Named after the Norwegian word for “a small particle of dust or snow,” FNUGG is a master of granular synthesis textures, frequently utilizing field recordings as its source material. This unique library is meticulously designed for avant-garde composers, film/game scorers, and sound designers who demand evolving, abstract, and deeply tactile soundscapes. By seamlessly blending field recordings, granular synthesis, and binaural drones, FNUGG provides a versatile toolkit for crafting sounds that are simultaneously raw and intricately processed, reflecting the dynamic and often unpredictable nature of the world around us.

The sounds from FNUGG generate an impression of movement through space, embodying kinetic energy and hinting at the presence of bustling life forms. It is fusing raw nuances of field-recordings, tiny sonic snippets, and modular synthesis intricacies, through spatial connectivity and repetitions. 

Fnugg offers a diverse range of sounds, from the subtle flapping of butterfly wings to the rumblings of an avalanche, and from gelatinous shifts to thick, motor-oil drips. It features synthesized field recordings, weirdness-generating patches, immersive audio, layers of granular degradation, impulse responses, and arrhythmic sound sculpting. Expect a blend of organic textures and cutting-edge synthesis, designed to evolve and surprise.

Its core strength lies in experimental composition, time-based sound design, and non-linear musical structures. It excels at creating buzzling atmospheric textures, unsettling drones, and abstract sonic elements that can add a truly distinct character to your scores.

Now, if you’re lookin’ for the contraptions that make this happen, these here are some of the usual suspects. They ain’t all the same, mind you. Some hum like a refrigerator in a cheap motel, others wail like a banshee in a graveyard. Pick your poison.

Pladask Elektrisk (Fabrikat): From a cold, dark place come these. Norway, the same country as Wrongtools! This one’s for the dreamers and the drifters. It takes a little slice of yesterday and turns it into tomorrow, all hazy and worn. Good for making a loop out of a sigh or a secret.

• Red Panda Particle 2: If you wanna know where the digital ghosts whisper, this might be their address. It’ll take your sound and stretch it, stutter it, or make it vanish into thin air. Good for the long, lonesome hum.

• Hologram Electronics Microcosm: This ain’t just a pedal, it’s a whole junk shop of sound. It’ll make your guitar sound like it’s falling down a flight of stairs or blooming in a swamp. Comes with all the bells and whistles you didn’t know you needed.

• Montreal Assembly Count to 5: A peculiar contraption, this one. It’s like a broken tape machine that dreams of numbers. It’ll chop things up, play ’em backwards, forwards, and sideways. Don’t ask how it works; just listen.

• Walrus Audio Fable Granular Soundscape Generator: They say it generates “soundscapes.” What that means is it makes a lot of noise that drifts and changes, like clouds on a stormy night. If you’re into the ethereal and the echo, give it a whirl.

• Drolo Stamme[n] V4: This one’s got a stutter. A good stutter. It’ll take your sound and make it stumble, repeat, and then fall into a deep echo. Good for when things ain’t quite right.

• AC Noises Ricorda: They call it a “granular reverb.” Sounds fancy. What it does is take your sound and scatter it like dust motes in a sunbeam, then lets ’em float around a bit before they settle. Good for spacious haunts.

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Fnugg features real-time modulation capabilities that facilitate tactile control over temporal flow and texture. This allows you to shape the sounds dynamically, making it a highly expressive tool for performance and composition.

No. But these patches are so cool to run through a step-sequencer plugin!  We find that it is better, and more groovy,  to leave this to a dedicated plug-in, which is standard in all DAWs instead of programming it into Kontakt itselves. 

Yes — some rhythmic patches, including noise loops, are tempo-synced to your DAW BPM. A few patches include round robins options. But the general focus of the library is to have as many patches as possible, with many related sounds that fit to the concept of FNUGG,  instead of multiple roundrobins that will take up diskspace.  

For patches that doesn’t have sampled roundrobins, you may find the “random Sample start” option useful, if you want each note to sound different.  Then each time you play a note, it will start to play at a different place in the sample.

It will take up 4.4 GB of free diskspace