MUFF WIGGLER - View Topic - Wiard 1200 Series Info PDF

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Wiard 1200 Series Info
MUFF WIGGLER Forum Index > Wiard
Author Wiard 1200 Series Info
Babaluma I thought I'd post all the information I have collected on these modules over the years from the Wiard
Yahoo Group and personal emails from Grant.

It would also be good if people would refer others to this post when a similar question comes up again.

This information is from various uncredited authors, but most of it is from either Grant himself or The Good
Doc Mabuce. If anyone feels I shouldn't be reposting this info, then please take it down. The reason people
go uncredited is that this document has been collected over years and years and has been edited for clarity
for my own personal use.

All this info really deserves to go into proper manuals, but as Grant is very busy it appears that they might
not see the light of day for some time.

Please add any other info on the Wiard 1200 series only (that includes the original Frac Rack modules, the
new Malekko Euro modules, and any other format that might be released in the future), if you feel it is
something that is not covered here.

Perhaps we could also use this post to discuss aspects of the 1200 series which we are still not clear on.

I hope this is helpful to some of you!

Gregg

WIARD INFORMATION

NOISE RING INFO:

I am wondering if can anyone explain the relationship between the "Ring" lights and the bits flowing
through the shift register. It seems that higher voltages are present when the LEDs are red, but I can't
quite understand how the three states (green, red, off) relate to the two states (one, zero) of the shift
register.

the shift register is an 8bit register divided into two fourbit 'nibbles'.

the first nibble is:

do

d1

d2

d3

and the second is

d4

d5

d6

d7

the 4 leds indicate a comparison between the states of the following pairs of

bits:

d0 d4

d1 d5

d2 d6

d3 d7
https://www.muffwiggler.com/forum/viewtopic.php?t=5306&start=all&postdays=0&postorder=asc 1/19

using d0d4 as an example:

when d0 = d4 led is OFF

when d0 > d4 led is green

when d0 < d4 led is red

(I might have the green/red states reversed)

My assumption regarding why Grant used this method is that it is a good indicator of CHANGE which is the
exact type of feedback the user needs to adjust probablility controls. The compromise is of course that it is
very hard to determine the exact state of the 8bit register from this 4led display. But (i likewise assume)
devoting an entire 8led subassembly and the requisite panel real estate for a direct register display would
have been more costly. The 'Goldberg jr.' that i gave Grant in July 2001 had an 8led direct display but no
clock or data indicators. I'm impressed with the efficiency and economy of the scheme Grant devised to get
a lot of feed back to the user with just 8 lights and very low current consumption. Hope this helps you
'read' what your marvelous little gadget is doing.

I am having a hard time getting the noise ring to process external data. In particular, I have been unable to
achieve the phased sound when patching another oscillator into the chance input jack. When I do this and
monitor the main out I hear nothing at all. Has anyone else had this problem? What could I be doing
wrong?

1. Make sure the "Change" pot is all the way up (LED full on).

2. Input a VCO 10 volt peak to peak triangle or sawtooth wave into "Chance In" jack.
3. Adjust "Chance" control so some LED signal is seen.

4. Monitor main output and play with VCO frequency and "Rate" setting.

Run an external audio signal of +/ 5 volts into the "Chance In" input jack. This is normalled to the white
noise output.

Set the "Change" knob all the way on. Vary the "Chance" control knob to change the sound.

Also vary the "Rate" knob to change the sound. You can reduce the setting of the "Change" control knob as
an experiment.

In order to avoid reinventing the wheel, please read the circuit desciption Grant posted at:

http://www.wiard.com/1200/NR/Noise_Ring.html

i will be referring to the block diagram he posted.

regarding digital noise:

If we force a featurebyfeature comparison of the I.D. and the N.R, the one feature that the N.R. lacks is a
'conventional' digital noise source. The main and aux outputs of the N.R. are both digital noise , to be sure,
but they are both variable in spectrum and controlled by the two CV vectors, "Change' & Chance'. This
makes them a little different from conventionally produced digital noise sources (such as the now extinct
MM5x37 chips).

The Blacet I.D. is a very full featured implementation of a tried and true, timehonored method of random
voltage generation in analog modulars. To wit, a noise source (continuously variable between digital or
analog) is 'snapshotted' by a sample hold at a voltage controlled sample rate and output as random steps.
The pattern of these steps vary in amplitude according to the spectrum of the input noise and , in duration
by the clock rate. Thus, the output steps are derived dirctly from the noise sources, analog , digital or some
mix of both.

The Wiard N.R. uses analog noise at a basic source point in it's algorithm, but never directly. This noise is
never sampled by an sample/hold circuit, in fact there are no sample/hold circuits in the N.R and this is a
fundamental distinction. (It will help to consult the N.R. block diagram, at this point) You may already know
how a shift register works but for anyone who doesn't, i'm going to use the analogy of a conveyer belt with
room for 8 people....

In the N.R., analog noise is used to tickle the threshold of a comparator, the comparator flips on and off
producing either 'someone' or 'no one'. depending on the state of the comparator. This person/nonperson
stands OFF the conveyer belt waiting for a signal. The signal comes from the clock. The clock is also a 2
state device. We'll call them 'tick' and 'tock'. Remember that the clock is not steady. It varies with a CV.
This is important. When the clock is in a 'tock' state , nothing happens. The conveyer belt doesn't move and
no one steps on. The N.R.'s output is static. But when the clock switches to "tick" the conveyer belt moves
one step and if the comparator was tickled to it's 'someone' state, someone steps aboard. If it was in 'no
one' state the conveyer moves one step with an empty place. On the next tick the conveyer lurches forward
and if anyone was in the last (8th) position they get dumped off. Another thing happens at each tick, the
DAC takes a snapshot of the pattern of occupied and unoccupied places on the conveyer, and based on that
pattern it sends a voltage to the output, a different voltage for every different pattern, Thus as the two
devices, comparator and clock, go on flickering , the conveyer gets loaded with different patterns that
SHIFT on each tick. This cycling of patterns is the heart of the N.R.'s method, and this is very close to the
classic function of a digital shift register.

