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Com Some of the samples entering the filter are delayed in time and the
b output is then fed back into the filter to be reprocessed to produce the
results. Using this method, sounds can be tuned to amplify or reduce
(C)
specific harmonics based on the length of the delay and the sample rate,
making it useful for creating complex sounding timbres that can-not be
accomplished any other way.
Level Hidden under the Mix knob . Adjusts volume of filter. Click on the Mix name to
change Mix into level.
Chapter 7. Effects
Compressor
Thresh:
0= less compression
100= more compression
Ratio:
0= less compression
100= Limiter
99= more compression
*Limiter: gain reduction occurring in a limiter is not decided by a ratio control but by an absolute output
ceiling you set, so level of audio input cant go above this value.
Attack:
0= comp appears sooner(right when note is pressed)
100= comp appear later into note
Release:
0= comp lasts shorter
100= comp lasts longer
Gain:
0= less gain
100= more gain
*Gain: Amount of increase in audio signal strength(dB). More gain=loud+grainy+distort+skrilley.
Reverb
Size:
0= smaller room
100= larger room
Damp: An additional high-frequency cut for the reverb. The knob controls how fast this high-
frequency attenuation occurs. *Increasing the damping produces a more "muted" effect. The
reverberation does not build up as much, and the high frequencies decay faster than the low
frequencies. Simulates the absorption of high frequencies in the reverberation.
0% = no damp, 100% = maximum damping.
Width: Expand or collapse stereo(2 channel) width of reverb. Increasing this value
applies more variation between left and right channels, creating a more "spacious" effect.
0=less width
100= more width
Delay
Feed: Sets amount of delayed signal appearing back at input of delay,control how
many repeats of the delay are audible.
Link: Any changes in the channel left/right delay time will also affect other channel,
creating a mono delay.
Delay times:
2 columns of number boxes, labelledLEFT and RIGHT.
Upper box is the base Delay time for the respective Left or Right audio channel.
The lower box is an offset for the above delay time, for instance a value of 1.1 means that the
above delay time will now sound 110% of its value.
You'll also notice when dragging these lower boxes you'll see TRIP(triplet in music theory)
and DOT(dotted value in music theory)appear when you reach 133% (1.333) and 150% (1.5)
respectively.
Tap>Delay: Right side delays normally(has feedback on it), while left side only
happens once(cuz no feedback on it)
Size:Sets the amount of delay time for the delays.
Mix:The Dimension has its own Mix control. When set to 0%, the Dimension effect is
disabled.
Dimension
Think of a reverb and delay and chorus effect a blend of all 3. Stereo effect made out of 4
delay lines summed out-of-phase and slowly amplitude modulated to provide a subtle amount motion
to the effect. Adding width to an mono signal.
Hyper
Think of a unison, delay and chorus effect a blend of all 3.
*The Hyper effect is a micro-delay chorus effect with a variable number of voices (1-7). In addition the
Hyper effect can be configured to re-trigger on every MIDI note, which adds to the potential simulation
of a unison.
Unison: This number box sets the number of chorus voices make up the Hyper effect.
Mix:
0= no effect
100= more effect
Distortion
Mode: Mode menu (displays Tube by default) brings up a list of distortion types. Use < > to
navigate by clicking.
BPM: When on, flanger's sweep is synced to the host BPM musical time measurements. When
off, the rate knob is in Hz.
Rate: Control rate of flangers sweep. When BPM on, the rate knob snaps to beat. When BPM off,
the rate knob is in Hz.
0= 0HZ OR OFF
100= 20HZ OR 1/32 notes
Depth:
0= less flange
100= more flange
Feed:
0= Less feedback/ringing (makes the effect less pronounced (metallic ringing).
100= More feedback/ringing (makes the effect more pronounced (metallic ringing).
Phase:
The stereo(having 2 channels) phase offset(The time interval by which one wave leads or lags another.)
for the LFO influence over the flanger(Left flange and Right flange offset).
0% = both L and R have the same frequency.
50% = 180 degrees - L and R have opposite frequency, in other words the flanger sweep will be rising on the left while falling
on the right, or vice versa.
BPM: When on, phaserr's sweep is synced to the host BPM musical time measurements. When
off, the rate knob is in Hz.
Rate: Control rate of phasers sweep. When BPM on, the rate knob snaps to beat. When BPM off,
the rate knob is in Hz.
0= 0HZ OR OFF
100= 20HZ OR 1/32 notes
Depth:
0= less phase
100= more phase
Feed:
0= Less feedback/ringing (makes the effect less pronounced (metallic ringing).
