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Serge Modular
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satamile



Joined: Jun 11, 2009
Posts: 14
Location: san francisco

PostPosted: Tue Jan 22, 2013 8:12 pm    Post subject: Serge Modular
Subject description: Great double Panel Serge for sale. Super clean, studio use only.
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Hi, I'm selling a Serge Modular double rack, custom designed by Sound Transform Systems when they were based in Oakland, California. I am the original and only owner. If you ever wanted a Serge this is a good place to start to say the least. Everything works as designed and there is nothing broken, mis-matched or changed since its original purchase. This unit has always been used in a smoke free studio environment and always kept in a climate controlled space. Never on the road or gigged. Very clean, very reliable, I've never had any major issue with this Modular EVER. All original knobs, all have a consistent rotational feel, and nothing feels used or worn in the lease bit. Modulate away with countless CV and Gate ins and outs with open ended variations of patches to explore in countless combinations. Banana plug creativity by stacking and routing multiple outs to various filters, oscillators, wave modifiers and more. This modular is not the run of the mill modular but desgined to be very colorful , creative and exploratory in DEEP sound design. Its is not your typical 3 oscillators and a filter with a VCA but actually much more. Below is a detailed description of the most complex modules. Also I will throw in a large ziplock bag of Banana plugs as well to get you going, power supply is provided, so plug and play. If you don't know what Serge is , mayby try the Roland pages, ha ha. Also, NO the Tkb does not come with the Modular, (thats the analog sequencer you see sitting in front of it.) Modular will be shipped in its custom made English travel case, heavy but very protective of the unit. I would love to sell overseas but shipping is my big worry. Any questions, please do not hesitate to ask. Returns are not accepted so know what your bidding on , its a Modular synth, and you need to have some prior knowledge to operate it. There are some great manuals to get you going, written by users but there is no official Serge manual . Hands on creative intuition for diverse sound design are key elements for Serge. I have sold Roland System 100m's, Modcan's, Analog Systems along with lots of other cool gear on Ebay all with happy buyers. Everything on this Serge looks perfect, sounds great and functions as it was designed to function.

Demo Video of Modular Test:
http://youtu.be/jiEK4wbxZ5M
Make a bid on Ebay,,
http://www.ebay.com/itm/321063853097?ssPageName=STRK:MESELX:IT&_trksid=p3984.m1586.l2649

Top Panel- Left to Right
Quantizer
Precision VCO x2
Wave Multiplier
Mixer
Variable Q VCF
Resonant Equalizer- 10 bands
ADSR

Bottom Panel
New Timbral Oscillator
Divide by N Comparator
Triple Waveshaper
Variable Slope VCF
Dual Universal Slope Generator
Wilson Analog Delay
Univeral Audio Processor
Power Supply PS4

Additional INFO courtesy of http://www.serge-fans.com/
New Timbral Oscillator (NTO)The Serge Modular Systems NEW TIMBRAL OSCILLATOR (NTO) is the state-of--the-art VCO, featuring exceptional range, superb temperature stability, and accurate tracking. Dynamic depth frequency modulation and voltage control of waveform allow unprecedented control over a wide range of sound qualities.

