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« Rainbow Beat was initially intended to play through bits of cardboard and scrap metal via surface transducers as part of my 2012 performance "Giving Rein" . »
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« I grew up in a musical laboratory. My father, Ivan Tcherepnin, was a composer, musician, educator and electronic music pioneer. Some of my earliest memories involve strange and unidentifiable sounds emanating from my father’s home studio. As a child, I would often sit in his studio with the lights turned out, surrounded by blinking LED’s and electronic apparatuses producing layers upon layers of weird and extraordinary noises, and imagine that I was at the control panel of an interdimensional vessel. At the heart of this seemingly boundless console was a colossal serge modular system. Whenever I turned a knob on the serge, my ship would change course and end up in an entirely unknown sonic universe. »
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« Playing Serge is like talking to a friend. You try to articulate something but you get something else in return. An answer that you want to challenge and there it goes. A dialogue. Adding trumpet makes it even more interesting. »
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« Between 2009 and 2014 I taught Ableton Live at the Bard College Electronic Music Studios in New York State. In 2010, I was able to spend some time with their three-panel Serge system. This was the first time I had the opportunity to work with a Serge and was also the first time in 30 years I had worked with a modular synthesizer. The present recording, recorded May 19, 2010, was my third session with this beautifully designed machine. »
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« I like the Serge Modular Synths/modules, because it's a very open tool which is capable of producing the purest sinewaves and the most unpredictable noises at the same time. The first time I played the system at EMS Stockholm, it became straight away an extension to the sonic ideas I had in mind. »
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« I used the TKB sequencer for the pulsating rhythm. The Wilson analog delay modulated by an adsr provides the tuned resonance. It was about tweaking and reacting during the recording process. »
« Serge TKB » was made at the same session. « I wanted the TKB to modulate various parameters... I think I used two sequencers running in parallel but with different lengths. »
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Larry Heyl - Armillary
02:32
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Floris Vanhoof - Squeak
03:29
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« Around 2006 I was making 16mm films in the lab of Worm Filmwerkplaats in Rotterdam. Once developing is complete the film needs to dry for hours. While waiting I found out a music studio in the same building. The large Serge system immediately got my attention. I already had a tiny Doepfer set-up and a heavy restored DIY Elektor Formant modular in my bedroom, but this Serge seemed more complex. James, the studio technician, explained how you could patch-program the Dual Universal Slope Generator and this became my favorite programing language ever since. These multi function modules could make my live set up very powerful and still portable. So I contacted Ken Stone from whom I already build a few CGS modules, and slowly the ball got rolling. I built two DIY CGS Serge panels with a lot of custom extra’s into a suitcase and updated this every year.
Wherever there was time, I would spend sleepless days at Worm in Rotterdam, making analog film during the day, and at night, while my 16mm pellicule was drying from a clothesline, making music on the Serge. »
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« I started working with a Serge modular system in 2005. I was looking for an alternative of mixing board feedback, that I was using to generate sounds at that time. The versatily, the grain, the dynamic and the precision of the serge modules seduced me straight away. Their allow to go from subtle, detailed and organic sounds to very raw and powerful ones. »
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"When I first played a Serge system in 2015, I fell immediately attracted by the peculiar conception of the modules and of the whole system. At the same time quite esoteric and very open to many uses and abuses. This is a very generous design, which naturally encourages to try adventurous combinations. I found this very stimulating and the instrument naturally took a central position in my music.
I sometimes route some of the Serge signals into a metallic resonator (a speaker whose diaphragm is a tam tam gong). I like the way the electric wildness of the Serge hybridates with the acoustic nonlinear wildness of the gong. I use this setup (though quite gently this time) on "There is something behind me", along with some field recording and hand manipulation of my Serge's spring reverb. "Some forms of life" is plain Serge.
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« I sought out the Serge at the recommendation of Maryanne Amacher in the early 2000s, and was invited to experiment with the “Black Serge” at CalArts in 2005 by Mark Trayle. That opportunity convinced me to get my own system. The Serge is, for me, the greatest analog synthesizer I can imagine. It’s a cliché, but the more time I spend with the instrument, the more I’m convinced there’s more to discover. It’s very precise when you want it to be, but also capable of very severe sound mangling. I love the open design in which all the signal processing is available to any signal, and not just hardwired into the oscillators for example. I also love banana cables; to me they expand outwards from linear thinking (1st module > 2nd module > 3rd module), inviting a more complex web of signals instead. I tend to use Serge sounds only, no other synths or processing, but I do edit and layer my sounds usually. Having no keyboard skills, and coming more from a noise/free improv/musique concrète background, I never felt I needed a keyboard. To me all the dials and switches are the interface, in combination with some primitive patching interfaces I’ve built myself. It also lends itself well to traveling and playing live I think, the modules being so compact and versatile. If you pack them tight, four panels can fit into airplane cabin luggage size! »
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« After trying a few analog synthesizers like the EMS Synthi A or ARP 2600, I had access to a Serge system during a residency at EMS in Stockholm. A very intuitive synthesizer, with a strange logic, very "organic" and incredibly precise in sound, chiseled + offering great possibilities of processing any external signal meeting my expectations and that I’m not getting tired of discovering.»
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https://eliadwagner.com
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Doug Lynner - 24 to 1
09:44
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« This piece, 24-to-1, explores a single octave of 24 equal semitones hand tuned on a sequencer. Three voices sample the semitone voltages to create the audible content and use their post-VCA outputs as cross-modulators. It is performed on the Elby 3u Serge. »
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Modulisme Marseille, France
Modulisme (translates Modularism) is a media supporting leftfield Electronic music (giving priority to Modular Synthesis but not only). Providing ressources/interviews, a radio program aired via 7 antennas, and above all label-like streaming music for you to listen to… ... more
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