GODSPEar

Oxford OSCar Filter Translation

The modern given name is a conflation of two unrelated names: first, Middle Irish Oscar (the name of Fionn Mac Cumhaill's grandson in Irish mythology), from Middle Irish os (“deer”) + cara (“friend”); and second, Old English Ōscār, Ōsgār (personal name, literally “spear of the gods/spear of God”), from Old English ōs (“god”) and gār (“spear”) (see Oswald). Now GODSPEar is my translation Oxford OSCar Synthesizer filter for the Eurorack format. GODSPEar has a special look and sound that pays special homage to OSCar designer Chris Huggett’s creation. The Oxford OSCar would inherit some of the funky DNA from EDP WASP as it was discontinued at the time. Hailed as Europe’s answer to the Minimoog, sets itself apart from Bob’s hardware with some curious technical wizardry all its own.

The OSCar, and now with my GODSPEar filter were already interesting to start. It is actually TWO FILTERS each w/ 2-Pole cutoff slope. The cutoff frequencies of the two filters can diverge from each other by an adjustable SEPARATION control. The “Q” resonance control behaves as one would expect when no SEPARATION is used. But in BANDPASS mode, with higher Q settings as well as SEPARATION impart vocal formant sounds.

Divorced of any CPU control prowess as it was implemented on the original. GODSPEar filter control has been designed from the ground up to work well w/ the Euro standard. And to meet the stringent requirements that discerning modular synth enthusiasts have come to expect. Yet retains the original core topology, a full analog signal path, NOS NJM13600 OTAs, as well as V/Oct filter tracking. Logic assisted Filter MODE selection button toggle. Two external CV inputs for control of Frequency. And now the additional features of CV control over Q, and yes CV control of Separation.

Beware - CV control over Separation is serious business. These signals were only meant to diverge in one direction. Sending the cutoff frequencies in the other directions yield vanishing Bandpass audio and unintended consequences for Low/HighPass modes. Thus on GODSPEar, I’ve added an active Full Wave Rectifier circuit to govern the Separation CV input as gate-keeper and peace maker. Go ahead and send your bi-polar LFO signals etc. Just know in doing so, any negative voltage components will be flipped over to the positive realm. You’re welcome.

FREQUENCY | the initial Cutoff Frequency of the filter
Q | the depth of the peak frequency resonant feedback. Res will self-oscillate without an input signal present.
Q CV | Modulate the Q Resonance w/ any polar/bi-polar mod signal. This signal is summed against the Initial Q amount knob.
IN 1 & IN 2 | Mix together 2 different audio signals, each w/ their own mix pot.
Freq CV | Modulate the Cutoff Frequency w/ any polar/bi-polar signal. At 12 o’clock, the pot has no modulation. In the Counter-Clockwise direction it can invert the incoming control signal.
KB | Modulate the Cutoff Frequency w/ a V/oct signal or any other polar/bi-polar mod. Self-oscillation resonance will loosely track v/oct when KB is set to 100%, allowing the self-oscillation Q sinewave to be played in a musical fashion.
TYPE | Toggle switch for choosing the filter MODE: Lowpass, Bandpass, Highpass.
SEPARATION | Initial amount that diverges the frequency cutoff spread between the two filters.
SEP CV | Control Voltage Input with attenuator knob for modulating the Initial Separation amount. Input CV Signal is passed through a Full Wave Rectifier so that Separation behaves in a prescribed manner as expected, thereby preserving audio integrity.
OUT | the mono audio output jack.

Spearhead your own analog filter trajectory by racking up something a bit outside the usual fare. GODSPEar is made in limited quantities, not mass produced – so don’t wait and get yours whenever available.

Check my Reverb Store for availability https://reverb.com/shop/gstormelectro