But there are some twists! And one of the more brilliant twists that Grant conceived is depicted in the block
digram by the line marked 'old data' feeding the "solid state switch' . This is controlled by the 'Change'
control. As the 'Change' control vector decreases, the chances INCREASE that the passenger who was just
dumped off the end of the conveyer will get another turn and move right back to the front of the conveyer
again and prevents any 'new' passengers (from the flickering comparator) from boarding. The effect of this
is a 'circular' buffer wherein the pattern repeats ad infinitum until 'new' passengers are reintroduced by
increasing the change control. At slow clock rates this results in cycling patterns. At audio clock rates the
effect is a clearly discernible pitch. The wonderful thing about this is that the change control vector is
continuous and thus, at audio frequencies, random audio (noise) will start to organize itself into a pitched
tone. The 'between states' are sublime (to my perverse ear, anyway) and if you descend into chaos again ,
when you morph to pitch the next time there's no guarantee that you'll get the same wave as before.
Please forgive me for editorializing, but the resulting patterns are exquisite!!! i'm sorry to confess my
fetish, but that's just the very definition of my personal idea of a good time!

To drag this screed back to the issue of comparison. The method of pattern generation just described is
very different than the sample/hold method used by the I.D. (and MANY other RVG is modular synth
history). Most importantly, this method yields a very different character of output patterns than a
sample/holdbased design produces. The noise sources are never sampled directly and thus, the output
SOUNDS different from sample/holdbased output. i've foolishly engaged in past disputes about whether
this is can be called 'random' or not, and if it IS randow, how random is it? That's a semantic issue and a
waste of time. The bottom line is that the noise ring yields MUSICALLY interesting patterns (to my ear) and
that's what matters. In all fairness, Sample/holds yield interesting patterns too (i have 9 versions of them,
at last count) but the noise ring's output is distinct from all of them. The other very important distinction is
the effect of the ability to exercise a very fine level of control over the 'chance' and 'change' parameters.
This is a unique and VERY powerful feature.

The Buchla "Sources of Uncertainty' is the seminal circuit that employs a similar use of noise (as a
modulator of the sampled source, rather than the noise being the sampled source itself), and a recursive
structure that can create suprisngly musical patterns in the name of UNCERTAINTY, which I think is a better
term than RANDOMNESS.

When I use the term entropy I mean Shannon's measure of information entropy, not thermodynamic
entropy (which uses a similar equation, the reason Shannon used the term "entropy"). Information entropy
is just a histogram of the number of levels in a matrix of information, expressed as the number of bits
needed to store that number of levels. If there are only two levels, you only need 1 bit to store it. If there
are 4 levels, you need 2 bits to store the information and so on.

The original Buchla 266 presented control of the level entropy of the uncertainty source (from 1 to 6 bits).
But there was no control over the frequency spectrum entropy (if you calculated the information entropy of
the DFT). The Buchla 265 sample and hold presented control of the time spectrum entropy via the recursion
control, but not the level entropy.

The Noise Ring provides both types of control, level entropy via the "Chance" control, and frequency
spectrum entropy via the "Change" control.

I don't know if this is scientifically true, but it is believeable that the ear does both types of entropy
measurements at a very fundimental level. The ear uses a kind of "battery" system to supply the ear,
because blood flow would be too noisy. The ear uses "hairs" to sense both level and frequency information.
IF an excited cell uses more "current" than a nonexcited one, then the way the ear is structured, the
information entropy is proportional to the "current draw" for the two different "hair" structures. One for
levels (amplifier cells) and one for time spectrum entropy (cochlial cells). Higher information entropy
excites more cells, which draw more "current".

JAG INFO:

The JAG is a new module design that takes any two input voltages, and makes all the inversions and
combinations available simultaneously. It is a two input, ten output folder/twister/combiner.

It operates up to a full 20 kHz bandwidth, so you can combine audio waveforms. You could take two
waveforms from the same VCO and generate 10 variations. As an effect unit, it is most like ring modulation
or other nonlinear mixing sound. Makes an interesting fuzz box with 10 output variations.

There is an input polarity switch which switches between a 010 volt inputs and +/ 5 volt inputs. Also the 8
outputs can be used to control all 4 ADSR parameters of two envelope generators simultaneously.
Combining two LFOs give 10 variations for sweeping and control of parameters. Up to 8 bandpass filters can
be controlled by Joystick for generating formants or comb filters (like a phase shifter constructed of
individually controllable peaks or notches). You could also look at it as a kind of Cartesian barberpole
generator.

The original X and Y inputs are passed through to be used in the patch. Or a second unit with X and Y
switched will give another 10 functions shifted by 90 degrees. The output fuctions can also be used as
inputs to another JAG for really bizarre shapes.

The most obvious application is for panning. The corner functions supply control for the 4 VCAs, and the
edge function supplies a correction function for equal power panning. The function is used to boost the
output in the middle of the pan, eliminating the power drop in the middle.

Run the other way, it is useful for Joystick controlled MIXING. For example, running 4 waveforms from a
VCO to 4 VCAs allows you to mix them with a Joystick. This is also called "Vector Synthesis" since the
Joystick voltages can be replaced with envelope voltages or LFOs. The 4 waveforms could also be the
output of 4 different effects units or other waveform processors.

Another example is to use two envelopes as the inputs. This will produce 10 envelope "variations" that can
be routed to 10 different parameters in a patch (PWM, filter sweep, filter Q, crossfading between two filters,
waveshape control, envelopes times etc.).

If a Joystick is used, it gives you control of patch timbre in real time. Fun when you are running a sequence
and dynamically morphing timbres. For example, the four corner or side functions can control all 4 attack,
decay, sustain and release times at once. So the single Joystick can give you all possible envelope shapes
mapped across the Joystick plane.

Complicated, mysterious, yes, but I also think it will be great fun too. There are 9 LEDS on the faceplate
that indicate the output voltages. A great light show, but it also gives an intuative grasp of what is
happening.

This experimental module produces 10 complex output voltages from two input voltages. It has 9 LEDs of
every color except violet.

