![]() ![]() ![]() 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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