Wiardgroup

Hi Konkuro, 

Consider The Wiard Synthesizer Company as an Exotic Sound Boutique. 
Obviously, Grant is not pumping Systems out on the market at the rate 
of Doepfer, A Sol, A Sys .etc. You have to appreciate the costs 
associated with producing face plates. By having the same face plate 
throughout the system, he, thereby, eliminates the issue of having to 
design faceplates for different modules. The bonus is that he only 
has to carry one faceplate in his inventory. Minimum runs, carrying a 
multiple faceplate inventory and tooling charges are no longer an 
issue and the machine shop gets the same item to manufacture, thereby 
eliminating errors. It streamlines the process, so he can concentrate 
on building and designing. I personally feel, he has combined Art and 
Function into a wonderful system.

Does this limit the look and functionality of the modules? Some would 
say, Yes. I believe, it actually helps the module. If you look at 
Digest #618, it, clearly, defines the thought and process behind the 
design of each module. Wiard has more functions on their modules, 
thereby, eliminating the need for long patchcords to go across the 
surface of the instrument.

Now, most of the other manufacturers go by the principle of one 
function per module. If you add all of the functions a Wiard module 
and you try to replicate them with single function modules of the 
other systems available, you will find the Wiard modules to be 
economically priced. You have only 2 modules that are higher priced 
than the others, the Omni Filter and the Waveform City. Considering 
the quality and the function set these modules possess, i believe 
them to be worth the asking price for the creative functions they 
bring to the equation.

The led's are there for visual feedback, on some of the modules the 
led's might be less suited for its intended purpose, but factor in 
the one face plate for multiple modules process and it blends well 
together. I am sure the led's are spaced as such, because of what's 
going on under the face plate.

The Wiard modules are almost like children, each module is defined by 
its set of functions. The fact they are named that way, gives them a 
personality, which i feel, they have. When you say, use the WoggleBug 
as a cv source for the Sequantizer stage select input, you don't have 
to think twice about what the module does. If you have multiple 
modular systems in your studio, it becomes a little harder to 
identify which system and naming the module by its function name and 
manufacturer.

About the issue of  " (An aside: How come nobody with a Wiard does 
classical?)" , Classical Music is not the barometer to define whether 
or not an instrument is viable or valuable. Music is about 
creativity, emotion and expression. The means to convey them are 
personal to each player or composer. When someone sees the need to 
use a Wiard system to make Classical Music, he or she will do so. 

Wendy Carlos's Switched on Bach set a mindprint on the collective
electronic psyche. It is a wonderful work of Art and Expression. Now, 
trade positions, imagine if Wendy had used a Wiard System instead of 
a Moog Modular to achieve that body of work. What would we be saying 
about Bob Moog, who comes some 20 years later and builds a modular 
different than the one Grant built for Wendy? Would you ask yourself 
the same question, " How come nobody with a Moog does classical? " ?

Maybe, maybe not. Grant has built an instrument that has its own 
sound and playability. The Electronic Music Community is lucky to 
have another Designer, in its fold, creating new ideas and designs.  

The Synthesizer and Classical music issue has been done and 
exhausted. The common masses knew about synthesizers subconsciously 
through TV and Radio adverts. The reason for the impact and success 
of Switched on Bach, was the performance of the work and the medium 
combined together. Until someone comes up with a new innovative and 
evocative performance, the system which they will use, will not be 
the barometer to judge the quality of the work and it's performance.

Like you said, " It is the *music* that matters ", appreciate the 
Wiard System for it's sonic character, control functions and it's 
music making abilities.  Later, its Design esthetics might grow on 
you. :)

Regards,
RM






--- In wiardgroup@y..., "konkuro" <konkuro@a...> wrote:
> Grant wrote:
> 
> >People make nonsensical remarks about the graphics, because 
> they are confusing the Wiard with other objects called "modular 
> synthesizers". These were envisioned by their designers as 
> functional objects, and are not in the same class as the Wiard.<
> 
> Konkuro here.  I'm the one who made the comments about the 
graphics.  
> Now. lest anybody dismiss me as a troublemaker, please do note that 
> I'm a member of this forum. Why?  Because I support Wiard, whether 
I 
> like the graphics or not (even my pet synthesizer company--
> Synthesizers.com--gets my negative comments as well as my positive 
> ones).
> 
> Frankly, I thought Grant's post was rather beautiful, and I agree 
> with it--to a point.
> 
> If the aesthetics are as important as we are to believe, then why 
do 
> the jacks spill over onto the Celtic graphics?  Why wasn't more 
care 
> taken to make things centered and balanced?
> 	
> Mind you, I think that synthesizers should resemble test 
equipment.  
> Names like "Wogglebug" "Moogerfooger" and "Psycho Shift Register" 
> make me shudder, if not retch.  An instrument, by definition, is a 
> means to an end. It is the *music* that matters.  Thus, well-laid-
out 
> modules and meaningful names are of paramount importance.  They are 
> tools, not doilies.
> 
> As for the LEDs, I can't help but to question what information they 
> convey.  How is it that every Wiard module just so happens to have 
a 
> row of multicolored LEDS at the top? Why must they be so closely 
> spaced together? It is as though uniformity takes precedence over 
> functionality in the Wiard World.
>I recently watched a Wiard module 
> in action and found the LEDs pretty, but not particularly 
> informative.  Dudes, this is *equipment,* not an effing Christmas 
> tree!  Superfluity has no place in the modular realm.  There is 
music 
> to be made!  (An aside: How come nobody with a Wiard does 
classical?)
> 
> Is synthesis about blinky lights and Riverdance graphics or about 
> sound?  I do not deny that Wiard equipment is worth buying (though 
a 
> tad overpriced, in my opinion).  Indeed, I think it's quirkyness 
> lends it a certain cachet, if that's how you spell it, that makes 
it 
> an interesting investment.  But I also think that if Wiard is 
serious 
> about the aesthetics, they not only need to justify them, but take 
> more care in their execution.  Otherwise, the argument rings 
somewhat 
> hollow.
> 
> johnm