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The Serge synthesizer (aka 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 kits commercially, starting in 1974. Commercial builds of Serge synthesizers are currently available from Sound Transform Systems (STS) in Hartland, Wisconsin, USA, while a number of others enterprises offer DIY versions. 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. 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 Malcom Cecil, whose studio was used in Stevie Wonder albums; Gary Chang, movie composer; Roger Powell, keyboard player for Todd Rundgren; and John Adams, composer. ==Overview== 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, which became metal self-applied graphics in the early 1980s and finally graphics printed directly onto the metal panel. In the early 1990s the business was transferred to Rex Probe who renamed it Sound Transform Systems (STS). A number of changes were made over the years including the end of systems being sold as kits and user selectable module arrangements. STS moved onto 17" pre-configured 'Shop' panels and then the half sized 'M-Class panel. These are smaller 8" panels, allowing a user more variety than the Shop Panels but less than custom. These panels come with a black 1" center panel for power distribution. Early systems had custom graphics—or no graphics—depending upon the whims of the artist. Soon Serge 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 for (unipolar) control voltages, bipolar signals (NOT necessarily AC coupled) and pulse/gate signals respectively, 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 the outside World. Serge modules did not distinguish between audio signal and control voltage jacks, all signals were patched from module to module via banana patch cords. Banana cables are most flexible in electronic patching and offer quick patching with a secure connection, most banana jacks can be stacked as well. The banana leads supplied 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 units. One of the first Serge Modular synthesizer created became the machine used on the first Greenpeace anti-whaling expedition (1975) by William (Will) Jackson, to approximate whale sounds and broadcast them to whales in the open Pacific. (A photo of this can be found in the Vancouver Sun newspaper archives May 1975.) 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Serge synthesizer」の詳細全文を読む スポンサード リンク
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