EXPONENTIAL 1 VOLT/OCTAVE RESPONSE
Exponential response parallels the response of human hearing perception as well as musical pitch structure. With multiple oscillators, each must respond exponentially to control voltages to allow transposition from key to key and to produce alternative equal-tempered tunings such as quarter and third tones. In addition, the one-volt-per-octave response assures that the New Timbral Oscillator is compatible with most keyboard and computer controllers.
ACCURATE TRACKING
When two or more oscillators are tuned, it is expected that they will remain in tune throughout their entire range (in other words, that they track). Even two oscillators which track within a fraction of a semitone will be out of tune at the extremities of their range. Therefore, the New Timbral Oscillators have been designed so that any two will track within one cycle/second throughout their entire musical range.
TEMPERATURE STABILITY
Instability of pitch with changes in temperature is the criticism of most synthesizer VCO's. Performers are aware of the disastrous effects of temperature when they must desperately retune oscillators that have drifted during a live performance. The temperature sensitive components are kept at an even 120 degrees by a solid-state "oven". Thus temperature stability is guaranteed from 50 degrees to 100 degrees F.
WIDE FREQUENCY RANGE
The frequency range covers from below 16 to 16Khz. With control voltages, the range can be further extended from less than .1 Hz (10 sec/cycle) to greater than 100,000 Hz.
VARIETY OF WAVEFORM OUTPUTS
In addition to three standard waveforms (sine, triangle and sawtooth) of exceptional purity, the New Timbral Oscillator offers a variable waveform output providing an amazingly varied range of sounds, unavailable on any other synthesizer. This waveform is voltage controllable, allowing dynamic control of sound quality.
DYNAMIC DEPTH LINEAR FREQUENCY MODULATION
Dynamic depth frequency modulation is now available to the analog synthesist. Frequency modulation (FM), the modulation of one oscillator by another, generates both harmonic overtones (found in most acoustic instrument sounds) and non-harmonic overtones (bells, percussive, and electronic timbres). By varying the amplitude of the modulating oscillator, the richness or complexity of the sound can be varied. However, with conventional FM, an annoying pitch shift occurs. With the New Timbral Oscillator, Linear FM avoids this pitch shift, making it possible to maintain accurate pitch control while changing the quality of sound. A built-in VCA assures accuracy and provides dynamic voltage control of Linear FM Depth.

÷ N Comparator (NCOM)

The ÷ N COMPARATOR (NCOM) consists of two sections: a comparator and a voltage-controlled pulse divider. The divider section outputs a pulse once every "N" comparator pulse, where "N" is a number from 1 to 31, settable with a control voltage at the divider's VC input (or manually via the divider's control knob). Additionally, the Divider outputs a staircase wave with "N" steps. This will produce whole-tone steps when plugged into the 1 V/Oct input of a VCO.

This module has two distinct areas of use (in addition to the normal functions of the comparator):

For audio frequencies, the divider can be set to output sub-divided frequencies with digital precision. Output frequency depends on "N". If "N"=2,3,4, etc., the output frequencies will be an octave, an octave and a fifth. or two octaves below the input, repectively. Because "N"is voltage controllable, arpeggios and various melodies can easily be programmed. The nature of this type of division (integer division), results in frequencies that fall along the sub-harmonic series, a series that has great tonal charm.
For sub-audio frequencies, the divider acts like a counter, outputting a pulse only after "N" number of input pulses. Input pulses can be fairly random, or regular. This capability is especially powerful for determining tempos and rhythmic patterns when using several sequencers (especially if the "N" vc input is taken from one of a sequencer's rows of controls). In a more random situation, using a microphone preamp/detector as input. the divider might be set to count how many times a sound of a certain loudness will have occured, and be set to trigger an event upon reaching the count. Since the count can be made variable (from 1 to 31), fairly complex and subtle inter-actions can be generated.
Wizardry: With feedback, this can be patch-programmed to oscillate. You can vary the frequency by turning the divider control knob. Using this module to divide clock pulses is an obvious application; it is also useful for dividing high-frequency audio.

Triple Waveshaper (TWS)

The TRIPLE WAVESHAPER (TWS) is a non-linear modifier which can transform a sawtooth wave into a sine wave. This module incorporates three independent waveshapers for modifying synthesizer waveforms or for processing signals from preamplified instruments. Although originally designed as a waveshaper for our early oscillators, this module has been found to be a excellent modifier of electronic and acoustic sounds, and is highly recommended for subtle timbral modifications beyond the range of simple oscillator/filter patches.