100= More feedback/ringing (makes the effect more pronounced (metallic ringing).
Phase:
The stereo(having 2 channels) phase offset(The time interval by which one wave leads or lags another.)
for the LFO influence over the phaser(Left flange and Right flange offset).
0% = both L and R have the same frequency.
50% = 180 degrees - L and R have opposite frequency, in other words the phaser sweep will be rising on the left while falling
on the right, or vice versa.
BPM: When on, chorus modulation is synced to the host BPM musical time measurements. When
off, the rate knob is in Hz.
Rate: Control rate of chorus modulation. When BPM on, the rate knob snaps to beat. When BPM
off, the rate knob is in Hz.
0= 0HZ OR OFF
100= 20HZ OR 1/32 notes
Delay 1/2:Sets the amount of delay time in milliseconds between dry signal and the
first/second stereo pair of chorus voices.
0= shorter delay time
100= longer delay time
Depth:
0= less chorus
100= more chorus
Feed:
0= Less feedback/ringing (makes the effect less pronounced (metallic ringing).
100= More feedback/ringing (makes the effect more pronounced (metallic ringing).
LPF: Set the cutoff frequency of the lowpass filter which comes after the chorus wet effect.
EQ
*Screen and two switches for setting type for each of the two filter bands.
*Left band is intended for low-frequency (LF) adjustment and Right is for HF.
Gain(L/R): 0= less gain for filter band. 100= More gain for filter
band.
(Gain: The amount of increase in audio signal strength, often expressed in dB. )
Chapter 9.
Modulation Routing
Modulation
Think of Modulation as having a digital hand automatically turning knob by a certain degree at
the start of each note.
ENV1 is special since it is the main volume adsr envelope so be careful with it. ENV2~3 or LFO
1~4 are all normal.
Click+drag Tile ENV2~3 or LFO 1~4 to a knob and let go of mouse to add modulation to that
destination knob.
You'll also notice a number will appear on the right side of the ENV2~3 or LFO 1~4 tile.
If 1 means the tile has one mod destination and 2 means two mod destination and so on.
Click on LFO tile to see destination(s).
A blue halo will appear on a destination knob. This shows how much hand turns knob each
time.
Drag halo up and down to change how much hand turns knob each time.
Up=Hand turns knob more each time
Down=Hand turns knob less each time
If you lower this beyond zero, the value is inverted/negative (as the LFO output goes up, the
influence to the pan knob goes down) and the halo changes color.
The halo can be 1-directional or 2-directional. Toggle between modes by SHIFT+ALT then CLICK
on the halo. Or mod matrix.
If you Right-click on a control such as a knob, a context-menu will appear. With the following
choices:
Bypass Modulator: Mute connection between destination and the modsource tile. Halo around the
knob grey when mute.
Remove Modulator: Removes the connection between the modulation source and this knob
completely.
Remove All Modulators: Removes all connections to this knob from all Modulation Sources.
Reset Control: Resets this knob/control to its default value this is the same as CTRL-click.
Mod Source (sub menu): Displays all of the possible modulation sources to control this parameter.
This allows another way
to make a connection to a control without having to drag from the ModSource tile or visiting the
Matrix window.
MIDI Learn: Selecting this menu item puts Serum in a MIDI Learn Mode, where it waits for an
incoming MIDI CC value. Once it receives a MIDI CC, the MIDI Learn is deactivated and the CC# is
now assigned to this control. This assignment is saved with the preset/patch. Revisiting this pop-up
context menu again will display the CC# and give you the ability to either re-learn it to a different
CC#, or else remove it.
Note-On Random 1 and 2 (two separate random numbers generated when note
played)
Noise Osc (the Noise Oscillator's output can be used as a modulation source, try
pitching the Noise Osc low for more of a chaos LFO type of effect)
Fixed (not really a mod source, but you can use this to allow a modulation
assignment to get a 'fixed' value with slider depth control, should you want that for
some reason).
Mod Matrix: Mod
The Mod drop-down gives you some bonus ways to manipulate modulation assignments.
* Normal default mode. The two modulation sources are multiplied
together, so that one is scaling the other. For instance, if LFO1 is
the Source, and ModWheel is the Aux(secondary) Source, then we
will not hear the LFO1 influence unless the ModWheel is raised
above zero (and the Aux Amt slider is also above zero).
*(inv) Same as the above, except the secondary source (Aux Src) is
value-inverted. For instance in the above example, there would be
no modulation if the ModWheel was at maximum, and there would
be full modulation if the ModWheel is at minimum.
bypass Same as bypass/muting in modulation section. Mod
Matrix: Output
Same as Mod Matrix Amount slider, only an additional one to help you.
