Wiardgroup

I just got home after several hours of noodling with the Wiard, although I 
didn't record anything for the two projects I'm *supposed* to be making 
sounds on it for, so I guess it's appropriate that two subjects I'm 
passionate about should show up on the list.

I would strongly agree with the statement that "the Wiard modular is not 
for everyone who wants an analog modular".  But it absolutely IS for me, in 
part because it was designed by a guy who was already making music that I 
loved.

I find the LED's indispensible, albeit some more indispensible than 
others.  To me, they're extremely useful for EG gates (although the 
Waveform City EG doesn't have one - there ya go!), LFO's (which all 
oscillators in the system can be used as), wave/bank numbers, sequencer 
step, filter mode, and VCA signal.  And it's fun to "patch blind" and see 
what a patch looks like from the LED's before you actually listen to it 
(heck, I probably spent an hour doing that before I plugged it into an amp 
when I first got it).

I would agree that the faceplates are a bit cozy, ergonomically.  I have 
small fingers, and the jack spacings are pretty tight when many are plugged 
in; I can see how large-fingered folk could have issues.  But I don't see 
how else that much functionality could be placed in such a small footprint, 
otherwise.  Even though the function-related patch jack placement of the 
2600 and MS-20 is very intuitive to work with, it eats up real estate 
quickly, so it isn't really practical for a modular system (especially one, 
again, as dense as Wiard).  It's a luxury for those who aren't prepared for 
*real* modulars :^).  And there is a definite logic to the jack placement 
within each module, so I find no problem patching them up quickly, even 
though I do generally have to read the labels.

As for the graphics, I like them, but I can see how some people might 
not.  I can't see how that woud really detract from one's aesthetic 
perception of the modules' look, unless the blue is *that* much of a 
contrast with your wall of black and/or silver.  But the only synth modules 
I've ever seen that I would reject on the grounds of their graphics alone 
was that homebrew system with paintings of anime girls on all the modules 
(you know the one I'm talking about?).  Certainly the Wiard, striking as it 
is, isn't in the same universe of garishness as those!

At 04:14 AM 11/19/02 +0000, grantrichter2001 <grichter@asapnet.net> wrote:
>LEXICON DEVIL ANNOUNCES THE MUCH BELATED CD
>REISSUE OF THE HIDEOUSLY RARE
>F/i BOX SET: THE PAST DARKLY/THE FUTURE LIGHTLY

These are all fantastic albums.  I spent many, many hours in the late 1980s 
and early 1990s listening to the original vinyl versions.  The box set 
spans industrial/noise material (with Grant's predecessor Rick Franecki) 
through Hawkwind/Flipper spacedronesludgerock anthems, and is all pretty 
spectacular.  Even 10-15 years later, those F/i recordings sound fresh and 
undated.  This is the stuff that made me KNOW I had to own a Wiard System 
as soon as it was announced, months before its actual manufacture.  Think 
of it - what if Klaus Schulze or Tomita or Tim Blake or ... had been able 
to design their own synths? - it's a modular created by an actual musician.

And indeed, it was creating some spectacular sounds tonight.  Quite a bit 
of FM with some EG spikes and a wavetable sweep were enough to keep me 
tranced out with various tuned FM/metallic slaps and strikes, Q-sonar 
pings, ringmod audio fm sweeps, and a bit of crunch from 
who-knows-where.  Did I mention that I love my Wiard?

         -Doug
          jasret@mindspring.com