From a Trent Reznor testimonial on the Ohm Force website: "I bought the Oddity [...] a few months ago and couldn't believe how great [it was]"

Original source here.

This article on the recording of the "Barking" album describes the band's then-current studio setup. It states, "Underworld relied on both software and hardware synthesizers. Soft-horses included Logic ES2; GForce ImpOSCar, ImpOSCar2, String Machine, and Oddity; Sonic Charge’s Synplant; Synthogy Ivory (piano); Rob Papen BLUE; and Native Instruments’ Battery 3, FM8, Reaktor 5, and Massive."

In "Stripped: Depeche Mode" by Jonathan Miller, it is mentioned that Vince Clarke used the GForce Software Oddity synth plugin.

“We got excited going through some of the new virtual instruments — Arturia having a Yamaha CS-80 and an ARP 2600, and GForce having an OSCar and an ARP Odyssey, and we were intrigued the things they did.”

Starting at 55:04 in this video from Future Music Magazine, Alle goes on to say "We usually use another instrument called Oddity from G-Force..." Oddity is used in this case to "double... the bass [and] to make the bassline... a sort of riff." The plugin can be seen on screen around 55:18.

Harry Gregson-Williams's LA studio complex, Wavecrest Music, commenced operations in Venice Beach in August 2003, and comprises three floors of editing suites, mix rooms and a live room, as well as Harry's own studio on the top level. This houses the following gear:

Sequencing and digital audio

*Steinberg Cubase SX and Ableton Live running on dual 3.6GHz Xeon server with 4GB RAM, two RME HD*SP 9652 soundcards, 75GB mirrored SATA system drives and 400GB mirrored SATA audio/sample storage drives. MIDI is streamed over LAN to Gigastudio PCs, and an Emagic Unitor 8 and AMT8 are used for hardware synths. *Pro Tools HD Accel system running on dual 2GHz Apple G5, with one 192 Analog and seven 192 Digital interfaces.

Samplers

*14x Emu E4X. *24x Roland S760. *7x 3.0GHz Pentium 4 PCs with 80GB SATA system drives, RME HDSP 9652 soundcards and 250GB SATA sound drives with custom and commercial sound libraries, running Tascam Gigastudio 3.

Software synths and plug-ins

*Arturia ARP 2600, Minimoog V and CS80. *Antares Filter and Auto-Tune. *Applied Acoustics Lounge Lizard. *Gmedia Imposcar and Oddity. *GRM Tools. *Korg Legacy Collection. *Native Instruments Absynth 3, Battery 2, FM7, Kontakt 2, Pro 53, Reaktor 4. *Ohm Force Ohm Boyz. *Spectrasonics Stylus RMX, Atmosphere and Trilogy. *Steinberg D'Cota, X-Phraze, Virtual Guitarist, VG Electric Edition, Groove Agent and Halion.

Hardware synths

*Access Virus, Indigo 2 and Redback. *Clavia Nord Rack, Nord 3 KB and Nord Modular. *Korg Trinity Pro X, Wavestation A/D and M1R. *Novation Supernova II Pro. *Roland JP8080, JD990, JV1080 and MKS80. *Studio Electronics SE1, ATC1 and Omega 8. *Waldorf Q, Microwave II, Microwave XT and Pulse.

Recording, mixing & outboard

*Avalon 727 preamp. *Eventide DSP4000 effects. *Lexicon PCM80 and 90 reverbs. *Quested HQ108 speakers in 5.1 setup. *5x Yamaha 02R digital mixers.

At 27:52, you can see Oddity right above Omnisphere in the sidebar.

John Foxx's comments on the Oddity, from the GForce website: "The Oddity is beautifully realised. All the power, character, precision, intricacy, grunge and sonic extremes of the original - plus memories. (A real gift - I managed to lose so many good sounds- or record some that I then couldn't reproduce again). It's also capable of doing things the original never could - basic things such as midi sync, right up to the sophisticated and beautiful morph facility. As for what defined that original - scorching leads, the swoops down to unstable depths, plus an ability to make new sounds - from abstract to uncontrollable - this can do it all. Just as the original, it responds beautifully to echoes, reverbs, flanges and additional spatial effects, all of which open up new dimensions. Everything from precise early analogue to howling organic electrolife is here. A great tool for any kind of sonic sculpture."

Jonas Blue mentions in his Future Music video that he used G-Force Oddity as a layer to his iconic signature synth sound. At 27:02 he explains this!

"I use The Oddity, M-Tron and the Minimonsta," Jones says, "and I’m just getting to grips with the impOSCar. I am very software orientated. I now have an amazing multitrack recording studio in a laptop. This has changed everything. But I believe it is the ideas that count, the people involved—not the technology. I am a digital fan, so I am excited to see this proliferation of digital technology, including soft synths and virtual instruments."

Billy talks about using GForce Oddity in this interview.

“I use GForce’s M-Tron, Minimonsta:Melohman and Oddity software synthesizers quite a bit—I like to mix my acoustic piano with all kinds of crazy electronic sounds, including these plug-ins."