Wiardgroup

Ha, that's great.

There's something weirdly compelling about woggle bug noises. My favourite patch is to feed the primary output into a borg filter set to lowpass mode, clock an envelope from the clock out of one of them, set it for the short transient response, and use it to control the cutoff freq of the filter. I then take one of the CV outs from the woggle bug, attenuate it somewhat, and use it to control the envelope decay time. Then finally, take the smooth CV out of Wbug ch1, and plug it into the rate in of ch2. And of course, ch2 smooth CV out to CH1 rate in. You have to attenuate these, as the thing goes completely nuts otherwise. I then record the result twice, pan them wide and add loads of echo. I could listen to it for hours.

A good trick with the wogglebug woggled noise, which can be somewhat overpowering, is to feed it through a high pass filter before low pass filtering it. Turning the resonance of the HP filter up and then controlling its cutoff freq with a smooth CV out makes some pretty cool noises as well.

On 9/22/07, plord < plord@there.org> wrote:

So I was noodling around this evening with the Wogglebugs and a Metalbox
Sequential Switch and uh...well...something strongly resembling techno
happened :) I've uploaded the results to the Files section, as
"Wogno 1.mp3". Five minutes, 4.9 Mb. I know, indulgent.

What you are hearing:

1. Tempo was controlled by using a joystick to adjust Wog2-R's rate. After
a blast of typical Wogglebug noise, it slowly ramps up to a reasonable
tempo.

2. The primary "lead line" is all 8 audio outputs of Wog2 sent through a
Metalbox Sequential Switch, which is clocked by the LFO out of Wog2-R (all
timing information actually comes from Wog2-R's LFO out, via some pulse
division). This line is mildly shaped with a Borg 1 filter and a
Bananalogue VCS envelope (firing off the /2 trigger of the primary clock),
but I largely resisted the urge to turn this into a filter demo.

3. The other joystick controls the rate of Wog2-L, which actually ends up
whacking 5 of the 8 steps (Wog2-L main/smooth/woggled outs and both child
tones) of the main line.

4. The high hat noise is just Wog1-L, clocked from a mix of the /2 pulse
division and some burst gen output, steeply high pass filtered with a Borg
II, no CV control at all. The occasional runaway FNARRRRR noises that
Norman F. has mentioned can be heard in places; I think mp3 conversion
made them worse.

5. The kick is Wog1-R, clocked off the /4 pulse division of the primary
clock, through the other half of the Borg 1, strongly shaped by another
VCS, resonance up. Honestly, I was running this off the metalbox 8008
kick module for a bit, but there was a whole half of a Borg and half of a
Wogglebug just SITTING THERE. If you have a sub, then you may be able to
discern that the kick has some drunken, lurching sub-bass movement to it,
but on my laptop speakers after mp3 conversion that information is lost :/
There is a bit around the 4 minute mark with only the "woggle-drums", such
as they are.

Wog2 knobs frobbed along with the Wog2-L rate joystick throughout. Wog1
percussion left alone, mostly. Recorded direct and dry.

This patch kept surprising me with parts just begging to be chopped into
Recycle or a similar program, sometimes for moments on end. Twisted
little melodies, freakouts, grindy bits...I've been playing the patch for
literally hours. I thought y'all might like to hear how a Wogglebug might
be "played", even if the end result is a bit of mindless foot fodder.

Anyway. Enjoy, or not.

Paul