Wiardgroup

At 04:22 PM 7/2/04 -0500, "Robair, Gino" <GRobair@primediabusiness.com> wrote:
>Allow me to begin the preaching to the choir {now that we're all seated 
>again...)

mi ... mi mi mi mi ... la la la la ... aaaaaaaaaaaaaah (can we harmonize 
some dissonant intervals?)

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

I play (mostly) rock music.  I always wanted a VCS3/Synthi until I got the 
Wiard (I know they're not *the same*, but it *killed* that piece of gear 
lust for me).  I wanted to play like Eno~Roxy, Dettmar~Hawkwind, 
Blake~Gong, Richter~F/i, Ravenstine~Ubu (EML, not EMS), (or other non-EMS 
folk like 50 Foot Hose, Metal Urbain, United States of America, the Girls, 
Chrome, etc. etc.)  Most monosynths won't do essential things like modulate 
audio frequencies (except maybe a semi-digital ring mod), or have a second 
LFO to modulate the first (thanks, Borg), or just have enough filters 
(thank you again, Borg!).  And it's really pretty trivial to patch a Wiard 
system with dual joystick controller for that sort of music.  To the point 
where I feel lazy doing it, but it sounds good to me, and works with any of 
the improv music I play (I've found that the best 6-piece system for me is 
the basic one, with sequantizer replaced by borg ... and maybe classic vco 
replaced by wogglebug if I'm in a weirder mood).  One (cliched, but it 
works) control setup I commonly use:
R joystick X  Waveform City Fc
R joystick Y  Omni Filter Fc
L joystick X  Borg LFO Fc
L joystick Y  Waveform City VCA CV (amount of LFO modulation to Waveform 
City Fc)
One button wired to EG to VCA and/or VCF
(so that either the button or R joystick Y can turn the sound on)
Maybe the other button wired to EG to Waveform city wave CV ... or 
elsewhere ...

There's an old digitech RDS delay in the rack box I keep the Wiard in, so I 
have 1/4"<->1/8" cords plugged into it ... it's usually inserted between 
filter & mixolator.

It's also nice to get a feed (if the amp has an fx loop or line out jack) 
from the guitarist to process that signal (as with Eno/Manzanera on "Gun" 
or Del Dettmar filtering Dave Brock on "Space Is Deep").

When I'm playing modular + another instrument, I'll bring a CV pedal, but I 
haven't done that much with the Wiard; when I do, it usually feeds a 
multiple that goes out to several CV inputs with attenuating knobs, so I 
can assign the pedal without having to re-patch it.

I've experimented with using drum triggers with modulars (I believe we have 
at least two drummers/percussionists on this list?  Have either of you 
tried these?), but I haven't ever done that with a live drummer (I'm going 
to have to try that with the guy I'm currently playing with).  Not only can 
they trigger an EG that turns on a sound, but they can trigger *changes* to 
an existing sound (opening or closing a filter, spiking the resonance, 
introducing white noise or an LFO mod, etc. etc.).  Putting triggers on 
every drum in a kit can make some glorious drum-performed electronic 
mayhem, but I can't think of a good live use for that - it's more of a "gee 
whiz" or "academic exercise" application.

The couple shows I did with Russ Tolman are the only time I've used patch 
sheets live, which was pretty essential, since I was re-creating sounds for 
3/4-minute pop/roots rock songs (which I hadn't documented from the 
recording, so I had to figure them out again).  Since the setlist was fixed 
in advance, I could map out and highlight exactly which knobs/cords I'd 
have to adjust between songs, which kept re-patching time to a minimum.

So ... what do YOU all do? :^)

And ... I must apologize for having broken one of my own rules over the 
last week ... "don't feed the trolls."   I beg all's forgiveness.

         -Doug
          jasret@mindspring.com