Many software packages for computer music encourage the composer to take either a time domain approach or a frequency domain approach. This paper examines the possibilities afforded by recent software developments of working at the intersection of these two domains. It investigates the relationship between the FOF algorithm, originally used in the CHANT program, and more traditional approaches to granular synthesis, and considers how they can be combined. The author's compositions are used as illustrations of these techniques. The significance of using the FOF algorithm in granulating sound files is explained (FOG). Methods of using and controlling the FOG unit-generator are explained. Compositional and aesthetic issues arising from working with sound at this ambiguous intersection are investigated.