I hadn’t ever even tried it out with sequenced synth voices!


Very cool!

What is that silver device on the left?

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That’s the Wingie 2 by Meng Qi Music. It’s a “stereo resonator”, whatever that means. There’s a thread here about it, I don’t really know what it does aside from making everything sound cool.


Thank you very much!

I’ve gotta say, this is the most fun I’ve had using norns - thanks for sharing :slight_smile:


It’s late where I am, but I wanted to write down a few thoughts about borgue and Sacred Cyborg Harmony how they are and aren’t similar, and other random bits and bobs of thoughts about them

For one thing, they have variations on the same engine. It’s a PSOLA pitch shifter, using the built-in Supercollider Pitch ugen for pitch detection. (ps PSOLA is so dang COOl it’s TIME DOMAIN and I can’t get over that)

As such, they both only work on harmonic input — the PSOLA algorithm is effectively an audio-rate granular wavetable synthesizer that works by repeating cycles of the source waveform at the pitch of the target — it can really only produce harmonic sounds. Furthermore, the Pitch ugen for finding the original pitch and understanding a “cycle of the source waveform” looks for similarity between the original waveform and a time-shifted copy of itself, so it’ll also only really converge to a pitch for harmonic stuff.

On the other hand, they’re different scripts, and deliberately so. While developing Sacred Cyborg Harmony, @nonverbalpoetry and I played with a lot of ideas, and some of them were edging toward some similar territory as borgue, but through talking with them we both came to the conclusion that Sacred Cyborg Harmony wanted to be simple. You play midi in, you get a chorus out. Your harmonizing cyborgs are going to sing the notes they’re told, and there will be exactly as many of them as there are notes, and you can play or sequence them to fit whatever music. When you compose for Sacred Cyborg Harmony, you can think of it as a way to hybridize the voice (or saxophone, or flute, or whatever) providing the timbre with a traditional keyboard arrangement.

When all delays are 0, borgue can act as a kind of “automatic” Sacred Cyborg Harmony. This use of it is good and intended, but I view it as a side benefit to what borgue is about.

borgue gets unruly and complicated. It doesn’t get random but as soon as you introduce delay and transposition I find I have to listen to the time delayed transpoded copies carefully and gague the next tension or resolution I sing to fit with them — you have to do this when singing with a normal delay, and then the transposition adds a whole new dimension, kind of literally. Not that I am good at this yet, but over the course of building it I have improved at the skill of singing with delayed transposed copies of myself, and I have improved at listening and deciding what to sing based on that. It’s a lot more of a conversation between me and my time-delayed rate-modified transposed self. I love playing guitar into it (although my electric works a lot better than my acoustasonic. too many harmonics not enough fundamental makes pitch tracking a dull boy)

That’s about borgue in an improvisational context. When you compose for borgue, which I am convinced one can do though I don’t know if I can do it, you will be composing with constraints. The instrument has its delay and rate and transposition and inversion; the actual notes and their relationships will follow necessarily from that, and I want to hear the music that results if you plan ahead for it.

Anyway, that’s my statement on it. They’re not the same script, despite their similarities, they’re for different but complimentary use cases.


Oh wow, oh wow, oh wow. I love this so so so much. thank you!!

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Do you have a little video of you playing your electric guitar through borgue ?

I’ll try this weekend

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I don’t have a video, no. Here’s a few seconds of minor key noodling, but I am really looking forward to seeing what people who can actually play guitar can do with it :slight_smile:

… I get a lot more joy out of playing music than I have skill. That’s why I program music! I’m already good at programming! Also I hear practice is a thing, working on it.


Hello… Again, this script is incredible, thank you.

On about 3-4 occasions now I’ve loaded this up and heard a loud static noise, then no sound comes out of the Norns (even with other scripts) until I restart. I wanted to pass that along.

I’ve also found that sometimes when I load up a PSET, the values on the screen are correct but they don’t take effect in terms of the sound until I jiggle the controls.

Let me know if I can troubleshoot somehow!

For the first issue, a system log dump would be useful.

For the second issue, I think there’s a race condition somewhere in the start up. I’ve found and fixed a couple already, thanks for letting me know I’m not done :grin:

… I think I got the second issue. Just pushed to github. Let me know if I am wrong.


borgue now comes
bbobrggugue gonwnc cmomesem

with a classic incomprehensible grain delay mode
wtithwah ac lclascssic incocpreomnphenreheblensisibblge rggranin elday mdomdee

Update if you like. The new options are in the timbre section of each voice.
(yes, the grains are still repitched to be like a pitch correction, though the longer the grain the less we can guarantee the sampled pitch is representative of it)


Amazing, thank you!
And I’ll try to post a system log if I get the first issue again.

EDIT: I don’t actually know how to do get a log-dump, lol. If it’s easy to let me know or point me to the right place I’d appreciate it ;o

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Here you go


Ahhh. Perfect, thank you.

EDIT: I’ve run into another little ‘bug’ I think FYI.

I’ve mapped the transpose and delay parameters for all 3 counterpoint voices to a controller. Sometimes the patch gets in a state where the delay parameters for a voice won’t update on the screen until the corresponding transpose parameter is changed. The delay parameter will then show the updated value.

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Oh I know exactly why that happens. I merely didn’t think of parameter mapping when I was making the rules for when the screen updates. I’ll fix soon.

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Ah amazing, thank you!

And I just realized that this is also the case with “invert”… Guessing that it’s maybe the same for all of the voice params?

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20 chars of exactly so.

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Here’s another go using the radio and Cow effect from OP-1 and running through Wingie 2.


I’m impressed at how this is wildly different than any way I imagined the script to be used, and it sounds good.