Envelope
Envelope1
ENV1 is special since it is the main volume adsr envelope so be careful with it. ENV2~3 or LFO
1~4 are all normal.
Zoom magnifier
There is a faint magnifier on the right edge of envelope graph display. Drag up and down to
zoom in and out of graph.
Auto-zoom view
Faint lock button above magnifier. Click to enter auto-zoom view where envelope always fit
perfectly in display.
The LFO Controls The LFO module is in the bottom-center of Serum window.
These are its controls:
Grid Size Number box to set grid size of LFO graph. The Grid is made to work with the Alt-
click (snap points) or the Shift-clicking (draw step segments) on the LFO graph so you could have
more/less grid lines on grid to draw points on.
LFO Mode (Trig / Env / Off) Allows you to select how the LFO behaves to new
notes:
Trig: Re-triggers LFO. LFO restart/retrigger with new note.
When length of note exceeds the end of LFO, the LFO retriggers, restarting at beginning again.
Env: similar to Trig, except the LFO will stop once it reaches the right-edge of the graph, when
length of note exceeds the
end of LFO. It only plays once, like an ADSR envelope. It
is possible to loop a segment of the LFO, for instance add a point to the middle of the
LFOGraph and
shift-ctrl-click and you'll see an orange marker appear above the point. Now when you play a
new note and hold it
down, assuming you have routed this LFO to a destination, you'll see+hear it looping this
second half of the LFO
graph (from the marker to the right edge).
Off: When new note played, LFO doesnt restart at beginning. Instead, LFO starts at where the
last note ended. This
effect is most apparent when you set rate to 32 bars.
Load/Save menu Folder icon for saving and loading LFO shape presets.
BPM switch Enabling this will make the time value snap to tempo-based units ( note,
1/8th note, etc).
Rate the playback speed of the LFO in other words the amount of time represented on the LFO
graph area.
In beat units by default (BPM switch on) but can also be made changed to a Hz value (BPM switch
off).
Rise Basically an gradually increasing ATTACK(in ADSR envelope) for the LFO graph to start
influencing your input sound.
(Long explanation: Amount of time taken for LFO graph shape to have influence over the LFO output. Let LFO
slowly have influence over your sound. In other words, the LFO will begin with a fixed output (imagine the
LFOGraph is a flat horizontal line, with whatever value the left-most point of the LFOTool graph contains) and
slowly (based on the Rise time) becoming the shape of the visible graph.)
Delay Amount of time before rise begins. LFO will have a fixed output and after the delay time
period, rise will begin.
Smooth this smooths the LFO output. This is useful for avoiding abrupt jumps in the LFO
output, without having to draw curves on every segment of the LFO graph. Same effect as
drawing round curves on LFO graph.
Copying LFOs Alt-click+drag one of the LFO 1~4 tiles to another, to copy all LFO
settings from one LFO to another.
Export LFO into OSC wavetable Alt-click+drag LFO tile to OSC screen to
export LFO into wavetable.
Dot/Trip switches(BPM switch must be enabled) Allow for triplet and dotted times on
the rate control.
These switches are useful for avoiding triplet or dotted times when automating the LFO Rate, that
is, for avoiding doted and triplet times when you know you want an evenly beat-divisible time(s).
Anchor switch(BPM switch must be enabled) This determines whether or not the LFO's
playback position will jump if you automate the time control: if Anchor is enabled, then the time
is anchored to your song time, in other words changing the tempo from note to 1 bar means
the time position may jump in order to have the playback properly affixed to the bar cycle.
Conversely, if the Anchor is disabled, the play position will not jump when you change the LFO
Rate, but now may feel rhythmically off-the-beat. This is how a traditional LFO behaves.
Mono Switch
When on, limit keyboard to max 1 active note at-a-time. If a new note is pressed while one is
playing, old note ends abruptly.
Legato Switch
Only applicable when Mono enabled.
When a old note is interrupted (cuz a new note is pressed) in mono mode......
if Legato off, Envelopes/LFO's will re-trigger.
If legato on, they will not retrigger= allows for a smooth change to the new note which is pressed.
Portamento Settings
Below voicing settings is Portamento-- allow glide/pitch bend from 1 note to another. Most
useful when Mono enabled.
This way if you hold one note and play another, it will slowly change the pitch from the first
note to the second.
Porta Knob The Porta knob controls the rate of glide from one note to another.
