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Hi wiardians,

> On 1/7/06, thomas white <djthomaswhite@y...> wrote:
> >
> > www.naturalrhythmmusic.com/WiardBorgLowpassGate.mp3
> >

Thomas - thanks for that demo: it has really piqued my interest.  But
I have a question: what causes that high pitched sustained sound (most
obvious from 2:33 - 2:46)?

And then, borg owners, I have a few questions about the module itself: 

- does the type knob permit smooth transitions from LP to BP to HP? 
If so, if this CV controllable in any way?
- is the control range knob an attenuator for control in?  If so, is
this the only difference between control in and key in?

thanks for your time,

rgds

Pierre

Hey all, glad some of you have got something out of the sample. Now 
go buy to Borg 2's to do it on your own. I love the sound!

So, regarding the sample: The high pitch sound at that time in the 
sample is a the second oscillator with a high frequency setting due 
to the randomness of the sample and hold. The sustain on that part of 
the sound is due to me slowing down the pulse rate on the LFO. This 
stretches out the pulse to be a little longer so the sound of the 
gate sustains a little bit. You can still hear the nice shapre the 
vactrol adds to the notes when it ends as a sound with decay. 

As I have the Dual Borg, I have resonance turned up on the which 
might have caused some oscillation at the point of mention in the 
sample. The dual set up can release some 25V peak to peak madness. 
Dangerous but really makes some cool sounds when attenuated down. 
Dual oscillating filters with a bit of pink noise make mean kick 
drums. Thanks folks,

Thomas

--- In wiardgroup@yahoogroups.com, "Pierre Zeeman" <pierrezee@h...> 
wrote:
>
> Hi wiardians,
> 
> > On 1/7/06, thomas white <djthomaswhite@y...> wrote:
> > >
> > > www.naturalrhythmmusic.com/WiardBorgLowpassGate.mp3
> > >
> 
> Thomas - thanks for that demo: it has really piqued my interest.  
But
> I have a question: what causes that high pitched sustained sound 
(most
> obvious from 2:33 - 2:46)?
> 
> And then, borg owners, I have a few questions about the module 
itself: 

> 
> - does the type knob permit smooth transitions from LP to BP to HP? 
> If so, if this CV controllable in any way?
> - is the control range knob an attenuator for control in?  If so, is
> this the only difference between control in and key in?
> 
> thanks for your time,
> 
> rgds
> 
> Pierre
>

> 
> - does the type knob permit smooth transitions from LP to BP to HP? 
> If so, if this CV controllable in any way?

Yes, unlike other Sallen-Key designs, the Borg uses a pan pot to tranverse from LP to BP to 
HP. It is very smooth and resonance (peaking) is constant. All other designs use a switch 
for this function.

CV control would add a great deal of expense. Doubling the cost of the module.

Panning from LP to HP in performance sounds a somewhat like adding a phaser. The first 
synth to have this function was the EML 101. But that was a very primative state variable 
filter with an unobtainium tapped potentiometer. The Borg inplementation is much more 
elegant.

Personally I find state variable filters to be completely boring. Although the SEM used one 
and some people like it. For musical drama, a Sallen-Key (Borg) or Butterworth 4 pole 
(Boogie) gives much better results.

Five years ago I prototyped a state variable filter made with Vactrols and it was so "plain 
vanilla" I almost cried. Painfully unexciting.

> - is the control range knob an attenuator for control in?  If so, is
> this the only difference between control in and key in?
> 

Yes the Control Range knob is the attenuator for control in. The Key(board) input is 
nominally
1 volt per octave. It is use when you want ot have the filter track the keyboard for a 
constant spectrum.

Hi,

> For musical drama, a Sallen-Key (Borg) or Butterworth 4 pole 
> (Boogie) gives much better results.

Thanks Grant - I didn't know the borg was a sallen-key so it just
hopped to the top of my filter wish list.

rgds

Pierre