Wiardgroup

Hello Robert,

--- In wiardgroup@y..., "r" <datakult@e...> wrote:
> 
> Curious to hear what you guys think of the ENVELATOR.   I have a 
very
> difficult time getting 'fast' attacks on the thing regardless of 
how I set
> it up...  Was curious if this is *my* problem/ observation as a 
user (there
> is a good possibility im am really looking over something obvious in
> setting up my patch(es)with the Wiard.
> 
> I am aware of the LIN/LOG settings on the Mixolator and its 
relationship to
> perceived attack and "boomy-ness" of the output. I find it is 
difficult to
> get those 'subotnik-esque' fast "plucks".  (Getting the 
general 'sound' is
> very easy....thanks to the wonderful characteristics of the Borg.
> 
> Maybe what I am looking for is the idea behind the Envelooper???
> 
> xox
> r

The minimal time for each Envelator slope is 0.001 seconds/ a 500 
Hertz oscillation. Try to bend the slopes to other shapes (far beyond 
exponential if you wish) by multiplying (correct term for patching 
into a "jack multiple"?) the outputs and feeding them back into the 
slope CV inputs. Note that the CV inputs are exponential (near 1v/o?) 
in the low range but convert to linear at the high end. This is to 
allow a wider range; also Grant says that flexibility at last is more 
important than wide range and ultrafast clicks.

The Buchla 100 series envelopes did probably not yet provide slope 
times any shorter than the Envelator. The solution to your problem I 
can think of is that the Borg filter does not really replace the 
lowpass gating of the Buchla 292 module (would be too difficult to 
integrate with a multimode filter). This is very different from plain 
filtering: not just the acoustic effect, but also the respective CV 
input transform functions to VCF and VCA are quite clever. However, 
this was not yet included in the 100 series, either. I'm taking this 
into account because I'm not aware that Subotnick's later recordings 
deploying the 200 series would show specifically more 
charismatic "pluck" sounds than the first ones.
So Robert, care posting some examplaric sound snippets of Mort and 
yours?

I found that inputting sharp burst signals, triggers best, into 
phasers with lots of feedback/ resonance turned up, makes a brilliant 
plucked sounding percussion noise too. 8 or more stages (poles) 
required, I like 12 best, and negative feedback tends to work better. 
For those who have some Omni Filters to chain, it would be 
interesting to hear some experiments about this. Few phasers provide 
linear FM and 1v/o inputs...

Best regards
Sebastian Kuehnl