alter the Release Time of the filter
envelope.
4: FILTER
We have carefully modeled the VSM filter to suit the samples taken from the various string
machines. As such you will notice that the filter does not self oscillate when the resonance
is turned up fully. While we didnt base this filter on a specific synth or hardware instrument,
it is similar to the 4 pole filter found on instruments like the OB8.

CUTOFF 6: AMPLITUDE ENVELOPE

This determines the frequencies that the filter allows to pass through
depending on which filter mode is selected. For example, selecting
AMPLITUDE ATTACK Used to alter the Attack Time
highpass mode allows you to filter the low frequencies while allowing
of the amplitude envelope.
the high frequencies to pass through (See FILTER MODE).
NB: The note-on characteristics of the string machines we
recorded differed quite significantly between instruments.
This vital characteristic is retained and as such an immediate,
RESONANCE sharp attack may not always be possible.

This adds harmonics at the cutoff frequency (See filter CUTOFF knob). AMPLITUDE DECAY Used to alter the Decay Time of the
amplitude envelope.

AMPLITUDE SUSTAIN Used to alter the Sustain Level

of the amplitude envelope
between 0% and 100%.

AMPLITUDE RELEASE Used to alter the Release Time

FILTER MODE of the amplitude envelope.

This selects a specific filter mode:

Lowpass (LP) This mode allows the low frequencies to pass through
while progressively filtering the higher frequencies as you
rotate the cutoff knob anti-clockwise.

Highpass (HP) Selecting this mode allows the high frequencies to pass through while
progressively filtering the lower frequencies as you rotate the cutoff knob
anti-clockwise.

Bandpass (BP) This allows the selected band of frequencies to pass through while filtering
out anything outside that range.

9 Virtual String Machine

7: VELOCITY
VOLUME
This determines the amount of dynamic control over volume
(or amplitude). When set to zero, all velocities play at a constant volume.
Turning the knob clockwise introduces progressively dynamic control over
volume, meaning the harder you play the louder the notes and the softer
you play the quieter the notes will sound.
FILTER
This determines the amount of dynamic control over filter cutoff. When
set to zero, all velocities play at a fixed cutoff amount. Turning the
knob clockwise introduces progressively dynamic control over the filter,
meaning the harder you play the more the filter opens.
AFTERTOUCH
This allows you to set the amount of aftertouch (channel pressure)
in relation to the filter. With the knob set to a positive value, pressing the
keys harder will open the filter. To use this you will need a keyboard that
transmits channel aftertouch.
8: PHASER
VSMs Phaser is an accurate model of a 6/12 stage analog phaser effects unit. The best way
to think of a phaser is as a series of notch filters spread evenly over the frequency spectrum.
As the frequency of this series of filters is swept over the frequency range, you hear the
trademark whooshing of the classic phaser effect.
Combining a string machine and a phaser during the 70s was almost de-rigueur. On the
classic Oxygene album Jean-Michel Jarre used an Eminent 310 processed through an
Electro-Harmonix Small-Stone Phaser to get that magical shifting string sound.
PHASER STAGE SWITCH
This selects between 6 and 12 stages. The Stage parameter controls
the number of notches that are applied to the signal. A six-stage phaser
notches the signal at three points on the frequency spectrum, while a
twelve-stage phaser creates six notches. The six-stage setting is more
conservative and representative of classic phaser sounds, while twelve-
stage is more pronounced and spacey.
10
PHASER DRY/WET MIX
This determines how much of the phaser signal is heard in relation to the
direct signal. Turning the knob clockwise increases the amount of phased
sound in relation to the direct unprocessed signal.
PHASER SYNC BUTTON
The Phaser can be synchronized so that it modulates precisely in time
with your track. To activate Phaser Sync press this button and whenever
you move the mouse over the Phaser Speed knob you will see the current
setting.
Phaser sync ranges from 16/4 (a four bar cycle) to 1/32 (a 32nd note
PHASER LFO SPEED
This control determines the speed of the phaser low frequency oscillation.
Use this in conjunction with the Phaser LFO Amount knob.
When the Phaser Sync button is activated, the Phaser Speed knob will
display a range from 16/4 (a four bar cycle) to 1/32 (a 32nd note cycle)
when you move-over this knob.
PHASER LFO DEPTH
This control determines the amount of low frequency oscillation.
Use this in conjunction with the Phaser LFO Speed knob.
PHASER CENTRE FREQUENCY
VSMs Centre Frequency parameter controls the mid-shift frequency
of the bank of notch filters and moves the higher and lower frequency
notches proportionally: all notches remain equally spaced as the centre
frequency is swept. On vintage phasers, this parameter was sometimes
labeled Sweep.
PHASER RESONANCE
The Resonance parameter controls the steepness of the individual
notches, much in the same way as a resonance control on a VCF controls
the steepness of cutoff. Indeed, increasingly higher values of this
parameter produce the howling sound associated with VCF resonance.
Virtual String Machine
9: ENSEMBLE 10: MASTER
Many of the waveforms contained in the VSM can sound quite raw in isolation and while
this may be perfect in certain circumstances, for many users an attraction of the original TUNE KNOB
instruments was their on-board chorus or ensemble effects. These helped sweeten the
sound considerably and in some cases became almost as much a part of the sound as the Sets the global tune for both Layer A and B sounds.
waveforms themselves.

