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Serge synthesizer
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Serge synthesizer
The Serge synthesizer (a.k.a. Serge Modular or Serge Modular Music System) is an analogue modular synthesizer system originally developed by Serge Tcherepnin, Rich Gold and Randy Cohen at CalArts in late 1972. The first 20 Serge systems (then called "Tcherepnins") were built in 1973 in Tcherepnin's home. Tcherepnin was a professor at CalArts at the time, and desired to create something like the exclusively expensive Buchla modular synthesizers "for the people that would be both inexpensive and powerful." After building prototypes, Tcherepnin went on to develop kits for students to affordably build their own modular synthesizer, production taking place unofficially on a second floor CalArts balcony. This led to Tcherepnin leaving CalArts in order to produce synths commercially, starting in 1974.
After leaving CalArts, Serge had a small factory on Western Avenue in Hollywood. He relocated to a three-story Victorian house on Haight Street in 1980. While the synthesizers were inexpensive compared to Moog, Buchla, and other manufacturers, Serge Tcherepnin's emphasis was always on providing musicians with quality equipment.
Although Serge synthesizers have been compared to Buchlas, their underlying philosophies and circuit designs are quite different. Serge modules were designed to bring many aspects of the circuits out to the front panel so modules can be patched in unusual and creative ways beyond the “normal" functions of that type of module. In contrast, Buchla modules were optimized to do one thing very well, using different signal levels and connector types to separate “sound and structure” (audio and control). The concept and philosophy of the Serge modular owes more to the Yale “Pulsa” system than to Buchla.
Serge synthesizers have been used by composers such as Michael Stearns and Kevin Braheny (who owned a 15-panel system dubbed The Mighty Serge). Serge synthesizers are known for their flexibility, audio quality and relative compactness. Other well-known musicians using Serge synthesizers include Malcolm Cecil, whose studio was used in Stevie Wonder albums; Gary Chang, movie composer; Richie Hawtin; Roger Powell, keyboard player for Todd Rundgren; John Adams, composer; Ingram Marshall, composer; Ivan Tcherepnin, composer; and many experimental and electronic musicians such as Jim O'Rourke, Thomas Ankersmit, Sarah Davachi, R. Luke DuBois, Keith Fullerton Whitman, and Paolo Tofani of the Italian free-jazz and experimental group Area. Cologne-based flutist Camilla Hoitenga, Estonian pianist Taavi Kerikmäe and Argentinian technician Francisco Colasanto employed a rare 1970s Serge modular synthesizer that once belonged to Karlheinz Stockhausen in their project Poles, an homage to Stockhausen centered around his composition Poles (1969-70).
Commercial builds and DIY kits of Serge synthesizers are currently available under license from a number of manufacturers.
Originally, the module configuration for Serge systems could be selected by the user. 4U panels with module widths typically ranging from 1" to 3" (sometimes more in the case of sequencers), several modules could then be arranged on a 17-inch-wide panel (total of 16 inches of modules), resulting in a custom built panel. These were originally arranged by applying paper graphics to the metal panel (paper face), moving on to metal film graphics in the early 1980s and finally graphics printed directly onto the metal panel in the STS era.
Early systems mostly used standard paper graphic sheets (per module), but could have custom graphics—or no graphics—depending upon the whims of the artist. The top and bottom of the graphic sheets folded over onto the back of the panels and had wiring information printed on them. The whole panel would then be covered with a clear plastic film. Serge initially adopted a series of geometric designs denoting signal types, input, outputs, and triggers. Colored 4 mm sockets were used for most connections – blue, black, and red jacks; blue for (unipolar) control voltages, black for bipolar signals (NOT necessarily AC coupled) and red for pulse/gate signals, although these were not rigidly enforced. Later, other colors were introduced, e.g. yellow for triggers. By keeping output impedances low, Serge largely avoided the need for screened cables. 3.5 mm sockets were used for some audio interfacing to external equipment.
Serge modules did not separate audio signal and control voltage jacks, all signals were patched from module to module via banana patch cords. Banana cables offer quick patching with a secure connection, most banana plugs can be stacked, reducing the need for mults. The banana leads supplied by Serge and STS are 4 mm Pomona made heavy insulated in silicone cable. With a simple ground connection made between different units cross connection/modulation can be made between systems.
