So I ran a whole bunch of cables to my patch bay so that I could route things from the Serge to a few other synths. My objective was to use only one oscillator for the sound source in each case, since that's all the Serge was using. And I wanted to keep the patching for each synth restricted to that synth as much as possible so as not to color the results. I had to cheat in a couple places since I only have so many delays available to me. And I had to borrow filters here and there, but in the latter case I only borrowed filters that were part of the same family as the synth I was working on. And finally, I wanted the Serge to control (or at least direct) the modulations on those other synths so that the sense of movement would match the sound of the Serge patch as closely as possible.
A couple things surprised me while attempting to do this. First, I was surprised at how easily I could get the core sound of the patch to sound right on other synths. It was the nuances that were trickiest to dial in, and I feel like the Dotcom came the closest overall. Secondly, I was surprised at how many filters it took on each of the other synths to emulate what the Serge was producing with only a VCFQ and the built-in filter on the Wilson Analog Delay.
But perhaps the reverse would be true if I had a great patch on another synth that I wanted to replicate with the Serge...
In any case, each time I came back to the Serge in all of my A/B'ing of sounds, I was really pleased with how singular it sounded compared to the others. And I don't think it's just this particular patch: the Serge is truly a special kind of beast.
Thanks - most inspiringReplyDelete