The most obvious application is control signals for quadraphonic panning. It also provides the control
signals for volume and reverberation control for location modulation. If you have worked with the Buchla
reverb module, this allows you to patch up the "Recede" fuction where volume, reverb and panning are
controlled automatically.

Using the Borg Filters in the VCA mode also provides the high frequency rolloff with distance cue, which
mimics the effect of humidity damping with acoustic signals.

A less obvious application is timbre control via joystick. Since you have 10 crossfading control signals, you
can route them to filter frequency, filter Q, PWM, waveshape select, filter type select and anything else.
Now you can adjust 10 parameters simultaneously using a single joystick.

> What is the upper frequency limit for the JAG?

The opamps are TL074s. It should work to about 2 megahertz. IN other words you could process video
with it (what that would get you I do not know).

> Will it work at audio rates?

No problem.

> Is it all analog?

Discrete class A circuitry actually.

> The polarity switch switches the INPUTS only. Use in the down position for 0 10 volt joysticks and
envelope generators.

> Use in the up position for dual LFOs that produce +/ 5 volt waveforms.

> The outputs are always 0 10 volts (approx.)

First off the best and easiest way to comprehend the JAG is in a demo. This is one module wherein the
visual feedback from the panel LED's are the best way to comprehend the functions. If you know someone
with a JAG i urge you to go borrow some time with it. (that will be LOTs more fun than reading this
anyway!)

The first, important distinction, is that the JAG is NOT a joystick. It's a processor. (it can even process
audio, but for sake of clarity i'm not even going there).

The X & Y jacks are INPUTs, They can certainly be connected to your A174's but they can just as easily
accept a couple of LFO's or Envelopes.

The JAG turns the TWO vectors of control at the X & Y inputs into ten INDEPENDENT output vectors, at
each LED (and the two 'invisible vectors of "dome" and "edge") by comparison a conventional Joystick
outputs only two INDEPENDENT vectors per module (x & y). You can mult the outputs of the A174 (to the
limit of the joystick's available drive current) but that doesn't multiply the number of INDEPENDENT vectors
available.

Those are some of the essential differences. That key word i keep capitalizing is Independent vectors of
control; the ability to move one CV up while moving another down while holding three other CVs steady
and creating a 'bump' in yet another CV.... ALL WITH ONE MOTION! Combined with a joystick, i find the
JAG can output an array of CV's that allow me to rival the level of control over an analog synth that one can
exert over an acoustic instrument. Used a different way the JAG outputs enough control to allow you to
'conduct' complex 'ensembles' of multiple voices.

to compare again... with 2 joysticks you have independent mix control over 4 voices (via VCA's). with 2
JAGs you would have independent mix control over 20 voices (likewise via VCA's)

The "Dome" function indicator is the Yellow LED in the middle. The "Edge" function is the inverse of dome
(more or less).

BTW, the color mapping of the LEDs is inspired by one of the Chinese color mapping of the "BaGua" or
eight sided figure showing the eight possible outcomes of the three "IChing" coins. Blue was substituted
for black (North). When I mentioned Feng Shui to my fellow engineer Chunning Sang, he replied "Next
you'll be telling me you've seen a UFO, only my grandparents believe in that stuff!"

Both Western and Eastern Geomancy are fascinating topics however. It is amazing how much the human
belief system has changed over a short time. For example, earlier humans believed that evil traveled in
straight lines, and avoided straight lines in art and even fences. This is why much early art contains great
complexity (such as celtic knots). It was believed that these highly tangeld lines would prevent the
entrance of evil. The idea was so universal that there is a specific word for it, "apotropaic" meaning
"intended to ward off evil or bad influences". Rest assured, all Wiard product produce waveforms of
apotropaic complexity, and can only be good for you! I am only kidding around, so don't send the guys
from the Funny Farm.

BOOGIE INFO:

The two major variables in filter design are the topology and the transconductor type. A transconductor for
synthesizers in simple terms is just a voltage controlled resistor.

The Moog transistor ladder, EMS diode filter and the Boogie filter are all 4 pole Butterworth lowpass filters.
Each LP filter "pole" or stage reduces the output by 6 dB per octave. What that techno speak means is each
time the frequency doubles, the amplitude is reduced by half. Putting 4 stages in series makes a 24 dB per
octave filter, or each time the frequency doubles, the output is reduce to 1/16. The Moog ladder uses
transistors as the transconductor, the EMS uses diodes and the Boogie filter uses Vactrols as the
transconductor. In theory, there should be no difference in the "sound" of all three. But the ear is such a
fantastic discriminator, that it can detect the mathematical defects in each design, so they sound slightly
different.

The Boogie (from Boog "Buchla + Moog") uses Vactrols as the transconductor. This should be the closest to
mathematically perfect, because the photo resistors are true conductors, not semiconductors used in a
current starved mode to behave as AC resistors. Also the Vactrols optically isolate the control signals from
the audio path, eliminating any control voltage bleedthru or thumping.

Another advantage is that resistors are not active noise sources like transistors or diodes, so there is much
less "hiss" to deal with. There is always some hiss because electricity does not flow in a perfectly smooth
stream but rather in "clumps" of various size groups of electrons. When this "clumpy" current passes
through a resistor, it produces a clumpy voltage because of Ohms Law (E = I * R). That is called thermal
noise, because the molecular vibrations cause the chaotic electron behavior which we perceive as
clumpyness. It is actually a chaotic system of coupled oscillators where each molecule is an oscillator, but
that is getting too far out.

Semiconductors have an added noise source which is the "diode drop" a kind of quantum waterfall, where
more clumpyness is added as the electron groups try to decide if they are going to go over the waterfall or
not. This is where the noise comes from in a reverse bias transistor. You just hook the transistor up in the
worst possible way to bring out the quantum waterfall noise.

So the Boogie is designed to have less noise and distortion than the Moog or EMS implementations of a
Butterworth 4 stage filter. This may disappoint people who LIKE noise and distortion. My philosopy is to
start with the least possible distortion, then use either over driving or special circuitry to add it back in
when you want it.

