FDelay, aka "The Rhythmiser”, is a multi‑band delay processor made with sound design and loop manipulation in mind.
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VirSyn are a company who often take a slightly left‑field approach to sound creation and processing - products such as Cantor, Tera and Matrix are certainly not 'me too' software - and their latest offering is no exception.
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Paul Sellarsįormats: Windows & Mac VST3, VST2.4, RTAS Mac AU Given its reasonable price, I'd be happy to approach Ogun much as I did my old Yamaha: with only a limited grasp of its inner workings, but in the knowledge that a bit of trial‑and‑error experimentation might well result in something interesting. However, I wonder how many users will have the patience. Given time, it would be possible to become better acquainted with Ogun's inner workings, and begin programming it more deliberately. Further possibilities are suggested by Ogun's analysis and resynthesis functions: WAV files can be dragged and dropped onto the instrument's GUI, and analysed to produce new harmonic spectra, to serve as starting points. Lots of metallic, percussive, bell‑like sounds are available, but eerie, floating pads and drones are possible too, along with scratchy, clunky, textural glitches of various kinds. Some of the presets are excellent, and plenty of fun can be had by picking one as a starting point and just randomly tweaking parameters to see where you end up. Ogun is capable of coughing up novel, attention‑grabbing noises unlike anything a more conventional synthesizer might be expected to produce. Yet, for all that, the surprises are often pleasant ones. Adjusting these parameters often produces unexpected results, and attempting to steer the synth in any particular direction can be frustrating, as it sometimes seems to want to veer off on its own, for reasons that aren't clear. Its user interface is awkward and obscure, with parameter labels that are either unfamiliar, abbreviated, or both ('Pre', 'Dec', 'Full', 'Phs', and so on). Further parameters control the balance between the harmonic content generated from the two seed values, and how variable EQ is applied to further shape that content.Īlthough it's algorithmically very different (and technologically a lot more sophisticated), what Ogun reminds me of more than anything is an elderly Yamaha four‑operator FM synth I used to own. The Rich parameter determines the total number of harmonics generated (between one and 32,767), and hence the 'richness' of the sound.
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Exactly how these numbers influence the process is not made clear, although adjusting them can alter the sound significantly. Two "seed values” - numbers between - are specified per preset, providing "two independent weightings for the harmonic spectra”. Programming it from scratch can be a challenge, and sadly the help file isn't all that helpful. Ogun represents something of a departure from conventional synthesizer designs. The bottom third is given over to Ogun's on‑board effects, which include chorus, delay and reverb.
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A graphical envelope editor is used to assign modulation sources, or Articulation Parts, to parameters.
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The top third contains master pitch and volume controls, an on‑screen "modulation square”, and a patch information display. The GUI controls are small, some to the point where they can be quite fiddly to manipulate with an ordinary laptop touchpad. The largely grey‑on‑grey colour scheme is not unattractive, but is quite low‑contrast, which is not an aid to visibility. Image Line describe Ogun's GUI (Graphical User Interface) as "space‑saving”, which is fair enough, although 'cramped' would be another way of putting it.
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The quoted minimum requirements are on the high side - a 2GHz CPU and 512MB RAM are recommended - and additive synths can sometimes be a drain on system resources, although during testing Ogun seemed quite efficient. From the developers of the popular FL Studio host application comes Ogun, an unusual additive synthesizer plug‑in with the emphasis on "rich, metallic and shimmering timbres”.