Serge Modular Sounds 10
Background video description:
The WAD was in a very sedate mood today, so I used it as a standard rhythmic delay. Delay A to out (center), delay B to the Frequency shifter with Up and Down outs panned hard left and right.
Modular synthesizers: Serge Creature TGO Demo
As there didn’t seem to be too many basic demo’s of Serge modulars, ‘pjoris2′ tries here to document his discoveries of Serge. He’ll start with the most recommended “starter” M-class pannel: the Creature; and more specifically with the basic noisemaker in there: the Voltage-Controlled Timegen Oscillator (TGO). All noises are made with +/- only the TGO. X-Fader used as output, and sometimes the SSG als LFO. An overview of the video:
Basic Functions of the Left Oscillator (Osc 1)
(00:05) Saw wave output
(00:20) Square wave output
(00:30) Frequency modulation using variable CV input
(01:10) Audio-rate frequency modulation
(02:00) 1V/Oct CV input
Basic Functions of the Right Oscillator (Osc 2)
Trigger on (to the right)
(02:15) Triangular wave output with variable rise and fall
(03:00) Frequency modulation using variable CV input
(03:30) Pulse output, varying frequency and duty cycle
(04:30) Demonstrating trigger switch
Trigger off (to the left)
(04:45) Triggering Osc 2 with pulse out of Osc 1
(05:00) Depending on the relative settings of Osc 1 & 2, the frequency of Osc 2 is now controlled by Osc 1. We can vary now Rise & Fall without changing the pitch of the Osc 2 output.
(05:40) Now using the Pulse output of Osc 2: pulse width modulation.
Using Right Section as Filter
(06:00) Plug in saw of Osc 1 in the lower Sig In (black jack). The Rise pot changes filter cutoff. The Fall pot only makes signal more quiet.
(06:30) Filter cut-off modulation using the VC in of Osc 2.
(07:30) Audio-rate filter cut-off modulation
Saw of Osc 1 in Input of Osc 2 and Trigger On
(08:00) Filtering was with Trigger Off. Now see what happens with Trigger On for Osc 2. No idea what it does, but sounds interesting …
(08:40) Adding frequency modulation of Osc 2.
Feedback on Osc 2
(10:00) Feedback the output in the CV In: that way you get exponential (+ modulation) and logarithmic (- modulation) slopes
(11:00) Feedback of the output in the Sig In. No idea what this is.
(11:30) Add an LFO to the CV in. Even more noise.
(12:00) Certainly if you take the modulation into audio frequencies !
And finally: some more feedback:
(12:45) Osc 1 out in Osc 2 Sig In, Osc 1 Pulse in Osc 2 Gate in, LFO in Osc 2 CV in.
Serge TKB Controlling Oberheim SEM and Moog Voyager
Routing separate sequences to separate analog synthesizers in different formats the Serge tkb oversees all control voltage tracking tasks. These sounds were created and tweaked live.
Additional info about the Serge:
A few words about Serge sequencers. Note that Serge/Sound Transform does not make a traditional keyboard like you see on most other synthesizers, such as Moog, Roland, etc. You can get a traditional vintage control voltage keyboard (Roland, Moog, Polyfusion, etc.) and interface it to the Serge, since the Serge adheres to the 1 volt/octave standard. Or you can generate a control voltage from your MIDI keyboard and an interface.
Sound Transform follows the Buchla model of offering a touch sensitive keyboard/sequencer unit, as well as more traditional simple sequencers. Originally, they offered a sequencer whose stage was selected by push buttons. This is what’s called a sequencer-programmer: you could use it in an automatic mode as a traditional sequencer, or use it manually to select/program voltages you set. So you can mimic a traditional keyboard if you want by tuning each stage to various notes. Or discard the traditional keyboard concept and simply use it to fine-tune different parameters in your patch for later recall.
The TKB is the hub of the sequencers – each stage has a corresponding output that goes high when it’s selected. This complements the other sequencers, which have an input that, when high, causes that stage to be selected. So the TKB can be used to control another sequencer, or whole sets of other sequencers, regardless of the number of stages they might have.
Sound Transform offers a set of Serge sequencing programmers, from four to eight stages, plus the Sequencer with eight stages, and the TKB with sixteen stages. Confused? What they call their regular Sequencer is not a sequencing programmer in that each stage is selectable by a button but not by a stage select input. The sequencing programmers have stage select inputs. And the TKB has stage select outputs.
The sequencers are a little ‘bare’ in that none of them have an internal clock. You must use another module as a clock source, and typical sources are the DSG, DTG, and the Smooth section of the SSG, patched to oscillate. But they do have cute features such as step trigger inputs for RESET, UP/DOWN, and HOLD.
Most of the Serge sequencers are optionally available with an internal connection to a quantizer. Why would you want that? The quantizer forces the range of the stage pots into stepwise note intervals. So as you turn the pot, it isn’t a continuous rise or fall, but steps up and down a scale. This makes tuning much easier and more reliable. The variable outputs are still available on quantized sequencers also.