Variable Slope VC Filter (VCFS)

The VARIABLE SLOPE VCF (VCFS) offers unique control of sound quality offered by no other synthesizer manufacturer. All VCF 's offer voltage control of the cut-off frequency, that is, control of which frequencies the filter lets pass. The VCFS allows the amount of filtering to be dynamically controlled as well, from barely perceptible filtering to highly resonant, sharp cut-offs. With the variable slope control in the center position, the VCFS acts as a typical flat-response VCF, with high, low. and band-pass outputs available simultaneously. The slope of the cut-off is 12 db/octave. As the control is moved toward the maximum position, the resonance of the filter increases, so that the cut-off becomes sharper. Although the VCFS will not ring like the VCFQ, it will resonate enough at the maximum setting to pick out harmonics from a complex signal input. As the control is moved to the minimum position, the cut-off slope will decrease to 6 db/octave. This type of chanqe of filter slope has been found to be an effective synthesis technique corresponding well with some of the transformations in acoustic instrument sounds. There are two signal inputs to the VCFS which can be mixed and manually cross faded from the associated knob.

Dual Universal Slope Generator (DSG)

The DUAL UNIVERSAL SLOPE Generator (DSG) is the ultimate patch-programmable control voltage generator in the Serge system. At least one (DSG) is recommended for almost every Serge system. and in most cases, a number of these are desirable. People familiar with our previous series of "slewing" modules know about the importance of this kind of function in a large patchable synthesizer system. For those unfamiliar, it is advised that the various applications as outlined here and in the Serge Owner's Manual are studied. The uses of this module are numerous, some duplicating functions found on other synthesizers, some totally unique to the Serge system. Most systems require a number of control voltage generators to control the various signal processors and modifiers. Sources of trigger, pulses (clocks), control voltage processors (portamento's), regular repeating voltages (LFO's) are standard synthesizer requirements. The Dual Slope Generator is the main module providing these functions in the Serge system.

The Universal Slope Generators are unity gain voltage followers with voltage controllable slopes. The range of control is exponential, extremely wide, and the Rise and Fall times can be controlled independently. The range of the Slope Generator is from sub-sonic to high audio frequency. Trigger inputs and trigger outputs allows each section of this dual module to function as a transient (envelope) generator, pulse delay, or in a "cycling mode" (to produce an LFO or clock). Since the Rise and Fall times are voltage controllable, this adds another dimension to the above functions. Two VC inputs are available, one is calibrated at 1 volt per octave (within about 3%), and the other is fully adjustable in the negative and positive direction. This VC input can control either the positive slope (rise), negative slope (fall), or both. The linearity and accuracy of the slewing amplifiers allows them to be used in the most exacting applications, such as processing the output of a keyboard or sequencer to produce portamento functions. Note that this portamento function has a separate rate control for rising notes and falling notes... An interesting portamento effect. Among the functions which one Slope Generator can be patch-programmed to perform are the following:

VC Transient Envelope Generator. The envelope is simply started With a trigger, or may be used with a gate input to obtain a steady-state sustain level on the envelope. This envelope will repeat if the END trigger output is connected to the TRIG IN input.
VC LFO. Patched as mentioned above, a wide-range, low-cost, space-efficient Low Frequency Oscillator can be patched when needed. The Slope Generator is often used as an LFO since it is more cost effective than a regular oscillator switched to a low frequency range. it has a built-in LED to show its current output level, and it has a synchronized trigger output. The waveform can be set from saw to triangle, and the rising ramp can be voltage controlled independently of the falling ramp.
VC Portamento device. The accuracy of these devices makes this portamento function useful with keyboards and for generating control voltages of arbitrary shapes and times with computer control. Analog control of slopes allows the computer to do less "number crunching", and frees the processor from time-consuming routines that are more easily handled in this low-cost multifunctional hardware.
Envelope Follower (Detector). The decay rate is voltage controllable with the unique function that under voltage control, the response may be moved from positive peak detection to negative peak detection.
VC Pulse Delay (Monostable). When the unit is triggered, it will produce an envelope set by its Rise and Fall knobs (and VC's) and then the END pulse will go high. This may be used to trigger another Slope Generator, ADSR, or advance a sequencer.
Sub-Harmonic Series Generator (Divider). If a series of triggers are applied to the TRIG IN jack that are faster than the total rise plus fall time, then the unit will divide the incoming triggers by a whole number. This allows the user to program synchronized rhythmic relationships (such as 2 against 3, 13 against 11, and so on). If the Slope Generators are set to audio frequencies, and the incoming triggers are in the audio range, then the output will be the sub-harmonic series. This is similar to the "hard sync" sound found in other synthesizers (and is the main reason that it is not included on Serge VCO’s).
Audio Oscillator. The range reaches 4000 Hz, and the waveform has variable symmetry (saw to triangle).
Non-Linear Audio Processor. The slew limiting is voltage controllable, so a sawtooth wave input will progressively be transformed into a triangle wave. This aspect allows the Unit to be used as a low-fidelity VCF!
Wilson Analog Delay (WAD)