For the technically inclined, have a look at

http://www.musicsynthesizer.com/Circuitry/MultiFunction%20VCF.htm

The opening block diagram is practically a schematic for the Boogie filter with A,B,C and D being the
6,12,18 and 24 dB per octave outputs. The mixing is done externally by YOU. The resistors shown are
actual Vactrol resistors in the Boogie design, instead of a shorthand symbol for the OTA's in a 3372 chip.
That eliminates about 100 transistors from the signal path, and should be much quieter. Plus the mixer can
be VCA based like the Blacet Quad VCA. So a sequencer or 4 envelopes can be used to mix the filter "poles"
for filter mode sequencing or envelope morphing.

Here are some operating notes:

This is an extension of the Lowpass Gate technology using a Butterworth circuit instead of a SallenKey. But
it is still a gate, and goes all the way off. You can use it like a combo VCFVCA. The Frequency control
range is very wide, from off to 20 kHz. The wide range is to accomodate using the 6 dB/Oct output like a
VCA. It will gate either audio or control voltages.

You can use it like a MiniMoog type filter, in addition to using it like a Lowpass Gate.

With high levels of resonance, the filter will produce distortion at the cutoff frequency. This is useful for
processing tracks.

The red jumpers on the back control the phase of the 12 and 24 dB/octave outputs. In the bottom position,
the phase is inverted. In the top position, the phase is positive. When mixing the different outputs, the
inverted phase allows the Matrix 12 type responses. If you move them to the top position, you can use a
JAG and 4 VCAs to make a variable slope filter.

For some background information on using the Boogie Filter for other filter types, see:

http://www.musicsynthesizer.com/Circuitry/MultiFunction%20VCF.htm

which is the section from the service manual on the Oberheim Expander filter. Of course the Boogie Filter
uses discrete Vactrols rather than the CEM chip for improved noise and distortion. Cell one is the 6 dB
output, cell two is the 12 dB output and so on. Notice the inverters on the 12 and 24 dB outputs, which
makes the math "trick" work. You can get some idea of mixing coefficients from the resistor values in the
summing networks.

> Sorry if it's obvious, but could someone tell me exactly what a low
> pass gate is, and how I can use my Boogie filter as such?

It's a mode unique to photoelectric filters. Any other transconductor (transistor, diode, OTA) can not run to
zero control current without making bad things happen to the DC bias and producing 15 volt thumps. But
photoelectric filters go completely off (0 Hz). This allows you to use the filter as a combined VCF and VCA.

In the West Coast model, the complex timbres are generated before the filter via complex oscillators, non
linear waveshapers, FM or additive synthesis. The "gate" is then used for final amplitude and spectral
shaping.

The Boogie supports both modes, either straight subtractive with a following VCA, like the East Coast
instruments, or gating and spectral shaping without a following VCA, like the West Coast instruments.

The main frequency control covers 20 octaves, 0 to 20 Hz, which is 10 octaves, and 20 Hz to 20 kHz, which
is another 10 octaves.

To "gate" with the Boogie, set initial frequency to zero and control range to max. Resonance is set to zero.
A 10 volt signal into "Control In" will then sweep the filter from 0 Hz to 20 kHz. The 6 dB output is approx.
equivalent to the Buchla 292 "combo" mode, and the 12 dB output is approx. equivalent to the 292 "filter"
mode. But the Hamamatsu opto couplers decay in 20 ms., rather than the 200 ms. decay of the VTL5C3/2
used in the Buchla 292C.

One jumper is for the 24 dB output and the other for the 12 dB output. Move both to top position if your
mixing with the Blacet Mixer Processor. Leave both at bottom position if you are mixing with the Blacet
Quad VCA.

The effect is high frequency roll off over distance with humidity (adds friction to air). That was the error in
the speed of sound measurement variation that Newton never solved. It took 200 years after his death to
figure it out (according to PBS). The VCA (or Combo) mode is 6 dB per octave, probably average humidity.
3 dB / Oct would be dry air and 12 dB / Oct would be a visably foggy night (just guessing). Also the 6 dB
output of the Boogie can be used for the same effect.

To Summarize: Humidty forms a lowpass filter over distance in air. To simulate this effect in panning, use
low pass gates (Borg, Boogie) instead of plain VCAs.

I finally got around to writing an Excel spreadsheet to calculate all the gain settings for the Xpander
switchable mixer. (See BoogieModes.jpg) That is what that mess of resistors does before UX14, a CD4051
eight way selector switch. A little later I will write a note to show how to add a simple switch between C1
and ground which will add in the other 8 modes for a total of 16. I unitzed the spreadsheet data to use with
the Boogie Filter and any 4 input linear mixer. The file is called Multimode.jpg, you will need to view it at
the largest size, or download it.

The table assumes all 4 Boogie outputs are connected to all 4 inputs on a mixer with unity gain output and
controls calibrated 0 to 100%. The table also assumes the two red option jumpers on the rear of the Boogie
Filter are in the down position. 100% means fader is fully on, 0% means fader is fully off. 50% is fader at
halfway point and so forth. There are a few 33% settings and a 17% setting. Feel around the suggested
starting points for best results.

All of these are only suggested starting points. ANY setting of the mixer faders will produce some kind of
filter. As always with music, adjust by ear and personal taste. You may very well discover a setting
Oberheim never even knew existed. Consider running the 24, 18, 12 and 6 dB poles through different
effects chains. Unlimited sonic possibilities.

