ARP Solina String Ensemble (1974–1980)

The wall of strings on a lot of 70s radio probably came from this walnut-paneled box with the wobbly chorus and the keys that feel like a school piano.

Overview

Plug in the ARP Solina String Ensemble and hit a chord. The sound is thick and very wide, and the slow-sweeping, slightly unstable chorus is the part everyone recognizes: Gary Wright's "Dream Weaver," Vangelis' starfields, the pads behind "Video Killed the Radio Star." This isn't a synthesizer in the modern sense. It's a string machine, a dedicated, fully polyphonic analog/digital hybrid built to simulate an orchestra section with minimal fuss.

Eminent BV, a Dutch organ maker, designed it. ARP later rebadged it and distributed it in the US (yes, *that* ARP). The Solina was never meant to be a modular powerhouse or a lead synth. It was a session player's tool, a touring keyboardist's backup and a studio workhorse for producers who wanted orchestral depth without hiring 40 musicians. The keyboard's 49 keys are velocity-free and unweighted, which doesn't matter much for sustained chords, swells and textures. The ensemble effect is a BBD-based chorus that modulates each note independently, and it gives that shimmering, almost seasick wobble. It's not perfect. It's not stable. That's a big part of why it sounds alive.

ARP's name carried weight thanks to the 2600 and Odyssey, but the Solina was a licensed product rather than an in-house design. ARP's involvement still helped it gain traction in the US market, where its warm, slightly nasal tone stood out from competitors like the Yamaha SY-2 or the Roland RS-202. It wasn't the first string machine, but it became one of the best known, thanks to aggressive marketing and widespread adoption. Four versions were released over its lifespan: the SE-I (mono, fixed chorus), SE-II (chorus on/off switch), SE-III (true stereo output), and SE-IV (with LED indicators for section selection). Most players hunting today want a late-model SE-III or IV for the stereo spread and added control.

The front panel is sparse. There are six preset voices (Violins, Violas, Cellos/Basses, Trumpets, Horns, and Flutes), a "Brilliance" switch for high-end lift, and a "Modulation" button that engages the ensemble effect. There's no filter envelope, no LFO routing, no patch memory. You do get basic envelope control through Attack and Release sliders, which is rare for a preset string machine of this era, and they let you shape how the sound swells in. Engage the modulation button and the sound blooms, doubling in width and picking up a slow, hypnotic drift. Bypass it and the tone collapses into something thin and static, like a power strip hum. The build is solid, with a real wood casing and chunky knobs. The internal electronics are fragile by today's standards, and decades of thermal stress have left many units barely functional without restoration.

Specifications

Manufacturer	ARP (distributed), originally Eminent BV
Production Years	1974–1980
Original Price	$1,995 (1976)
Keyboard	49 keys, non-weighted, non-velocity-sensitive
Polyphony	49-note (fully polyphonic)
Oscillator Type	Digital divide-down oscillator with analog filtering and amplification
Presets	6: Violins, Violas, Cellos/Basses, Trumpets, Horns, Flutes
Ensemble Effect	Analog BBD-based chorus with modulation depth control
Modulation Switch	On/Off (SE-II and later)
Brilliance Switch	On/Off (boosts high frequencies)
Envelope Controls	Attack and Release sliders
Outputs	1x Mono (SE-I), 2x 1/4" (Left/Right, SE-III and later)
Inputs	1x 1/4" sustain pedal
Power Supply	Internal 120V AC (US models), 220V AC (EU models)
Weight	42 lbs (19 kg)
Dimensions	38.5" W × 13.5" D × 6" H (97.8 × 34.3 × 15.2 cm)
Construction	Wooden cabinet with walnut veneer, metal chassis
Version Variants	SE-I (mono, fixed chorus), SE-II (chorus switch), SE-III (stereo), SE-IV (LED indicators)

Key Features

The Ensemble Effect: Where the Magic Lives

The BBD (Bucket Brigade Device) chorus circuit is the heart of the Solina's sound. A standard chorus pedal modulates the entire signal. The Solina applies slight pitch variation to each note individually, which makes a dense, organic phasing that mimics the natural tuning inconsistencies of a real string section. The sound never sits still. The SE-III's left/right separation adds to the stereo effect, but the real work is in the phase drift: when you play a chord, each voice moves in and out of phase. Many players leave the effect on permanently. The SE-II and later models added a switch to bypass it, and doing so shows how bare the raw tone is - thin, reedy, almost like a reed organ. The modulation isn't subtle, and it wasn't meant to be.

