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So during a drive I suggested to Chris, “Why don’t we do a virtual Mellotron as a first step?” He agreed, and that’s what we did. We had ambitious plans for a synth, but they were too much for the programmer we were using.
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This was back in the very early days of software synths and I remember hearing the Koblo 9000 software synth and thinking, “We need to do something like that” to partner with the Phat.Boy. What was needed was a point of sales display where someone walked up to it and made a sound from the off, but because it was essentially a dumb box, unless the store hooked it up to ReBirth or a GS/XG module, that couldn’t happen. Joey: What inspired you to begin making software instruments?ĭave: With the Phat.Boy, we had several opportunities to get into big retail chains, but it never happened because there was no way of demoing it in a complete sense. So in 2000 Chris and I started up on our own. When a little success starts to appear and money enters the equation, the cracks start to appear… “It’s my band.” “Yea but it’s my PA.” “It was my idea.” Etc. However, just like being in a band, when you’re struggling, everyone’s on the same page. It was simple to use, built like a tank and, thankfully, successful. The result was the Phat.Boy MIDI controller which Chris largely financed and managed, and which paved the way for the various controllers we see nowadays. One particular volume I created used NRPN templates to get filter sweeps and patterns out of GS & XG sound modules, which lead to the idea of ‘putting it in a box with knobs on.’
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We did a variety of things from researching almost every synth in existence for the Keyfax book editions, to recording and editing alternative MIDI controller data for a series of products called Twiddly Bits (which I believe are still used in Yamaha Motif keyboards). Immediately before GForce though, I was a partner in a company called Keyfax with keyboard player and writer, Julian Colbeck, and Chris Macleod. Joey: So let’s begin with a little background. Before joining forces with Chris Macleod and starting GMedia in 2000 and forming GForce Software in 2003, what were you up to? And how did GForce come about?ĭave: I’d played in various bands and was a tech/programmer with various artists. Company History – from Phat.Boy to M-Tron Hopefully I won’t bore everyone to sleep. Joey Luck: Hi Dave! Thanks for taking the time to talk with us and congrats on the recent release of ChamberTron RE!ĭave Spiers: Thank you and thanks for having me. Joining in the conversation are ReasonTalk team members, Joey Luck, WongoTheSane and tiker01.
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So we decided to reach out to Dave Spiers, from GForce, to talk about our shared passion. Because those legendary machines are rare and expensive, many of us simply wouldn’t be able to get our hands on them if it weren’t for those adventurous developers, toiling day in and day out to reproduce them in their smallest details. After Re-Tron, a faithful recreation of the Mellotron, and Re-Strings, a string machine based on rare (but historic) string ensemble devices of yesteryear, GForce Software recently released ChamberTron RE, an impressive recreation of the Chamberlin electro-mechanical keyboard, itself an ancestor of the Mellotron.