In much the same way as the phaser was constructed, the VSM ensemble is modeled from a
variety of vintage ensemble units. We also added fixed pan settings for each voice to give the
instrument some some phatness and this can help make a simple, raw tone become much
richer and wider. However, there are some factors to consider when using the ensemble. For
example, if you have two layers active with their sounds panned hard left and right, the more
Ensemble you add, the more you will lose their clearly defined initial positions. This is because
the pan positions of the ensemble voices begin to dominate the mix. In these cases simply be VOLUME KNOB
mindful that full-on Ensemble settings may not be as effective as more subtle ones.
Sets the global volume.

ENSEMBLE WET/DRY MIX KNOB

Balances the dry and effect level. Turned clockwise this knob increases
the amount of ensemble effect applied to the sound.

WIDTH BUTTON
This applies a small delay to the right of the stereo spectrum and causes
the sound to widen a little. The effect can differ depending on what
frequencies are used in the various samples for Layer A and B.
This effect is also dependent on whether you have the Layer A and B
samples centered or panned apart.
ENSEMBLE VOICE DETUNE KNOB
Here you can determine the amount of detune between each voice.
The larger the detune value, the more chorused the sound.

11: KEYBOARD CONTROLS

Unlike many original string ensembles, the VSM allows you to control modulation
and pitch-bend via these controls on your master keyboard.

BEND RNG KNOB

ENSEMBLE VOICE SELECTION SWITCH
This selects the number of voices used in the ensemble section. Note that
the higher the voice-setting, the higher the load on your computers CPU.
Also excessive detuning and a high voice quota might make you feel sick.
Use this knob to set up individual pitch bend ranges
for Layer A and Layer B between 0 and 12 semitones.
When you mouse-over the Pitch-bend knob you will see
the amount of pitch-bend range indicated in semitones.
One of our favourite things is to set independent ranges
for each layer, one with a pitch bend range of +12 and
the other layer set to +7.

11 Virtual String Machine

MODULATION
Although there is no modulation wheel shown on the VSM, moving the mod wheel on
your master keyboard or controller will affect the LFO pitch modulation parameters. This
affects each layer independently and takes effect from the value that you have set the LFO
amount. The more you increase the modulation wheel on your controller keyboard, the more
modulation amount is applied. If you already have a degree of pitch modulation applied to
the layers within a patch, returning the pitch mod wheel to zero will return everything to those
original values.
Again, one of our favourite things is to have slightly different mod rates for each layer so that
when you use it in earnest, the effect is somewhat epic.
13: EXTRA INSPIRATION
There are times, even for the most prolific artists, when some extra inspiration is needed.
Occasionally, its best to just walk away from a project for a bit until the creative force takes
hold again. However, we decided that there was something else that could be done that might
help in those moments of doubt.
Within VSM is one of our best Easter Eggs! Guaranteed to give you a bit of Retro Fun
designed to occupy you until inspiration takes hold again.

12: AUTOMATION 14: LEGAL NOTICES

All product names used in this product are trademarks of their respective owners, and are
in no way associated or affiliated with GForce Software Ltd. These trademarks of other
manufacturers are used solely to identify the products of those manufacturers whose tones
and sounds were studied during development of the VSM.

The PC Standalone version of VSM was built using libraries from Portaudio and Portmidi.

http://www.portaudio.com/
The VSM provides access to MIDI Automation via the slightly obscured MIDI CC Button. http://www.cs.cmu.edu/~music/portmusic/portmidi/
Clicking on this reveals a wealth of Red, Green and Grey boxes.
PortAudio Portable Real-Time Audio Library - Copyright(c) 1999-2000 Ross Bencina and Phil
The Red and Green boxes correspond to Layer A and Layer B respectively, and here its Burk.
simple to assign automation to specific parameters.
PortMidi Portable Real-Time MIDI -Copyright(c) 1999-2000 Ross Bencina and Phil Burk,
First, clicking in the box of the required parameter and you will see it start to pulsate. Then Copyright(c) 2001-2006 Roger B. Dannenberg.
move the appropriate knob or slider on a connected controller and as soon as the two make
contact, the box will stop pulsating and the corresponding CC number will be inserted in that
box.

Its possible to assign the same controller and CC Number to multiple parameters. In its
simplest form you could use this to control the filter cutoff of both Layer A and Layer B filter
cutoff via a single knob or slider.

You can also get more adventurous if you wish and theres nothing to stop you assigning the
same controller knob or slider to multiple parameters such as filter cutoff and filter amplitude
release.

The Grey boxes correspond to the global parameters and with these only a single controller is
necessary.

When you have finished making your controller assignments and wish to return to the VSMs
main panel, click on the MIDI CC Button once more.

To delete an assigned CC please use the following commands:

Mac - Cmd-Click. PC Ctrl-Click

12 Virtual String Machine