Serge patches

A little test with the new Random*Source DSG mk2, it really sounds so much nicer than the original DSG! It has a certain nice saturation and ‘electricity’ that I really like.  And it tracks over 4 and a half octave!  (original DSG I never got more than 2.5 octave)

I did a very simple test (not very musical) with a MI Yarns playing a minor chord arpeggio and the top half of the DSG as VCO and the lower half as VCF.  A DTG modulates the lower half of the DTG and I wiggle the right side of the DTG to change the pitches (the ARP chord from the yarns is never changed).

Random*Source DSGmk2 - Test

Same patch as here:
https://soundcloud.com/poly_mod/randomsource-dsgmk2-test
Some different timbres this time

Random*Source DSGmk2 - Test 2

Mallet / skin type Serge patch.  

There are two voices:

A). Yarns (external) plays an arpeggio. Its pitch is routed to a NTO. The NTO is fm-ed by a PVCO. A Serge sequencer varies the FM intervals between the NTO and PVCO.  
One side of a VTG created the envelope with the Yarns gate, and also modulates the VC Wave of the NTO. A DSG varies the sustain of the envelope. The other half of the DSG modulates the up/down of the sequencer. This is creating the ostinato moments in the sequence. 

B). The gate of the Yarns is also routed to the 2nd half of the VTG, this pings a VCFQ. This signal is routed through a Frequency shifter and through a ’Timbre’ module for extra punch.

The Yarns arpeggio is not changed, all pitch changes are done manually between the NTO and PVCO, and by changing the freq of the freq-shifter in voice B.

Modules used: Serge STS Animal, Seq A and KlangZeit. Random Source DSG mk2, and Donks mk2


Serge mallet/skin patch

Patch featuring the Serge STS Klangzeit panel. The master clock is one side of a DTG. It pings a VQVCF. The bandpass output is routed into a WAD. The flanging output of the WAD is routed into the frequency shifter via a crossfader module and then back into the AUX feedback input of the WAD. 

The DTG also triggers a sequencer and Clock-divider. The A output of the Sequencer is routed to the VC Delay of the WAD. One of the outputs of the Clock-divider samples the stepped out of a SSG, the stepped output is routed back to the VC-in of the DTG. This creates the sudden speed bumps of the pulse. One of the outputs of the clock divider is routed back via a MI Branches (build in 4U by the wonderful Loudest Warning) into the reset input of the divider. 
Another output triggers a DTG that shapes the volume of a NTO, this creates the bass drops (sine output). The NTO is FM-ed by a precision-VCO. The output of the NTO is routed via a R*S timbre section to create some extra weight to the bass drops.  The variable output of the NTO (Sine) is also routed to the WAD feedback input. I wiggle the Sine wave based sounds with the Flanger output of the WAD with a crossfader module. When selecting the NTO/Sine site the output becomes more chime-like and when choosing the WAD Flanger output (via the Frequency Shifter) the output become more ‘wooden’ and percussive.

I wiggle the frequency of the VQVCF and the frequencies of the WAD and Frequency Shifter. I also vary the speed settings of the DTG.

This patch is recorded in one take, no overdubbing. I’ve cut it down a bit to make it less boring. Tracked into ProTools via a Rupert Neve Designs 5059 and Prism AD.  Reverb (Adaptiverb) and limiting (Ozone 7) were added on the master fader.  Listen with headphones or good speakers!