||Wogglebug: I kinda don't get the point....
| br>About to order some 300 modules and I'm leaning towards 2 x CVCOs and a Borg, to start. I've been researching the modules and I'm not sure that I grasp the purpose of the wogglebug or the usefulness of randomness in a synth, as I'm generally trying to get things to be as predictable as possible..
Curiously, how are you using yours? br> br>
| br>[quote="KoryB"]About to order some 300 modules and I'm leaning towards 2 x CVCOs and a Borg, to start. I've been researching the modules and I'm not sure that I grasp the purpose of the wogglebug or the usefulness of randomness in a synth, as I'm generally trying to get things to be as predictable as possible.. :/
Curiously, how are you using yours?[/quote]
I have a Make Noise Woggle bug
-i use it To Triggers Gates
-in the Strike / Damp input on my optomix
- to affect the decay or rise on envelopes
- in the 1v / oct input osc to select radom notes
- in rene sequencer mod input/s while having the FUN CV Clock activated
- Pretty much any cv/in
Since the Wogglebug is quite wild i take channel 1 from maths ( Slow rise and fall ) and patch to the External and speed inputs to have variation of
a bit to a lot of randomnesss br> br>
| br>Back when I had a Wogglebug as part of my 300 system, I most often used it in very small amounts on an oscillator's frequency control. This gave the oscillator a slightly 'unstable' sound to it, an effect I'm fond of.
Some parts of a system should be predictable. The Wogglebug is for the parts that sound better when they're not. br> br>
| br>I have three Wogglebugs. In an all-Wiard 300 system they provide a few awesome but non-obvious functions:
* The LFO out is a handy clock source, it will trigger the envelator just fine. If you run a joystick through an attenuator (or not) and send it to Rate then you have a variable clock.
* For maximum rhythmic chaos, send the smooth out from the left hand side to the Rate on the right hand side; adjust "Smooth Range" knob to taste.
* If you are clocking the system form the WB, or alternately if you feed your other clock source to the clock in on the WB, then you can use the "Step CV" (maybe labeled just "CV now?) as a clocked random accent signal. Feed it to the second FM input on a filter or mix it with your envelope before whacking Borg frequency or use it to nudge the crossfader on the Envelator in a random direction with each step.
* Send *any* output from the WB to the Sequantizer "Sel" input and use the Quantized out; now you can make a super random/aleatoric melody line that is still constrained to 8 notes. Hint: use the Woggle CV out and tweak verrrrrry carefully and you can get the sickest wiggles. Clock the Seq different from the WB for extra weirdness.
* The WB makes an AMAZING hi-hat module. Max out Smooth and Woggle range, Woggle time to minimum, Clock and Cluster to taste. Feed it through a high-pass filter to knock out the occasional whale-call and the result is a clocked insectoid clicky thing, Kraftwerky AF.
* That smooth output, properly attenuated, makes the best possible secondary FM source in a complex osc cross-mod scenario. Just a liiiiiiiiittle bit of randomness to an otherwise stable sequence can really make things come alive.
* Smooth output to WFC wave select. With a smooth bank-- I use the "Morphine" ROM-- it puts the lotion in the waveform. With a more discontinuous bank, glitch city.
Should you start with a WB? Only if you have a Space Echo and want to make film soundtracks for low-fi Alien Invasion flicks. Shoudl you add one to your system before you stop building it? Absolutely. I find myself adding them to every patch. br> br>
|sourceofuncertainty wrote: |
|I most often used it in very small amounts on an oscillator's frequency control. This gave the oscillator a slightly 'unstable' sound to it, an effect I'm fond of. |
This is a sometimes overlooked concept of random. It need not all be West Coast blippy bloops (as fun as those can be!). Very, very small amounts add subtle changes to a patch that can impart a 'organic' or 'vintage' feel. Slightly detuning a vco or opening a filter cutoff, vca, etc can be very useful in a traditional voice patch for these purposes. br> br>
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