The Wilson Analog Delay was specifically designed to allow internal functions such as filtering, feedback, and delay to be determined by the user as a patch programmable function. Features of the Wilson Analog Delay include the following:

VOLTAGE VARIABLE DELAY OVER A VERY WIDE RANGE, from a minimum of .0005 sec. to greater than one half second
VOLTAGE CONTROLLED PROGRAMMING OF THE FILTERS WHICH CONDITION THE INPUT AND OUTPUT SIGNALS.
Availability of the TWO DELAYED OUTPUTS (A & B), one which is twice the delay of the other.
A FLANGING OUTPUT with a control to set its depth
A 1 VOLT PER OCTAVE (V/OCT) OUTPUT to permit controlling external VC filters easily.
THREE INPUTS, each with its own gain control and specific function. IN-1 is the main audio input for internal or external signals. IN-2 is suitable for audio, but also for the input of control voltages to be delayed. IN-3 is connected via a switch to provide feedback selectively from either the "A" or "B" delay outputs, or from the AUX jack. This channel features a processing-type control to scale and invert either the feedback from "A" or "B" or the AUX signal
.
An INNOVATIVE NOISE-CANCELLATION CIRCUIT which produces a very clean sound, as opposed to the "muffled" quality of more conventional analog delays.
Universal Audio Processor (UAP)

Pro: Ideal small-system VCA, two VCAs really, cross-connected to provide panning, crossfading, or two independent VCAs Nice compact arrangement. This is an 'interface' module also in that its two output channels have both the banana jacks and 1/4" jacks (you can ask for minis or other jacks instead I think).

Wizardry: Be careful setting this one up! The Serge VCAs have very wide dynamic range. If you have your power amp cranked too high you may destroy your speakers and your eardrums. Since it's got the all-important 1/4" jacks, sometimes this module gets used for nothing more than interfacing. Turning the gain up past 12 noon gives you unity gain through a few dB's of gain, so you can treat it as a master volume/pan/interface in addition to being a regular VCA. The AM inputs are ac coupled and nice for tremolo or ring-modulator type sideband effects.


Precision Oscillator (PCO)

The Precision VCO is a versatile, voltage controlled oscillator offering three high quality waveform outputs (sine, triangle, and sawtooth) and both linear and exponential frequency modulation capabilities. A front panel switch conveniently extends the range of the PCO from the audio range (16 to 16,000 Hz) to a sub-audio range (.1 to 200 Hz) for use as a Low Frequency Oscillator.

EXCELLENT RESPONSE, TRACKING AND STABILITY
Featuring the identical exponential response, exceptional tracking characteristics, and perfect temperature stability as the NTO, the PCO is especially suited for use with the NTO as a modulation source for dyanamic depth linear FM.

MANY FEATURES
Two calibrated one volt per octave inputs as well as a variable processing input are provided for complex frequency control. FM depth can be varied with the front panel adjustment. All output levels are "hot", greater than +4 db to insure maximum signal to noise ratio when used with subsequent processing. A Sync input is also available for locking the PCO to another oscillator's fundamental, harmonic, or sub-harmonic frequency.