Boogie Filter's 16 Different Modes (Both red jumpers must be in the DOWN position):


Out Of The Box:

1) 4 Pole Low Pass:
24 100%
18 0%
12 0%
06 0%

2) 3 Pole Low Pass:
24 0%

18 100%
12 0%
06 0%

3) 2 Pole Low Pass:
24 0%
18 0%

12 100%
06 0%

4) 1 Pole Low Pass:
24 0%
18 0%
12 0%

06 100%

With External Mixing:

5) 2 Pole Band Pass:
24 0%
18 0%

12 100%
06 100%

6) 2 Pole High Pass + 1 Pole Low Pass:
24 0%
18 0%

12 100%
06 50%

24 33%
18 100%
12 100%
06 33%

8) 4 Pole Band Pass:
24 50%
18 100%
12 50%
06 0%

9) 2 Pole Notch + 1 Pole Low Pass:
24 0%

18 100%
12 100%
06 50%

10) 3 Pole All Pass + 1 Pole Low Pass:
24 66%
18 100%
12 50%
06 17%

With External Mixing Plus C1 Switched Out:

11) 1 Pole High Pass:
24 0%
18 0%

12 100%
06 100%

24 0%
18 0%

12 100%
06 50%

24 33%
18 100%
12 100%
06 33%

24 50%
18 100%
12 50%
06 0%


15) 2 Pole Notch:
24 0%
18 100%
12 100%
06 50 %

16) 3 Pole All Pass:
24 66%
18 100%
12 50%
06 17%

BORG 2 INFO:

Design Notes: Keeps all the good things from the original design but adds a couple of nice enhancements.

1. The Vactrols have been upgraded to "warp" speed Silonex NSL32SR3. The module will gate with a 2
millisecond control pulse. This increases the top end usable BPM, which is kind of low with a VTL5C3. Call
this one the "better for dance tracks" model.

2. The nonlinear circuit elements from the MS20 resonance loop have been added and that opamp
brought out as an output. This gives you a built in mild distortion device. There is a red jumper on the back
that can be moved to disconect the limiting diodes. Dual outputs can be used in stereo.

The Korg MS20 added some diodes to the feedback amp used to give resonance. The effect is to have the
resonance vary with the amplitude of the INPUT signal. So the resonance is self limiting, and you can max
it out and it will "squelch" with input amplitude. This feature is controlled by the red option jumper on the
back of the Borg 2 modules. With the jumper in place, you will probabaly get better results with the filter
AFTER the VCA (assuming a subtractive patch). This way the little circuit will crank the resonance up and
down for you automatically, kind of like gain riding. With the jumper moved to a single pin, it will offer all
the time "ripyourheadoff" resonance like the Borg 1. Because the Borg 2 IS a Borg 1 with much faster
Vactrols and the one added tweak.

Some people are confused thinking this is an MS20 style filter, but it is a Low Pass Gate with an MS20ish
gimmick.

The jumper on the Borg 2 enables the zener diodes across the feedback opamp. IN = more MS 20 like.
OUT = more like Borg 1

In a SallenKey design there are two integrators in series. The Main Out comes from there. The Aux Out
comes from the peaking stage which has limiting diodes (remove the red jumper = remove limiting diodes).
So the Main Out is filtered where as the Aux Out has more harmonics.

THE WIARD PHILOSOPHY:

I will try to explain a little of the philosophy behind the Wiard modules. It has to do with the "East vs.
West" coast synthesizer history. This is an over simplified explaination, some "East Coast" instruments
support FM for example.

It really starts with the concept of a patch. In the "East Coast" instruments (basically all synthesizer
manufacturers except Wiard, Buchla and Serge) you have a subtractive synthesis patch entirely oriented
towards the filter. This is your classic VCOVCFVCA connection with ADSR type envelopes. The envelopes
generators typically have only a single output. The oscillators usually have very simple waveforms such as
sawtooth and square wave. This is what most people are introduced to and why many people are puzzled
by more complex instruments like the Wiard. This patch makes sense for playing with a black and white
type keyboard. It produce a limited but pleasing range of timbres and is easy to operate and understand.

In the "West Coast" instruments, there are 3 possible synthesis modes. Additive, non linear waveshaping
and dynamic depth FM are the primary synthesis modes. "East Coast" subtractive synthesis is typically not
DIRECTLY supported. It was not in the Buchla or Serge (no 24 dB/Oct. resonant filter). Good aproximations
of subtractive synthesis can be patch on the Serge with cascaded filters. These instruments are oriented
towards controlling with a multiple output sequencer or multiple output complex envelope generator intead
of a black and white keyboard. They produce a larger and more importantly, different set of timbres than
the simpler "East Coast" instruments.

The classic patch in a "West Coast" instrument involves two blocks. The first is a complex oscillator which
supports both nonlinear waveshaping and dynamic depth FM (Buchla 259 and Serge NTO). The second
signal processor is a Lowpass Gate or "frequency and amplitude domain processor". The primary timbre
generation is done directly with the oscillator, and the Lowpass Gate just tweaks the amplitude and
frequency character. These two blocks are designed to be controlled by one complex envelope generator
with multiple outputs routed to all the timbre factors.

Once again this is a simplifed explaination to illustrate subtle points. Actual usage involves a combination of
both techniques.

In the 1200 series we have the groundwork laid for a complex "West Coast" voice. The JAG will convert two
simple ADSR envelopes into a multiple output complex envelope generator. The Boogie Filter can be used
as a Lowpass Gate but also supports the "East Coast" Moog type subtractive character. The Borg 2 Filter is
a classic Lowpass Gate that can also be used like the "East Coast" MS20 subtractive filter.

The icing on the cake is the complex oscillator. The Wiard Synthesizer MiniWave and VCO (manufactured
under license by Blacet Research) is a type of complex oscillator and non linear waveshaper already well
established. A lot of good work has been done with these Wiard designs. Improving on such a solid base is
no easy task.

It would be great if a complex oscillator could support as many timbre modes as possible. Simultaneous
support for multiple nonlinear waveshaping, dynamic depth PM and wavetable would be ideal. If each of
these was independent, you could look at them like geometric axis. Modulating the timbre parameters then
becomes a matter of "walking about" in a large timbre space with multiple dimensions of simultaneous
control. This is true timbre morphing and not just simple crossfading between timbres (which is good too).

This is where my research is currently focused. Exactly when the complex oscillator will be finished depends
upon sales of the existing 1200 series modules. If the public is not interested in the extra "West Coast"
synthesis methodology, it would be foolish to waste time and money on products for that purpose.

"East Coast" designs are as common as dandelions, but I feel support for subtractive synthesis should be
included in a complete instrument. That is why the Wiard designs support BOTH East and West Coast
synthesis methods. For example, any Wiard complex VCO will include classic subtractive waveform outputs
in addition to the complex outputs.

