Wiardgroup

Allow me to begin the preaching to the choir {now that we're all seated again...)

I'm curious to hear how folks on the list are using their instruments live. Anyone care to share their thoughts on the subject?

--- In wiardgroup@yahoogroups.com, "Robair, Gino" <GRobair@p...> wrote:
> Allow me to begin the preaching to the choir {now that we're all seated again...)
> 
> I'm curious to hear how folks on the list are using their instruments live. Anyone care to share their thoughts on the subject?

funny you should ask...
i just got the call cancelling the riverfront 4th-of-July gig for which i was booked (as part of the tory z starbuck band) due to our current monsoon-like conditions. So i'm staring at my live-rig - all buttoned-up and road-ready with nowhere to go 
:(
oh well...
thanx to the contract we get paid anyway!
=>

i find the Wiard modules to be remarkably tolerant of live performance conditions and 4 of the last bunch of gigs i did were outdoors!. Even their 'full sun' temperature stability has been surprisingly good.
Grant dubbed my rig the "Small Nuclear Orchestra' (S.N.O.) there is a picture of the front panel (two versions ago) at

http://www.musicsynthesizer.com/MIC/mic.html

including a bit of text on the module configuration.

My latest obsession is doing the CV control of the whole shebang with a JAG and a Joystick. I patch 4 independent voices - all doing radically different things and put 4 VCA's controlled by points 2 4 6 8 on the JAG, last in the signal chain before i sum them to a single output (with a DI to the stagebox)
I assigned the other JAG vectors to various other CV paths like 'increase/decrease chance of octave change' or the mode parameter of the sequantizer (a favorite) or more mundane parameters like Borg cutoff F, sample/hold clock speed. I map Edge to pitch CVs for final manual control of all the VCO pitches - I usually give myself a range of a fifth above and below base pitch. 
The SNO has on-board MIDI-to-CV and MIDI-beat-clock-to-trigger pulses. So i merge a simple MIDI beat clock feed from our drummers clavia ddrum rig to give him control of the sequantizer clock tempo and other tempo-dependent parameters like LFO speeds and envelope triggers. And I use a MIDI pedal keyboard (like a Taurus,and shared physically with our keyboard player), to control pitch CV's via MIDI. She and i split the pitch-control duties depending on the complexity of our parts during the set. 

it has never failed to make a joyful noise and the rest of the band , who were kind of skittish at first because of the added complexity for setup, now prefer that I use the SNO (i used to use a Nord micro modular and a Wavestation) because it tends to 'color outside the lines' a little more than the 'politer' gear and inspires a little more spontaneity and interplay on stage- more energy. On the other hand (in a nod to the recently departed Rev. Konkuro) the SNO rig has really surpised me with its NON-cantakerousness  in holding on to pitch well enough to solo tonally and do melodic breaks.

My real job in the band is playing fretless bass but it's a whole lot more fun to solo on a modular!

hope that answers your ?? without too much philosophical sedative , Gino

(guess i'll have to eat my potato salad INdoors now, oh well...rain rain...)

boom!
-doc

Interesting comments on using a modular live.
I've done it a couple of times, but only in an abstract, drone kind of way.
Kudos to Doug for attempting to replicate actual patches.
Last time I gigged, my mind went back to some shows I saw in the mid 70's;
Weather Report and The Tubes. In both cases exact patches were required for
every song in the set. Cotten and Zawinul were both using Arp 2600's.
Thinking back, I marvel at the skill (and associated stress) of constantly
patching and repatching modular synth sounds through an entire gig, with
flashing stage lights or darkness and loud sounds all around.
I didn't think it would ever be attempted again.
CW

PS Love Drmabuce's set up.