Wave Multipliers (VCM)

For generating and modifying sound, the typical synthesizer patch is VCO-VCF-VCA, linked in series, with suitable control from keyboard, sequencer, or computer. The VCO generates the raw sound, the VCF dynamically varies the timbre (sound quality). and the VCA controls the amplitude and produces the envelope on the sound event. The Serge Modular WAVE MULTIPLIERS (VCM) provide a new link in this chain, representing an advance in synthesizer technology. In this typical patch, the Wave Multiplier could be placed just before the VCF. Like the VCF. the Wave Multiplier affects the timbre. Unlike the VCF, whose action is a subtractive process of filtering frequencies from the input waveform, the Wave Multipliers are able to dynamically process the input waveform to produce new harmonically-related overtones. This function should not be confused with Ring Modulation, since it is a non-linear process using a single audio input. Although it is possible to describe the effect of a VCF by saying the sound gets "bass-heavy", makes a "wah-wah" effect, or sounds "thin" to describe the sound of a Wave Multiplier is much more difficult. The input sound comes out richer in harmonics, somewhat similar to pulse-width modulation and to linear frequency modulation, but with a new characteristic timbre. The nearest we can come to describing the unique sound qualities (there are three different sections) is to say that they alter the timbre in exciting new ways, producing interesting alternative forms of signal processing which are unique in the Serge Modular Music System. Since there are three entirely separate and different types of Wave Multipliers in this module, an enormously varied palette of new effects can be synthesized.

The uppermost section is the simplest of the three multiplier sections. but it has two switchable effects. With the switch set at the "HI" position, the module functions to "square-up" an incoming signal. This is not the same as a simple comparator squaring function, though, since there is a rounded flattening of the signal peaks: an effect somewhat similar to overdriving a tube amplifier (except that in this version the process is voltage controllable!). With the switch in the "LO" position, the module is a linear gain controlled VCA. This is useful for various functions such as amplitude modulation and for gating signals into the other sections.
The middle Wave Multiplier provides a sweep of the odd harmonics (1,3,5,7,9,11,and 13th) when a sine wave is applied to its input and the knob is turned up or a control voltage is swept from low to high. This effect is similar to overblowing a wind pipe closed at one end, and thus the module can be used to produce the sounds of various wind instruments. A second input is included to allow two signals to be mixed before processing, a technique that we have found to be very usable. This module can be used to explore timbral areas beyond the range of ring modulation because there are more varied harmonics than the sum and difference tones.
The bottom Wave Multiplier performs non-linear wavehaping known as full-wave rectification, but with sophisticated level-compensating conditioning as well. Actually the circuit uses three full-wave rectifier sections linked in a very refined controllable format. Each section can double the frequency of a sine or triangle wave applied to its input. Thus sweeping the VC input over its range will produce a smooth timbral transition using the even harmonics (second, fourth, and eighth). Many other partials are present in this basic sound, however, and the sonorities are very rich and varied. A notable feature of this multiplier is that the full-wave rectification is not accompanied by a reduction in the output amplitude. There is no alteration of the essential level of the sound. There are two inputs to provide mixing before processing, and two outputs. One output is a "squared up" version of the other. This output resembles voltage controlled pulse width modulation (only much more interesting).
The Wave Multipliers are among the most powerful timbral modifiers available on any analog music synthesizer. The rich varieties of inter-patch possibilities are nearly inexhaustible, and these possibilities combined with the flexibility of other Serge modules will provide unique synthesis tools for the person who is eager to experiment with entirely new classes of sounds. The Wave Multipliers provide what has too often been lacking in electric musics. a means of generating sounds as complex and dynamically variable as those found in acoustic sound sources. Yet these are also precision modules which respond accurately to control voltages, so they may be used to give repeatable results in the most exacting analog or digital applications.

Variable Q VCF (VCFQ)

The VARIABLE Q VCF (VCFQ) is an excellent general-purpose VCF offering simultaneous low-pass, high-pass, band-pass and notch (band-reject) outputs. The resonance (Q) of this filter is dynamically variable by manual or voltage control. The VCFQ has two signal inputs. One incorporates an automatic gain control to prevent the filter from overloading at high Q settings. The second input has a level control so that the percussive effects of overloading the filter can be exploited. When a pulse is applied to the Trigger input, the filter will ring, producing a damped waveform similar to that produced by striking a resonant object. The nature of this ringing is controlled by the Q and the filter frequency. Percussive effects ranging from clicks to the sound of wood blocks and bell tones can be produced and controlled. This ringing effect can be used in conjunction with signals applied to either of the audio inputs to achieve highly controlled complex tonal qualities.