Preset Voices with Analog Character

The Solina has only six preset voices, but they're not static waveforms. The machine uses a digital divide-down oscillator (like an organ) to generate all pitches, and each voice passes through its own analog filter and VCA stage, which adds warmth and variation. The Violins are bright and cutting, good for disco stabs. The Cellos/Basses have a throaty growl that sits well under funk grooves. The Horns and Trumpets are brassy but not shrill, with a slight nasal quality that cuts through a mix. The Flutes are airy and soft, suited to ambient beds. None of these sounds are realistic in a classical sense. They hint at an orchestra rather than copy one.

Envelope Control in a Preset Machine

Most string machines of the 1970s locked you into a fixed attack and release. The Solina has dedicated Attack and Release sliders. They're rudimentary by synth standards, but unusual for a preset ensemble keyboard. They let players shape the envelope from soft, slow swells (good for cinematic intros) to tight, staccato chords (good for rhythmic funk or reggae). The range isn't huge, but it makes the Solina more expressive than its peers. Combined with the modulation button, these controls cover everything from a ghostly pad to a punchy rhythmic element. It's still not a synth you'll solo on.

Historical Context

The mid-1970s were a turning point for keyboardists. Synths were gaining popularity, but true polyphony was still rare and expensive. Instruments like the Yamaha CS-80 or Sequential Circuits Prophet-5 were years away or prohibitively costly. Meanwhile, producers wanted orchestral textures without the logistics of hiring session players. The string machine filled that gap as a self-contained, affordable, plug-and-play way to get lush backing parts. The Solina wasn't the first (the Freeman String Symphonizer and Eminent's own 2002 predated it), but it was the one that broke through.

ARP's branding gave it instant credibility in the US market, where the ARP name was synonymous with cutting-edge synthesis. The Solina was technically an Eminent product, but ARP's distribution and marketing pushed it into studios and touring rigs across rock, funk, and disco. It became a staple in prog rock (Styx, Yes), electronic music (Jean Michel Jarre, Vangelis), and early new wave (The Buggles). It wasn't the most advanced machine of its time. It was accessible, reliable (enough), and sounded distinctive.

Competitors like the Roland RS-202 and Korg PE-1000 offered similar functionality, but the Solina's chorus effect and slightly brighter tonality gave it an edge in mix clarity. The Yamaha SY-2 had a warmer tone but lacked the Solina's stereo spread and modulation control. By the time true polyphonic synths arrived in the early 1980s, the string machine era was winding down. The Solina wasn't replaced - it was sampled and emulated.

Collectibility & Value

A working ARP Solina String Ensemble is a prized find, but it's not for the faint of heart. Prices vary wildly based on model, condition, and functionality. A non-working SE-I might go for $800 - $1,200, while a fully restored SE-III or IV with stereo output can fetch $2,500 - $3,500. The difference isn't only cosmetic. Stereo output is essential for modern use, and later models are more stable and serviceable. SE-II and later models are preferred for their chorus on/off switch, which adds performance flexibility.

The biggest issue is reliability. These units are over 40 years old, and the electronics are prone to failure. The most common problems are failing electrolytic capacitors (especially in the power supply), dried-out BBD chips (which kill the chorus effect), and cracked solder joints from thermal cycling. The modulation circuit is particularly fragile, and many units have a weak chorus or none at all without recap and chip replacement. Service technicians observe that nearly every Solina needs at least a partial recap to function reliably, and a full restoration can cost $400 - $800 depending on parts and labor.

Before buying, test every preset, check both outputs (if stereo), and verify that the modulation effect is strong and even across the keyboard. Listen for crosstalk, hum, or dead notes. The keys should return smoothly, though some stickiness is common and usually fixable. Avoid units with water damage, warped cabinets, or replaced power supplies, since these point to deeper issues. Original condition is valued, but a well-documented restoration is often more desirable than a "mint" unit that doesn't work.

Despite the maintenance burden, demand remains high, driven by producers seeking authentic 70s textures and the resurgence of analog warmth in modern genres like synthwave, vaporwave, and nu-disco. The Solina's sound is difficult to replicate with samples. Its instability, its slight imperfections, and the way the chorus interacts with room acoustics all contribute to it.