Wiardgroup

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 VCO-VCF-VCA 
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 non-linear 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 Mini-Wave 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 non-linear 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.