Porta Curve Control The Porta curve adjusts the contour of glide from one note to
another.
If convex (typical use),note pitch will depart the beginning pitch quickly and slow down as it nears the
note destination frequency.
If set concave (dragged down below half), pitch will slowly depart the source pitch, and later rapidly
arrive at the destination pitch.
'Always' switch When on, the portamento will occur on a new note even if no note is
currently playing.(so portmento is always present) When Off, a 1 st note must be held for
portamento to take place on the (2nd) note.
'Scaled' switch
Potentially useful for melodic leads where you wish there to be a less noticeable portamento
on short intervals.
When activated, the portamento rate is adjusted based on the distance of intervals/pitch
between the 1st and 2nd note.
If the portamento is a glide between two notes 12semitones/1octave apart, the rate knob's
time value will be used.
If the portamento is a glide between notes less than 12semitones/1octave apart, the time will
be faster, and vice-versa (notes larger than an octave will be progressively slower).
Noise Fine
Pitch tuning(cents) for Noise oscillator. Useful when Key-track(snap noise osc to pitch of note
played) is enabled for the Noise oscillator and the Noise oscillator sounds out of tune.
Quality
This sets the quality for Serum. Use 1XDraft for making drafts of tracks and change to 2
or 4 when exporting to save CPU!
Click on lock to make sure all presets use 1XDraft quality by default!
This is extremely important! Use 4X quality when you are using Warp mode and FM!
Use 2 or 4 for sound design because you need to hear details!
Chaos 1 | Chaos 2
Additional modulation sources like LFOs. Can assign to a knob through Mod matrix or right-
clicking a destination knob.
Chaos 1 and 2 are different types of chaos LFO (low frequency oscillators).
They have special sounds compared to LFOs and ENVs.
Chaos 1 has a more periodic (repeating) and more bipolar (two separate tendencies, up or
down) sound.
Chaos 2 has more of a chaotically random 'restarting' sort of sound to it.
A good use for the Chaos modulators is subtlety, for instance very small fine-tune deviations
to simulate the drift of analog oscillator pitch.
Unison Settings More advanced Unison settings for OSC A and OSC B on
global page.
Must first have unison enabled in OSC to be able to hear changes in the Unison Settings!
All Unison settings can be modulated with a mod source(like NOTE,VELO,LFO,ENV etc.)
(Unison) Warp
Sets the amount of warp offset for each of the individual unison voices. To hear this, you must have a
Warp mode is selected (Sync, FM, etc) and Unison raised above 1. An easy way to think about this is
imagine the Warp knob on the Osc page has a little lower or higher value for each unison voice. The
more this Warp offset is raised, the wider the spread for each unison-voice this +/- assignment, based
from the Warp knob's current value.
(Unison) WT Pos Similar concept to Warp (above) but instead the offset per-unison-voice is made to
the WT Pos. This way a single note with unison enabled can be playing multiple sub-tables in your
wavetable simultaneously. The greater this control's value, the more spread.
(Unison) Stack The stack control provides multiple options for having the unison voices playing
different pitches. The default is off where all voices play the incoming pitch (note you played). The
first option: 12 (1x) means that every 2nd unison voice will play up an octave (0, +12, 0, +12, 0 +12,
etc). The next option: 12 (2x) means that this transposition can be either 1 or 2 octaves (0, +12, 0
+24, 0 +12, etc). The choices with +7 means that a perfect fifth will also be included in these layerings.
The last choices: Center-12 and Center-24 means the center voices of the Unison stack will be lowered
in pitch 1 or 2 octaves, respectively.
(Unison) Mode
Determines the mode of detune for the detune knob. These changes are also reflected visually when
adjusting the detune knob on the main oscillator panel, you'll notice the vertical stalks which draw on
the waveform area will have a different look, depending on this Tuning Setting.
Linear which means all voices will be detuned by equally spaced amounts.
Super is a little less even than Linear, the detune has a slight emphasis towards notes being the
correct (in-tune) pitch. This
simulates a little closer how an ensemble of instruments playing the same note might sound (a couple
people are out of tune, but the average is closer to in-tune).
Exp., short for Exponential, favors notes closer to being intune even more. This might be closer to
how a more talented ensemble trying to play the same note might sound ;)
Inv., short for Inverted, is a little abstract, note tuning is pushed more to the outside edges. This
gives the ear a bit more of a
sensation of 2 pitch centers (sharp and flat).
Random selects random detune amounts every time there is a new note-on. This might sound more
natural in some situations, as of course humans don't play out of tune the same amount every
note/time.