I think that I need to focus on education to promote the idea of the more complex synthesis "West Coast"
style. I am going to try and write manuals for the Boogie and Borg 2 modules that cover the less obvious
operating modes. For the short term, I will be concentrating on that.

As always, thank you to all you fine people for your continued support and all the amazing music you have
sent me. Keep up the good work and thank you again.

Some more comments on "West Coast" techniques.

The main difference between the two techniques are how the filter is applied. In "East Coast" technique,
you start with simple waveforms and used the filter to do your timbre control. The classic East Coast patch
is VCO VCF VCA with ADSR envelopes for the VCF and VCA.

In one of the "West Coast" techniques, you start with complex waveforms and use the filter just to do final
tone shaping. Of course crank up the resonance if you want to mix the two techniques.

How do you get complex waveforms? The WiardBlacet Miniwave or 300 series Waveform City is a good
source of complex waveforms when used as a wavetable playback device. These complex waveforms can
be made even more complex by the use of synch and FM at the same time. The Miniwave/Wavefrom city
can also be used as a wave multiplier for nonlinear synthesis.

Here are a couple of simple patches that are "West" sounding.

VCO(sine) VCA LINFMVCO(sine) Borg in lowpass gate mode (VCA).

You use the first VCA to dynamically control the depth of linear FM. Envelopes are routed to the FM depth
VCA and to the Borg tone shaper. The use of sine waves produces "nice" sounding FM along with the soft
Borg envelope. With the first VCO set to about 7 Hz and the linear FM control of the second VCO barely
open, you have dynamic and natural sounding vibrato.

VCO(sine) LINFMVCO(sine) VCA Miniwave(+/ 5v) Borg in lowpass gate mode (VCA)

This is a fixed depth FM patch going to a dynamic depth wave multiplier. Envelopes are routed to the first
VCA and to the Borg. The VCA before the MiniWave needs to have controls to set initial volume and control
the amount of envelope (like an ARP 2600 VCA has). You want to adjust the VCA so it is about 20% on with
no envelope. Then adjust the amount of envelope sweep to your taste. You can play with any bank or wave
in the Mini wave but Bank 13 is designed just for this use.

Banks 0 to 7 of the "Socket Rocket" chip are designed to process audio input. In this case the VCA is set
100% on. Bank 6 "Bit Decimation" can really make a drum track gnarly when set to 4 bits or less. One
thing to look at is the "Socket Rocket" users manual. This is a 10 meg pdf file:

http://www.musicsynthesizer.com/DIY/Grant/grant_richters_synthdiy.htm

and scroll to the bottom under "Discontinued Products" Right click on "Socket Rocket Final Manual" and
save the pdf file to the desktop or your prefered location. This has ideas for using the waves in the Socket
Rocket chip. I used an ARP 2600 and 1630 sequencer to reference the patches.

FILTERS IN MUSICAL TERMS:

It may be helpful to discuss filters in musical terms, rather than engineering terms.

Two 12 dB/Oct filters can always be put in series to make a 24 dB/Oct filter. "Compound" filters like this are
essential to really creative synthesis. Another example is a bandpass filter in parallel with a lowpass filter.
The reason for this is to make a Formant. Using the lowpass with resonance, and offsetting a parallel band
pass with resonance you get a formant. Drive both with a narrow pulse wave and you have a primitive
voice synthesizer that can give you vowel like sounds (if the filters are tuned properly). Using a Joystick to
control each filter allows you to "speak" different vowels (well, like EEEE and AAAA). If you have two filters
try it, it's fun.

A waveform processed by a 12 dB/Oct filter will have stronger harmonic content relative to the
fundamental. The tone will be "brighter" in musical terms. These voices are usually used in the treble
register as lead voices playing the melody or counterpoint.

A waveform processed by a 24 dB/Oct filter will have weaker harmonic content relative to the fundamental.
The tone will be "darker" in musical terms (more muted). These voices are usually used in the bass register
for the bass line. The strong presence of the fundimental makes them good for bass lines. You can also take
the sine wave output of the VCO and mix it with the filtered tone. This give independent control of the
balance between fundamental and harmonics.

The Wiard Boogie Filter provides simultaneous outputs for 6 , 12, 18 and 24 decibels per octave. It's an
alternate reality filter which answers the question "What if Don Buchla had designed the filter for the
Minimoog?". It is suitable for use in both the bass and treble registers, and as a lowpass gate. Decay time
is 20 ms. compared to the 200 ms. decay time of the Buchla 292.

I deliberately designed a series of modules to compliment the Blacet line. In particular, I concentrated on
controllers for Blacet modules acting as audio generators. I also added a really phat Moog style filter.

The Joystick/JAG combo is a genuinely new controller system that produces morphing tones unlike any
synth before now. Of course, with 10 outputs, you need a lot of patchcords (twelve if you count the 2
original joystick axis, which are passed through by a multiple). One customer has even built a complete
2600 style instrument, centered around the JAG and Joystick. Google "Auralesque" in the next few weeks.
The JAG is built entirely of 1% metal film resistor for stability and accurate computation. All of the 1200
series modules use only 1% metal film resistors.

FILTER TRICKS:

Running two borgs in parallel produces astonishing stereo images, from natural spacializing to sweet
resonant phasing effect when animated...

It's also possible to create some really beautiful and precise harmonic/formant structures when mixing the
boogie's and the two borg's outputs in parallel and setting one of them to track the keyboard. (btw my
borgs sound a bit different, the last one I received distorts more easily, but with a more crunchy sound, and
allows to highlight specific harmonics more precisely, with an even more "woody" sound than the other (!))

I've also been able to find a very convincing cello sound with the boogie as a control source : use the
boogie to shape white noise (find the right mix of its four outputs), control its frequency with an eg (I used
the very nice bananalogue vcs for this, too sad it's output isn't normalised to the "both" input...), and crank
up its resonance. Then patch the mixer's output to the control input of a borg, the vactrols will do the rest !
(adjusting the boogie's parameters allows for a lot of funny effects, like when the borg's vactrols won't be
able to track anymore, but there's a sweet spot where the attack is a cello one !) (the other borg is used as
tone/body shaper, and the sound source is the sine output of a fixed frequency vco, fm'd and sync'd by a
tracking vco/miniwave).