Serge 1 – First test of system
Here’s a new video featuring a Serge modular:
“This was the first sounds made on my system. Recorded 10 minutes after plugging it in. I have no idea what is going on, but it sounds nice.”
Serge Modular ADSR pitch modulation
Serge Modular synthesizer doing crazy pitch slides and controlling a Moog Voyager through CV.
Checking out the Serge iPAD Control
Serge modular controlled from an iPAD running TouchOSC.
Wholetone scale with 4 x sliders controlling FM pitch / FM amount / filter cutoff / envelope scaling.
www.ianboddy.com
About Serge:
The Serge synthesizers are the creation of French electronic/synth designer Serge Tcherepnin. They are analog modular systems that began production in 1974, and continue to be produced to this day. The Serge concept was that a powerful, musical and great sounding analog modular system could, unlike the Buchlas, Moogs and ARPs of the time, be smaller, more compact and most importantly: cost less, making them far more accessible to musicians looking to jump into the bold new world of electronic music and sound design.
Although Serge was French, the modular systems that bore his name were orignally designed and produced in Los Angeles, CA. Initially designed in 1974 (in Serge’s home), mass production of the systems began in 1975 and continued until 1986. There was a rough period between 1986 to 1993 where modules were still produced to special order (slowly), but full production resumed again in 1993 after Serge’s circuit designs were sold to Rex Probe (an early collaborator) who went on to found Sound Transform Systems, who continue to produce many of the original Serge modules, plus a few new one’s of their own design.
Influences of the Buchla can be seen in Serge systems, such as touch sensitive keyboards & sequencers, random voltage generators, function generators, and matrix mixers. Yet the Serge has many unique designs of its own such as the Wave Multiplier module and the use of banana plugs in lieu of traditional patch cords. Its filters are unqiue sounding but it may be the Wave Multiplier module that truly sets a Serge apart as it is a totally unique synthesizer section that sits between the Oscillator and Filter sections and allowed for external audio or control voltage signals to be used to modulate the timbre of the oscillator’s tones.
Originally, Serge systems were custom built to order. Like any modular system a buyer would pick and choose individual modules they want and assemble them into a cabinet. However, to reduce the price tag and make them more accessible to musicians not interested in building a modular synth from scratch, Sound Transform Systems sells Serge systems in pre-configured systems: Shop Panels and the M-Class.
Focus on the Serge Modular and iPad Drum app DM1
http://thissecondsleep.blogspot.com/
Serge Modular and IPad Drum app DM1. Please listen with headphones.
DM1 is an advanced vintage Drum Machine. It turns your iPad into a fun and creative beat making machine.
Easy and fast to use, loaded with 40 superb electronic drum kits and beautiful hyper-realistic graphics, DM1 has been designed for a lot of instant fun.
As electronic musicians ourselves, we, at Fingerlab, have developed DM1 with the intention of delivering the perfect mix between fun playability and powerful sonic capacities. We always keep in mind the importance of a beautiful design with the right balance of powerful abilities while avoiding clumsy, overbusy interfaces.
Check our 40 electronic drum kits. 18 classic vintage drum kits plus 22 in-house produced electronic kits, edited and mastered at Fingerlab professional studio.
DM1 offers 5 main sections:
1 – THE STEP SEQUENCER frees your imagination with a smart use of the multi-touch screen. Just turn on and off steps in your sequence with the tip of your fingers to create cool beats, or unexpected rhythms!
2 – THE DRUM PADS simply lets you play and record the beat that tickles your fingers. No need to be a first-class drummer, automatic quantize does the work for you.
3 – THE MIXER for quick and subtle sound mixing of your drum kits. Featuring settings for volume, pitch, sample length, custom drum kit element for each channel, mute and solo mode.
4 – THE FX TRACKPADS a creative duo of FX trackpads to distort, modulate and transform your beats. The effects include: Overdrive, Delay, Phaser, Texturizer, Robotizer, Filter and Compressor.
5 – THE SONG COMPOSER allows you to quickly make a song with the beat patterns you have created. Just drag and drop the patterns onto the timeline. Fast and easy.
