Wiardgroup

There have been some great suggestions so far, and I wanted to try meshing several of them together with my own thoughts in a somewhat different way.

First, I anticipate that any new modules would maintain the heritage and spirit of the existing 300 series. By this I mean that as much as possible each module should, among other things, follow after certain conventions that helped define the original set of modules:

1. Each should be usable as an independent “voice” so that a system comprised of multiple modules can form an orchestra of unique timbral talents
2. Within each “voice” there should be individual sections that can be used in myriad ways when connected with other “voices”
3. Certain inputs/outputs of these individual sections should be normalized for common applications for ease of use in performance settings
4. Each module should have applications for both audio and control voltage generation/modification
5. Each should embrace in marriage both the West Coast and East Coast synthesis philosophies

With these in mind I will propose…

Module 9: Envelooper / MARF – since you already have a great vision for this I will leave it alone.

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I, too, was initially excited by the prospect of a Boogie / Borg 2 combo module as I use these together all the time with great results. However, putting these together behind one 300 faceplate would neither introduce significant benefits for existing owners of the 1200 variants nor quite fit the (above) tenets I aspired to. Like others with whom Grant has discussed his Complex Oscillator development efforts, I am very anxious to see this one come to fruition in some form or another, but again a single-purpose module is not quite in keeping with the Wiard 300 tradition. Furthermore, several list members mentioned their desire for a VCO-VCF-VCA mini synthesizer – a “Micro Wiard,” if you will. So I have decided to propose two of them!

Module 10: West Coast / Female Voice / Auntie Oscillator

Designed to provide for the synthesis methods more typical of West Coast proponents, this would allow one to create a complete voice in that style. Grant has previously spoken of a new complex VCO [triangle-based? if I recall correctly both the Classic VCO and Waveform City are sawtooth-core designs] that would offer voltage control in two dimensions of variable harmonic content that is reminiscent of the original Buchla 259 and the “Serge Wave Multiplier” NLT circuit. Add several quadrature outputs, a Borg 2 filter/gate and an “Envelator Lite” slope generator, with the following controls suggested:

Pots – VCO: Coarse, Fine, X Timbre, Y Timbre; Borg 2: Freq, Peak, Control Range, Type; Envelope: Attack, Release

Switch 1 (2-way) – VCO: High/low frequency range

Switch 2 (3-way) – Envelope: AD, AR, Cycle mode

Jacks – VCO inputs: 1v/oct, Linear FM, CV X, CV Y; VCO outputs: Complex, sine, 90° sine, triangle, 90° tri, trapezoid and 90° trap (for circular panning of a JAG); Borg: Borg In (normalized to VCO Complex out), Key CV In, Control CV In; Borg Out and Aux Out; Envelope: Env In, Env Out (normalized to Borg's Control CV In), VC Attack, VC Release

With only this module and an Envelooper / MARF one could realize a complete gestural synthesizer (hi Gary!) similar to what Grant initially envisaged for the 1200 series. The quadrature outputs would enhance the oscillator's functionality when employed as an LFO.

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Module 11: East Coast / Male Voice / Uncle (Bob?) Oscillator

In a similar vein, a normalized voice paying homage to Dr. Moog yet uniquely Wiard might contain a sawtooth-core VCO emphasizing features such as PWM, plus the awesome Boogie VCF, a simple (log) VCA, and a traditional (non-voltage controlled) ADSR envelope.

Pots – VCO: Coarse, Fine, PW (manual); Boogie: Frequency, Resonance; Envelope: A time, D time, S level, R time, Env Amt (this pot would control the level of an ~output~ of the ADSR normalized to both the VCO PWM and Boogie Frequency through switch 2)

Switch 1 (2-way) – VCO FM: routes FM input to a linear AC path or an exponential DC path

Switch 2 (3-way) – Env Dest: selects the attenuated envelope level to VCO PWM, Boogie Frequency, or both

Jacks – VCO inputs: 1v/oct, CV FM, CV PWM; VCO outputs: sine, tri, saw, pulse; Boogie inputs: Audio 1, Audio 2, Key CV In, Control CV In; Boogie Outputs: 6dB, 12dB, 18dB, 24dB; VCA In (normalized to 24dB out), VCA Control In, VCA Out; Envelope: true Gate In, Env Out (non-attenuated)

The availability of integrated voice modules would enable users to easily achieve true polyphony and might even encourage the pursuit of virtuosity.

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Module 12: Syncopator

I *really* like Paul's suggestion of a complex timing module. I would add an external input that interrupts the internal clock. The knob he suggested to select the Boolean function might be changed to a 3-way switch, which would permit the addition of a pot to control the slew rate of the master output. The other switch location could be utilzed by a range switch, extending the clock oscillator to audio frequencies and creating the opportunity to use the module as a rich harmonic oscillator. That still leaves a couple of jacks, which could be used for an invertor.

I would also love to see a Wiard effects device, but I think this may be better suited to a stand-alone rackmount unit, to allow more flexibility with regard to feature set and layout as well as making it more marketable to studios and producers who don't/won't own a 300 system. I am especially smitten by the idea of an 8-channel spectral filter bank with variable frequency (including voltage control) and an independent VCA for each band. This would mate perfectly with a Joystick-JAG combo!

Well, I have had my turn now so I will cede the pulpit to another of the Wiard faithful...

Best wishes,

Chris Sawyer