GForce Software, founded in 2003 by Chris Macleod and Dave Spiers, has been at the forefront of virtual instrument development for two decades. Known for their meticulous recreations of classic synthesizers and string machines like M-Tron, Virtual String Machine (VSM), Oddity, and impOSCar, GForce has consistently delivered high-quality software instruments that capture the essence of iconic hardware.
An Interview with Dave Spiers
To celebrate the company’s 21st anniversary, we had the pleasure of speaking with Dave Spiers about GForce’s journey, creative process. In this exclusive interview, Dave shares insights on their classic and more recent releases like the Virtual String Machine (VSM) IV and OB-E, collaborating with synth legends, and how they balance innovation with staying true to the essence of classic instruments.
Dave also discusses the creative ways artists are using GForce plugins (there’s some really brilliant stuff there, make sure to check them out), the role of nostalgia, and even reveals his top desert island album. Join us for an engaging conversation that explores the past, present, and future of one of the most respected names in music software.
Gforce Software is 21 years old
As the company continues to grow and evolve, what do you consider to be the most significant achievements or proudest moments in GForce Software’s history?
That’s a difficult question to answer because there are so many. But, for me, getting Tom Oberheim’s blessing with OB-E and subsequent Oberheim instruments was a genuine pinch-me moment. Particularly as he approached us after hearing OB-E and recognising the care and attention to detail that had gone into it.
Similarly, getting Chris Huggett’s blessing with impOSCar and him sending us the final revision OSCar source code was another pinch-me moment. As was Chris Macleod’s initial decision to call Streetly Electronics. That one phone call and subsequent meeting persuaded Streetly Electronics to open up their original UK Mellotron tape library to us.
However, probably the biggest thing I’m proud of right now is our team. Each one of them is smart, passionate and committed to doing their best work. They’re inspirational to be around and have great ideas.
GForce Software has a reputation for resurrecting the sounds of vintage instruments through modern technology. Can you share a story about discovering and digitizing a particularly rare or unusual instrument for one of your plugins?
For us, the back-story behind the original instrument is almost as important as the instrument. Once we become immersed in that, the more we unearth, the more engrossed we become.
That’s exactly what happened with VSM after Kasabian asked us to source an original one for a tour. It’s a heavy beast so we talked about the convenience of turning it into software alongside other classic string ensembles.
By pure chance I mentioned it to Gordon Reid who informed us there were over 140 string ensembles made back in the day and it all started with the UK made Freeman String Symphonizer. Once we looked into that history & skullduggery we became obsessed with the idea of creating a collection of the truly iconic string ensembles in the hope that a new generation of music makers would take those classic sounds and use them in a fresh way.
M-Tron was exactly the same. The fact that it all started in Harry Chamberlin’s garage in the 50s and via an assortment of skullduggery spawned the Mellotron, the sounds of which then permeated across almost every music genre, is fascinating to our inner nerd. Both of these stories are told in the Bright Sparks documentary, another project that we’re proud of.
Artists and GForce
Your blog features a series called “In the Studio With…” where you showcase artists using GForce Software instruments. Could you share a memorable story or two about how artists have used your plugins in unexpected or innovative ways?
Again, M-Tron was a classic example of this. After release we received a number of CDs with versions of various classic Prog tracks made by users. This was fascinating and very gratifying. But we then received a couple from people who’d used those legendary tones in new ways simply because they were younger musicians who didn’t associate the Mellotron with Prog.
Harmonic 33’s album Extraordinary People is a classic example where David Brinkworth and Mark Pritchard used it in a really fresh and imaginative way.
Likewise, Putte’s track Jubel Buben blew us away when we first heard the way he used it.
Finally, and this is a personal one, I Monster are friends of ours and we worked together on the Bright Sparks album and documentary. However, when we first met I had no idea they’d used M-Tron for the title music of the film San Of The Dead.
If you could travel back in time and collaborate with any legendary artist using GForce Software instruments, who would it be, which instrument would you have them try out, and why?
Probably Prince. I’d love to have seen if he ‘got’ the huge XLFO/XADSR modulation possibilities afforded by Minimonsta, Oddity, OB-X etc.
The Role of Nostalgia
Many of your products evoke a sense of nostalgia by bringing vintage sounds to modern music production. What role do you believe nostalgia plays in music creation, and how do your instruments facilitate this emotional connection?
Nostalgia is a powerful thing and when it comes to evoking emotion you only have to hear something that has a flavour or character of something you recognise from a poignant moment in your life and the goosebumps inevitably happen. I love it when that happens, especially when it’s something fresh but containing a hint of something old and wistful. VSM and M-Tron are perfect instruments for that.
A friend of ours, Paul Hurst, who is also one of our Patch Designers has a Gary Numan tribute band but is also obsessed with Ultravox. His version of Astradyne using Oddity is quite stunning and I’ve even managed to fool Billy Currie that he was listening to himself
Collaborations and Preset Design
Your partnerships with iconic brands and artists have led to some groundbreaking products. Can you share insights into how these collaborations come about and what the creative process looks like when two musical powerhouses join forces.
I think the Oberheim collaboration exemplifies this. Essentially, we’d done a spoof video purporting to create a huge unison patch on the 8-Voice before revealing at the end that it was all done on our software OB-E. That was brought to Tom Oberheim’s attention who recognised the care and attention to detail and said “We should work with these guys”
It’s also the surprise discoveries with artists that we love too. I had no idea that Stereophonics Dakota was written on Oddity until their programmer pointed out that the default patch plays all the way through the track. He told me that single patch inspired the entire track.
There are so many others too. We helped set up the live rig for Ultravox’s reunion tour several years ago. They used everything from VSM to Oddity, impOSCar & Minimonsta live, and hearing those sounds pumped out through a massive PA system was an absolute joy.
You offer very high-quality, curated presets with your plugins, often created by well-known sound designers. How important are presets to the GForce products and what’s your process for preset design?
Very important. As someone who used to go into music stores and play on the latest synths in order to find inspiration, I’d love it when I’d scroll through patches and come up with ideas from each. That’s what we hope happens when people play the demo versions of our instruments – that the patches inspire and gets the creative juices flowing.
In terms of sound design process we tend to give people a free rein so that they can create what inspires them. Once all the patches are collated we then have a listening day, checking levels are consistent, before choosing the final selection and what order the patches are presented.
Drean Plugins and Desert Island Music
If you could have developed any plugin (excluding Auto-Tune, as that would be too easy), which one would it be?
Spectrasonics Omnisphere. Eric Persing’s marriage of technical excellence and musicality is spot on. He’s also an inspiring person to work alongside. For example, we contributed to the Bob Moog Tribute library and Eric’s advice and help in perfecting the patches was invaluable.
Lastly, let’s discuss music: what would be your top esert island album?
Blue Nile’s Walk Across The Rooftops – an album full of great songwriting and perfect synth textures.