Other comments:
A nice bit of flexibility is the "LO" setting that turns it into a CV processor! ... Recent updates to the filter's circuitry are noticeable as well - Its much easier to get tube-type harmonic warmth just by nudging the gain control. The feedback and overdrive characteristics have also been tweaked to be more musically useful... This filter will not oscillate unless you patch it up for feedback... Hi-Lo range switch for fantastic and unique audio/cv applications - hit it with a pulse, get an unbelievably slow damped sine wave. Calibrated 1 v/oct and attenuated cv inputs, just like the oscillators... Since it's a multimode filter, it's 12 dB/oct rolloff. You may want a LPF with more 'bite' in some applications. I think the bandpass and allpass sections of this filter have 6 dB/oct rolloff.

Wizardry: Must be patch-programmed to oscillate. Feed an output back into an input, then turn the Q up to get a nice sinewave. The various outputs will then be 90 degrees phase-shifted from one another.

Resonant Equalizer (EQ)

The RESONANT EQUALIZER (EQ) is a unique ten-band filter designed specifically for electronic sound synthesis and processing. Except for the top and bottom frequency bands, all other bands are spaced at an interval of a major seventh. This non-standard spacing avoids the very common effect of an accentuated resonance in one key, as will be the effect from graphic equalizers with octave or third-octave spacing between bands. Spacing by octaves will reinforce a regular overtone structure for one musical key, thereby producing regularly spaced formants accenting a particular tonality. The Resonant Equalizer's band spacing are much more interesting, producing formant peaks and valleys that are similar to those in acoustic instument sounds.

There are three equalized outputs, two which mix the alternate filter bands, and one which is a mix of all filter bands. The upper "COMB" outputlet passes the outputs of frequency bands at 61 Hz, 218 Hz, 777 Hz, 2.8Khz, and 11 Khz. The lower "COMB" output mixes the other bands (29,115,411,1.5K,5.2K).

This equalizer is different from other equalizers in that the bands can be set to be resonant. When the knobs are in the middle position, the response at the main EQ Output is flat. When the knobs are positioned between the 9 and 3 o'clock position, up to 12 db of boost or cut is set at the band. If the knob is set beyond the 3 o'clock position, the band will become resonant, simulating the natural resonance of acoustic instrument formant structures. Below the 9 o'clock position, increased band rejection is achieved.

Extended Envelope Generator (ADSR)

The EXTENDED ADSR (ADSR) is a complex envelope generator using the four segment envelope normally encountered in keyboard synthesizers. This ADSR, however, is designed with extra features such as voltage control of each section, an initial voltage controllable delay time, switchable slopes, and a master voltage control. Each segment may be manually set and voltage controlled, so the module may be used with or without keyboards as a versatile, programmable control voltage generator. In addition to the normal Attach, Decay, Sustain, and Release segments, an Initial Delay time is included. This allows multiple envelopes to be initiated from a single trigger or gate, delayed with respect to one another.

Ramps for the Attack and Release segments can be switched to either linear or exponential slopes with the three-position switch. In the left position, the Attack will have an exponential slope. In the middle position, both the Attack and Release will have an exponential slope, and in the right position, all will have linear slopes. A master 1V/OCT control will control all slope times to allow such effects as decreasing the entire envelope time as the pitch of an associated oscillator increases. This phenomenon is typical of many acoustic instrument envelopes.


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Last edited by satamile on Tue Feb 05, 2013 6:09 pm; edited 1 time in total
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octavecat



Joined: Nov 02, 2005
Posts: 24
Location: sf, usa
G2 patch files: 1

PostPosted: Wed Jan 23, 2013 9:34 pm    Post subject: Reply with quote  Mark this post and the followings unread

and also satamile's made some wicked music on it =D
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