As for the noise ring, it conducts bird singing very convincingly, especially when the miniwave is used as a
transfer function device in order to get different probabilities' distribution...But I like it mostly as control
source modifier/exciter and tone source (in which case I patch a noteon pulse to the ext change input, to
get that ever phasedout sound without clicks)...(It woud be great to have a jumper on its back, allowing to
use the clock output as a clock input?)
A Dingleberry mother of god
Monstrosity
panda30y
DAMN! Very nice, someone should sticky this work of art.
Pockets McCoy Good lord, man...this is like the Wiard version of the Serge spreadsheet. Ridiculously informative,
unfathomably interesting, brainshatteringly complete.

I'm kind of stunned...

Oh, and THANKS!!!
felix
Kwote i'm too tired to take all that in, but hell yes sticky this shit immediately. i'll be reading shortly. possibly
printing. heh.
felix haha, I forgot I'm a mod in this subforum!

STICKIED!
Kwote felix wrote:
haha, I forgot I'm a mod in this subforum!

STICKIED!

i think it's a sign.
Babaluma Quote:
The jumper on the Borg 2 enables the zener diodes across the feedback opamp. IN = more MS 20 like.
OUT = more like Borg 1

In a SallenKey design there are two integrators in series. The Main Out comes from there. The Aux Out
comes from the peaking stage which has limiting diodes (remove the red jumper = remove limiting
diodes). So the Main Out is filtered where as the Aux Out has more harmonics.

this info regarding the borg2 is still a little confusing to me, so i thought i'd try and make it a little easier to
understand:

borg2 aux out = the direct sound of the filter from the peaking stage (less filtered/more harmonics)

borg2 main out = as above but run through two integrators in series (more filtered/less harmonics)

borg2 jumper in = zener diodes across the feedback opamp (more limiting/distortion a la MS20)

borg2 jumper out = the limiting diodes are removed (higher resonance/screaming a la original 300 series
borg).

things which are still not clear to me: does the jumper only affect the aux out? or is the aux out the same
as removing the jumper?

maybe malekko could jump in here?
plord Thanks baba, there is stuff in here that I don't even have in the master wiardlisttips file. Mind if I add it?
Babaluma not at all, please go ahead. like i said before, some of this comes from private emails with grant, the rest
was saved as it was posted, or trawled for after the fact, from the wiard yahoo group.

btw, if there's 1200 series info that you have that you would like included here, then please either post it,
or pm it to me and i'll add it to the top post.
hpsounds Nice !!!!

Many thanks !

HÃƒÂ©di K.
chamomileshark Fantastic, I was wrestling with the noise ring only last night. I didn't realise that the Borg 2 aux ouput was
different!
Kwote goddamn. i'm still too lazy to read this shit. oh well. time should whip me into shape sooner or later.
Babaluma no takers on my question re: the borg? surely we have some more tech savvy dudes than i here?
Roycie Roller Noise Ring modifications

Today i soldered a switch where the red jumper goes at the back of the pcb the jumper lets the user select
between forward data recycling and inverted.
It's really useful to have a switch there!
I'm building a small panel for it, plus, since my Noise Ring is the 6 jack version with no Noise Output, i
soldered a wire from J11 on the board, which is the Noise Test jumper. Now i have a direct noise output. I'll
wire a pot in there for volume, and i think i'll mult the noise jack so i have multiple noise sources (only one
of these will have the volume pot).
I will post some demos of the differences between forward/inverted data recycling & some photos showing
the modification procedure, should anyone want to try it out. It can make the Noise Ring even more bizzare
& is definitely worthwhile.

I'd also like to find out what can be done with the expansion/test socket on the back.
Babaluma sounds great!
ndkent Regarding the Boogie, does "C1 Switched out" refer to both jumpers inverting the outputs? Or is it some
kind of legacy info from the CEM chip that doesn't apply to the Boogie?
monopoly Yeah Maleko should really put that jumper in front as a switch.

IMHO all jumpers should be replaced on all modules with a switch.
Cybananna
Nice info thanks!
Roycie Roller
Babaluma great mod!
Roycie Roller It's a lot of fun switching between the two modes. You get some really crazy patterns going.
sonicwarrior Babaluma wrote:

Can you export the original source to GIF or PNG?

JPG is a bad choice for a black and white only image. It looks unsharp because of that.
fengland this is an old post but thanks a lot for this. great summary of the differences between east coast and west
coast synthesis. I know of Buchla and heard music made on them but I didn't realize it was a whole
different synthesis approach. this is giving me new inspiration for building and using my modular! thank.
Babaluma no worries! i personally think far too much is made of the east coast vs. west coast thing, as these days it's
all kinds global, and you can mix and match a system how you like it. only really makes sense in a
historical perspective.

and to the hater asking for a better pic, that was all that was ever posted. it's not my pic, but grant's. if you
want a better quality version then please ask him. i printed it out on postcard sized photo paper and it
looks just fine!
mojopin ndkent wrote:
Regarding the Boogie, does "C1 Switched out" refer to both jumpers inverting the outputs? Or is it
some kind of legacy info from the CEM chip that doesn't apply to the Boogie?

Any answer to this question?
[Djo]

ThankÃ‚Â youÃ‚Â Babaluma!
Babaluma mojopin wrote:
ndkent wrote:
Regarding the Boogie, does "C1 Switched out" refer to both jumpers inverting the outputs?
Or is it some kind of legacy info from the CEM chip that doesn't apply to the Boogie?

Any answer to this question?

the c1 switched out refers to switching capacitor 1 (it's labelled on the pcb on the 1200 series version) in,
or out of the circuit. you can do the mod with a simple switch.

it has nothing to do with any of the jumpers (which are used for setting the polarity of the outputs with
regards to the input signal).

switching out capacitor 1 opens up another great variation in filter types/tones, and generally has a more
"open" sound.
Babaluma [Djo] wrote:

ThankÃ‚Â youÃ‚Â Babaluma!

no worries!
GeoffC Would someone please resticky this?