Specifications:
✔ Graphic design by Jonas Eriksson
✔ Smart ergonomy for fast creativity and fun
✔ 40 vintage and produced drum kits, mastered at in-house Fingerlab Sound Studios
✔ Mixer page with pitch, length and level rotary controls, pan controls, and custom drum kit per channel
✔ Extra fast drum kit loading
✔ Playable pattern selection for extra creativity
✔ 9 Big Drum pads, quantized recording and pitch-bend ribbon
✔ Step Sequencer with multi-touch matrix
✔ Duo FX Trackpads for real-time sonic destruction and multi-FX
✔ Mode song with intuitive editing
✔ High-quality export to email or iTunes shared folder
✔ Audio background mode
In development:
✔ WIST
✔ AudioCopy export
✔ Samples import
✔ MIDI
Serge Space Sounds
Here’s a video featuring the classic modular Serge: Of the tiny handful of analog modulars out today you can buy as new, Serge stands out in a variety of ways. The modules are of extremely high quality, have wide parameter range, excellent tracking/stability, and low noise (except for the noise module). There are a lot of modules, over 65. Patching is done with rugged banana plugs; a little bit of a pain to interface with other gear, but once you’ve gotten used to stacking multiple bananas, you’ll never want to patch any other way again. Many control voltage inputs on Serge modules have clever inverting attenuators – at the twelve o’ clock position, you have zero gain, turn clockwise, you have increasing positive gain, turn counterclockwise, you have increasing invertedgain. There are many unique modules in the lineup, some obvious, some very strange. You can spend months and years exploring a Serge system and still discover new ways of using the modules. If you’re looking to get a few snappy ‘synth sounds’ with a press of a button, forget it. Go to the Best Buy and pick up a nice Yamaha MIDI keyboard. But if you’re looking for something unique and challenging, and if you’re crazy enough to spend thousands of dollars and wait months to have the system built and delivered, this is the one.
On a Serge, audio signals, control voltages, and trigger signals are fairly interchangeable and the system uses only one kind of patch cord. Audio signals can be accepted by trigger inputs, control voltage generators can be used for audio. Use control voltage mixers for audio, or run your sequencer at audio rates for wild, squealy, rippy noises.
Many Serge modules can be internally patched. What’s that mean? The modules themselves can be patch-programmed to do different things. For example, patching the GATE output to the TRIGGER input of a Dual Transient Generator turns the DTG into a voltage-controlled clock, LFO, or audio oscillator.
Which leads us to the extreme flexibility of the designs. You have to do a lot of thinking and experimenting on these things to really appreciate them. For someone used to the more conventional approaches out there, this can be a little intimidating.
Serge modules have a very high density of functionality. Every square inch of panel space is useful. You can put a pretty impressive system together in one or two suitcase-size boxes.
Serges are handbuilt to customer specification, and by handbuilt I mean that they’re put together by people who have spent years mastering the build process. I’ve heard people complain about the price of modules versus the cost of parts, and why should an oscillator cost ‘X’ when the parts cost ‘Y’. But the truth is, the nice juicy modules use a lot of discrete components, some laboriously hand-matched. Once the components are assembled, the module has to be calibrated, burned-in, and checked. A lot of skilled labor is involved, and expensive test gear.
Frequencies from the Serge
The Serge synthesizers are the creation of French electronic/synth designer Serge Tcherepnin. They are analog modular systems that began production in 1974, and continue to be produced to this day. The Serge concept was that a powerful, musical and great sounding analog modular system could, unlike the Buchlas, Moogs and ARPs of the time, be smaller, more compact and most importantly: cost less, making them far more accessible to musicians looking to jump into the bold new world of electronic music and sound design.
Although Serge was French, the modular systems that bore his name were orignally designed and produced in Los Angeles, CA. Initially designed in 1974 (in Serge’s home), mass production of the systems began in 1975 and continued until 1986. There was a rough period between 1986 to 1993 where modules were still produced to special order (slowly), but full production resumed again in 1993 after Serge’s circuit designs were sold to Rex Probe (an early collaborator) who went on to found Sound Transform Systems, who continue to produce many of the original Serge modules, plus a few new one’s of their own design.
Influences of the Buchla can be seen in Serge systems, such as touch sensitive keyboards & sequencers, random voltage generators, function generators, and matrix mixers. Yet the Serge has many unique designs of its own such as the Wave Multiplier module and the use of banana plugs in lieu of traditional patch cords. Its filters are unqiue sounding but it may be the Wave Multiplier module that truly sets a Serge apart as it is a totally unique synthesizer section that sits between the Oscillator and Filter sections and allowed for external audio or control voltage signals to be used to modulate the timbre of the oscillator’s tones.
Originally, Serge systems were custom built to order. Like any modular system a buyer would pick and choose individual modules they want and assemble them into a cabinet. However, to reduce the price tag and make them more accessible to musicians not interested in building a modular synth from scratch, Sound Transform Systems sells Serge systems in pre-configured systems: Shop Panels and the M-Class.
Free electronic music album featuring the Serge Modular goodnes
The Serge lovers at Quadslope.com have announced another free album of electronic music that features a heavy dose of Serge Modular goodness, Probe:2 The Quadslope Compilation.
Here’s what they have to say about the new album:
We are proud to report word of a new transmission received from the Quadslope Probe as it slides effortlessly through the abyss. This one comes from an unorganized thought void of time or light. The Probe and it’s sensors have been re-calibrated to listen only mode. These are the raw, unmixed, and unedited sounds that are captured in real time therein. The trained ear can isolate Punch and Judy, flowing Banana Beards, and an excitable T-Rex, chomping on rocks amidst the jungles and woodlands of an indescribable origin.
Download Probe:2 The Quadslope Compilation at the Quadslope site.
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