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Serge synthesizer
The Serge synthesizer (a.k.a. Serge Modular or Serge Modular Music System) is an analogue modular synthesizer system originally developed by Serge Tcherepnin, Rich Gold and Randy Cohen at CalArts in late 1972. The first 20 Serge systems (then called "Tcherepnins") were built in 1973 in Tcherepnin's home. Tcherepnin was a professor at CalArts at the time, and desired to create something like the exclusively expensive Buchla modular synthesizers "for the people that would be both inexpensive and powerful." After building prototypes, Tcherepnin went on to develop kits for students to affordably build their own modular synthesizer, production taking place unofficially on a second floor CalArts balcony. This led to Tcherepnin leaving CalArts in order to produce synths commercially, starting in 1974.
After leaving CalArts, Serge had a small factory on Western Avenue in Hollywood. He relocated to a three-story Victorian house on Haight Street in 1980. While the synthesizers were inexpensive compared to Moog, Buchla, and other manufacturers, Serge Tcherepnin's emphasis was always on providing musicians with quality equipment.
Although Serge synthesizers have been compared to Buchlas, their underlying philosophies and circuit designs are quite different. Serge modules were designed to bring many aspects of the circuits out to the front panel so modules can be patched in unusual and creative ways beyond the “normal" functions of that type of module. In contrast, Buchla modules were optimized to do one thing very well, using different signal levels and connector types to separate “sound and structure” (audio and control). The concept and philosophy of the Serge modular owes more to the Yale “Pulsa” system than to Buchla.
Serge synthesizers have been used by composers such as Michael Stearns and Kevin Braheny (who owned a 15-panel system dubbed The Mighty Serge). Serge synthesizers are known for their flexibility, audio quality and relative compactness. Other well-known musicians using Serge synthesizers include Malcolm Cecil, whose studio was used in Stevie Wonder albums; Gary Chang, movie composer; Richie Hawtin; Roger Powell, keyboard player for Todd Rundgren; John Adams, composer; Ingram Marshall, composer; Ivan Tcherepnin, composer; and many experimental and electronic musicians such as Jim O'Rourke, Thomas Ankersmit, Sarah Davachi, R. Luke DuBois, Keith Fullerton Whitman, and Paolo Tofani of the Italian free-jazz and experimental group Area. Cologne-based flutist Camilla Hoitenga, Estonian pianist Taavi Kerikmäe and Argentinian technician Francisco Colasanto employed a rare 1970s Serge modular synthesizer that once belonged to Karlheinz Stockhausen in their project Poles, an homage to Stockhausen centered around his composition Poles (1969-70).
Commercial builds and DIY kits of Serge synthesizers are currently available under license from a number of manufacturers.
Originally, the module configuration for Serge systems could be selected by the user. 4U panels with module widths typically ranging from 1" to 3" (sometimes more in the case of sequencers), several modules could then be arranged on a 17-inch-wide panel (total of 16 inches of modules), resulting in a custom built panel. These were originally arranged by applying paper graphics to the metal panel (paper face), moving on to metal film graphics in the early 1980s and finally graphics printed directly onto the metal panel in the STS era.
Early systems mostly used standard paper graphic sheets (per module), but could have custom graphics—or no graphics—depending upon the whims of the artist. The top and bottom of the graphic sheets folded over onto the back of the panels and had wiring information printed on them. The whole panel would then be covered with a clear plastic film. Serge initially adopted a series of geometric designs denoting signal types, input, outputs, and triggers. Colored 4 mm sockets were used for most connections – blue, black, and red jacks; blue for (unipolar) control voltages, black for bipolar signals (NOT necessarily AC coupled) and red for pulse/gate signals, although these were not rigidly enforced. Later, other colors were introduced, e.g. yellow for triggers. By keeping output impedances low, Serge largely avoided the need for screened cables. 3.5 mm sockets were used for some audio interfacing to external equipment.
Serge modules did not separate audio signal and control voltage jacks, all signals were patched from module to module via banana patch cords. Banana cables offer quick patching with a secure connection, most banana plugs can be stacked, reducing the need for mults. The banana leads supplied by Serge and STS are 4 mm Pomona made heavy insulated in silicone cable. With a simple ground connection made between different units cross connection/modulation can be made between systems.
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