Thanks.

Geoff
Babaluma i can do it in the forums i am a mod for, but unfortunately not this one... maybe shoot sandyb a pm?
Arcade Sinusoid
Thank you
Babaluma no worries, but i don't own ANY wiard any more...

only thing i REALLY miss at the moment is the boogie.

i am hoping grant will come out with a full mini modular/semi patchable instrument at some stage, but am
not holding my breath.

thanks to whoever stickied this!
slow_riot awww, that's sad you miss the boogies! They are happy in their new home, if that makes it hurt any less.
Babaluma

no, i am just happy that they are happy!

will keep 7u, bit more manageable than 20u!
slow_riot hooray! They might even play a role in me putting together a real life piece of music.
cleaninglady This is really going to help with the Noisering ; which i am loving in my 6U Euro setup.

It's been said before , but seriously...thanks Baba !!

cL
thetwlo so helpful!!! most of the manuals seem to have gone missing!
thanks!!!
bakedcircuit anyone still have any digital versions of the 1200 manuals/pages? seems their directory on wiard.com is
gone. not sure if these were pdfs or pure html pages originally, but would be cool to pool together if some
folks have any digitals/scanable printouts floating around.
Babaluma bakedcircuit wrote:
anyone still have any digital versions of the 1200 manuals/pages? seems their directory on wiard.com is
gone. not sure if these were pdfs or pure html pages originally, but would be cool to pool together if
some folks have any digitals/scanable printouts floating around.

did have but deleted all when got rid of my modular, sorry! hopefully they'll turn up soon again. i seem to
remember they sometimes used to be accessible via the malekko wiard pages on analogue haven, but
haven't checked recently. you could also try the malekko site.
thetwlo a couple from archive.org:

http://web.archive.org/web/20051227190155/http://www.wiard.com/1200/NR /Noise_Ring.html

http://web.archive.org/web/20060107025553/http://www.wiard.com/1200/JA G/jag.html
rezzn8r Joystick: http://web.archive.org/web/20061128140635/http://www.wiard.com/1200/Jo ystick/1209.htm

Miniwave: http://www.musicsynthesizer.com/MiniWave/MiniManual.html

Joyrider: http://www.musicsynthesizer.com/JoyRider/Joy%20Rider%20Manual.html

These (and the noisering/JAG posted above) seem to be the only ones I can find
Good thing most of the important info is covered in Babaluma's first post!
drumsofd00m Great thread idea, but it makes me feel old. When I first read some of this stuff, the 1200 series was NEW.
Glad it's being made again by Malekko now tho, so maybe I should feel ageless instead ;)
The blue faceplates were the coolest IMO. Can anyone tell or estimate how many were made of each
module by Grant in black resp. blue?
plord There were 50 of the 1200 series Boogies made, per Grant; I don't know about the other 1200 series.
jamb wow, i thought it was closer to a few hundred...
slow_riot I've got a feeling that it's more than that for the Boogie. Super geek info here, but somewhere Grant
mentions about having a box of 100 Hammamatsu opto couplers, good for 50 Boogies, but at some point
he switched to using the Silonex vactrols used in the Borg, so my guess is more than 50.
plord It is entirely possible that my info is stale, but I have email from Grant stating the 50 number that I
*thought* was sent after 1200 series production stopped. Could definitely be wrong, as with all things.
jamb wonder how many 1200 borgs are floating around. still trying to get my hands on one of of them.
wmbb Babaluma wrote:
bakedcircuit wrote:
anyone still have any digital versions of the 1200 manuals/pages? seems their directory on
wiard.com is gone. not sure if these were pdfs or pure html pages originally, but would be
cool to pool together if some folks have any digitals/scanable printouts floating around.

did have but deleted all when got rid of my modular, sorry! hopefully they'll turn up soon
again. i seem to remember they sometimes used to be accessible via the malekko wiard pages
on analogue haven, but haven't checked recently. you could also try the malekko site.

I think the waybackmachine.org site might help. I found a lot of manuals on the support page of the 1st
(2005) snapshot of wiard.com I examined
http://web.archive.org/web/20050210084227/http://www.wiard.com/support /support.html
21hertz Thanks for all the info!

I'm waiting for a Boogie, probably gonna arrive tomorrow.

The seller says it has gotten a "bad/wobbly" frequency knob so I got it very cheap. I hope I might be able
to fix it. I usually use CV input to control it anyways. Also I should be able to connect to my Liivatera with
Offset to get around the problem...
slow_riot You may find that you need to replace the pot, it seems like there was a bad batch of pots used on these
modules and several users have experienced errors of this nature. If you get erratic changes in filter cutoff
this is why. Luckily it's a simple procedure for a skilled technician to carry out. (This is assuming you are
talking about the 1200 Boogie).
21hertz slow_riot wrote:
You may find that you need to replace the pot, it seems like there was a bad batch of pots used on
these modules and several users have experienced errors of this nature. If you get erratic changes in
filter cutoff this is why. Luckily it's a simple procedure for a skilled technician to carry out. (This is
assuming you are talking about the 1200 Boogie).

I am talking about the Malekko Wiard Boogie Filter. The module works, but the Frequency knob is indeed
physically wobbly.

I only have basic soldering skills. What can be done to fix it? I guess it requires a new knob. I just mailed
Malekko to see if it is possible to fix myself somehow.
slow_riot Yes you need to speak with Malekko who built the module.

The problem I was referring to was with the 1200 modules only.

Although replacement of a pot is not the most advanced repair work that can be done, your module is built
with lead free solder and rework is trickier as the temperature needed to melt the solder can be twice as
high as leaded. This means you may need a better iron and need to use careful soldering techniques not to
damage the board.
21hertz It is the same issue I guess. Erratic behavior of the pot. Works fine when using CV.

I just got an answer from Malekko. I will probably send it in to be repaired. Malekko are USbased so it will
take time I guess.
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