Waldorf Streichfett String Synthesizer Now Available As A Virtual Instrument

Waldorf today introduced Streichfett String Synthesizer in plug-in format.

The Streichfett was introduced as a hardware module in 2014. At the time, Waldorf said that it sounded ‘how adult movies sounded thirty years ago’.

Waldorf’s Streichfett features a fully polyphonic String Section and an eight voice Solo Section. The Ensemble Effect provides depth and
movement to the String Section, while the Effects Section adds adjustable Phaser and Reverb effects. Additionally, the Animate Effect can be used to modulate the Strings Registration.

The Solo Section offers presets named Bass, E-Piano or Clavi, and just like with a typical String Machine, the sound has little to do with that name. Instead, these are shimmering and slightly percussive sounds that blend well with the String Section. The plugin also includes 16 programmable presets.

Features:

  • 128 voice fully polyphonic Strings section
  • Continuous morphing of Violin, Viola, Cello, Brass, Organ, Choir and more
  • Registrations
  • Animate Effect for Modulation of Strings Registration
  • Ensemble Effect for Strings
  • Eight voice polyphonic Solo section
  • Layer/Split for Solo section
  • Continuous morphing of Bass, E-Piano, Clavi, Synth, and Pluto for Solo Tone
  • Tremolo for Solo section
  • Phaser
  • Reverb
  • Poly and Channel Aftertouch
  • Sustain Pedal and Modulation Wheel support
  • Choice of velocity-sensitive or fixed velocity
  • Tuning and transpose
  • 16 programmable presets

Pricing and Availability

The Streichfett String Synthesizer is available now, with introductory pricing for Waldorf Music’s 33rd anniversary of 33 EUR for a limited time, with standard pricing of € 99 EUR (incl. VAT).

25 thoughts on “Waldorf Streichfett String Synthesizer Now Available As A Virtual Instrument

  1. I love the trend of manufacturers re-releasing digital synths as plug-ins. It gives us the opportunity to experience the instrument for a fraction of the cost of the original hardware (and it’s environmentally friendly – no dirty manufacturing). 33 EUR is a fair price.

      1. Serious question, why do people run Linux systems for music production when virtually none of the music software will run on it? I keep reading these complaints about non-compatibility, yet you must clearly have known that when you decided to go Linux?

        1. It’s a vicious circle, lots of people want to go to Linux, but the quality apps, for audio especially, just aren’t there.
          By being loud about it, at least you can hope the manufacturers will hear and realise there is a market for it, considering the half hour of development time it would take to port something over.
          At least for now we have Bitwig and a few others…

    1. “(and it’s environmentally friendly – no dirty manufacturing)” – except your computer was manufactured is just such a dirty manner too, both piles of hardware would be equally recyclable, and the rest of the difference is just money that could have been spent on a charity.

      yup VST’s are really saving the planet alright. :0)

  2. I cannot believe they kept the 16 preset limitation, but plug-in format is good for this synth – the one thing it always needed was a low pass filter, which is easy enough to call up in a DAW.

  3. Oh goodie! Now I can hate it as a plug-in string synth, as well. The hardware module was useless as a “string synth” in that it doesn’t come anywhere close to the 70s models, It had limited use as a paraphonic/polysynth (I can’t remember which it actually was), but almost any other available hardware polysynth was better at acting like a real synth when the Streichfett was released (including Waldorf’s own Blofeld). Now we have a software program that will be as equally useless, but with many, many more usable alternatives available (some for fractions of the cost, or no cost at all). Sure, it may be an accurate duplication of the Streichfett, but I’m not sure what the point is. The only thing that made the Streichfett, at all, interesting was that it was marketed as the first hardware “string synthesizer” in over three decades. Unfortunately, a convincing string synth was something it never was, not even close.

      1. I had a lot fun with mine, also. The only real problem with it was it doesn’t do what it was claimed to do. It is among the shittiest emulations of a 70s “string machine” that I have ever heard. And that includes a lot of plug-ins that cost less than $50. It was fun until I decided I’d better get rid of it before people catch on to what a sham it was.

  4. Everyone has a few weird old synth designs that grab them. Why should this one be different? Its another sound I can basically whip up with what I have, but if its a pillar of porn from your early days, I can see how it could become a fetish.

  5. I don’t really have a need for a string machine in my music, but it’s still nice to see this trend of hardware becoming available as software. Especially in times of crazy inflation and parts shortage, it gives more people access.

    1. Back in the early days of 32-bit VSTs, Music Crow and a couple other companies marketed “string machine” emulations. I guess the Music Crow one is still available for 59 Euros, and I would assume that it has now been updated to, at least, a VST2 64-bit format. It and the others were available over almost 20 years ago, and sounded much better than the Streichfett, even back then.

        1. I have to disagree with you about the Arturia Solina. It doesn’t really sound much like the 70s hardware Solina. Moreover, it doesn’t sound too convincing as an emulation of any 70s “string machine”. I’ll agree that it is pretty versatile, but if I had to rank the plug-in emulations of “70s String Machines” currently available, I’d rank it near the bottom of the list. When I want to add a “string machine sound” to anything I do, it’s the last emulation I would ever choose.

  6. Best ADULT MOVIE synth work: “Cafe Flesh,” by Mitchell Froom, LP entitled “The Key of Cool.” Its some amazing rockabilly flavored work, in part. Sounds like a well-produced 1982 garage recording with 6 tracks, but its great music that really grabs your ear. Its way out of print, but its also on the YooToobs.

    1. Mitchell and his brother were in a band called Crossfire, it also included Gary Phil(Sammy Hagar and Boston) on guitar, and Phil Marshal on Bass. They practiced in a barn across the street from us when we were kids. Awesome band and super nice guys. Mitchell is one of the reasons I started playing keyboards a million years ago.

Leave a Reply