![]() ![]() Then just repeat for every other parameter you want assigning to aftertouch. ![]() Simply right click on the ‘LED Display’ under the A/T amount slider, select one of the destinations, and choose your amount. There’s nothing quite like hooking up the aftertouch to both LFO and the filter to give you some wonderful screaming vibrato! And it’s so easy to do. These allow you to use both these input methods to great effect. Oddity 3 now delivers programmable aftertouch and expanded velocity controls. I’m a sucker for any feature that delivers expression. Right, that’s the boring stuff out of the way. Notes and tags also aid identification and selection, as does a handy audition button. And when you find one you love, simply click the heart to add it to your favourites. This allows you to pinpoint the sounds you want quickly. Open the browser and you are presented with a simple yet powerful filter-based system. Given that Oddity 3 ships with over 2000 patches, it must’ve been a necessity. Job done.Īnd patch browsing receives a complete overhaul. This changed with OB-E and now Oddity 3 also allows you to just grab the corner of the window and drag. Choices were ‘tiny’ ‘small’ or ‘medium’ and involved a restart of the plugin. Slowly but surely, they built in some scaling functionality, but only on their terms. When I moved to a 27″ iMac ten years ago, the likes of GForce and others had UIs that were most definitely not designed for the large screen. Both these elements were real bug bears of mine, but with Oddity 3, they’ve been resolved perfectly. If I had any criticisms of GForce’s plugins in the past it would have been the patch browser and the UI scaling. It very much seems he has repeated that feat, along with the other members of GForce’s superb development team. His amazing coding and DSP skills delivered what many thought was not possible a truly indistinguishable analogue sound from a piece of software. The hidden genius behind the OB-E and SEM emulations was Hugo Brangwyn. ![]() It’s a revived relationship that, as with all GForce instruments, is borne out of a deep love and affection for the instrument and its designers. Oddity 3Īnd so, here we are, hot on the heels of GForce’s recent dalliance with Oberheim (two projects that delivered the eight voice OB-E and SEM so convincingly that Tom Oberheim put his name on them), and GForce have returned to one of their first true loves. Oddity 2 took the Odyssey concept and dragged it kicking and screaming fully into the 21st century. In came polyphony, almost global LFO assignments, and recreations of all three filter types that spanned the hardware range during its lifetime. Oddity 2 came some eleven years later and took full advantage of the latest technology to expand on the Oddity concept and make it into something way more than the humble original. Now we could all revel in the raucous, wild tone of the Odyssey, making it howl and scream in equal measure. It captured the tone and the user interface perfectly. So Oddity stuck to the basics and did it very well indeed. Purists wanted 1:1 recreations and the technology of the day was still in its relative infancy. Back then, doing anything over and above what the hardware could do was mostly out of the question. The first version launched nearly 20 years ago, as one of the first real attempts at recreating Alan R. ![]() GForce‘s mantra is one of getting as close to the original as possible. ![]()
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