Your videos are inspirational and a nice proof for me that paperface holds up (i initially had concerns about it as i heard videos from more modern serge that has more functionality in module lineup)
wow. this is one of the best examples of the Serge sound. It's amazing. I didn't know they could be so aggressive. I wonder if the creators of these machines knew that it could sound like this.
Looking to buy this exact system as my first venture into modular. Would you say it’s difficult to learn all the different ways of patching? is there a specific or particular way to power this thing or is it just plug and play? I saw you have to tune by ear, meaning what exactly the sequence or oscillators? Sorry for all the questions.
I wouldn’t say the modules in the system are hard to learn but a synthesis background really helps. It’s an environment where very little is already done for you, so there are a lot of decisions to make. There are a lot of great tutorials on RU-vid if you want to get a feel. Doug Lynner’s channel has a lot of great information if you haven’t already seen it. The R*S Helios / tempo di roma combo comes with a power supply, so it’s just a matter of plugging the supply into an outlet and the panels to the supply. Everything is in the box…although I can’t recall if they supplied the standard 3 prong power cord, but you probably already have a bunch around anyway. The sequencer doesn’t have any quantized voltages so if you are wanting specific intervals or melodic sequences that are tuned to western 12 tone relationships, you will have to achieve that by ear. Hope that helps a little bit!
Man I would love to see a live patching to see exactly how you make a melody on this beast as well as to see you workflow! Maybe that could be your next video? Live Serge Patch #7 !
@@VoicesFromBeyondTheWavesthis is such a silly question but i’m about to buy this setup from perfect circuit, out of curiosity what white and red banana cables did you get and from where ? 😅
@@NealCaenNot a silly question. I purchased those from Modular Addict. They are more economical than Pomona banana cables and the cable material is very flexible vs. Pomonas which are more rigid. Those are 12" and 18" lengths though you will probably want a couple 24" cables as well.
Really intriguing system and sounds. Going through all your patch examples now. Just wondering, do you have to set the notes by ear? It almost sounds quantized but I can't imagine this being part of a Serge system.
Thanks! all the notes are set by ear, there are no quantized voltages on either panel. The updated 50th anniversary oscillator designs are now fully temperature compensated and are extremely stable lending themselves more easily to melodic uses. Love your videos BTW!
@@VoicesFromBeyondTheWaves Wow, I didn't know you were familiar with my channel :). I now have a borrowed P50 and going through your patches again... I've been patching for about two hours and I am blown away.
would you recommend this to someone also looking at the Easel? I've never had the pleasure of owning a Serge but fascinated by the sound. Have owned an Easel and its a little too basic for my taste. Currently toying with a Shared System, but this thing sounds sooo good. Confusing to understand inputs vs outputs... any thoughts?
It’s definitely worth a look! I haven’t owned or used an Easel extensively so I can’t draw direct comparisons. I would sum up the Paperface as raw and flexible. The individual modules are very basic but have plenty of room for exploration. The I/O hieroglyphics are mysterious to despiser but the learning curve is not steep. The are no illegal connections, just some that do nothing ie. Output to output. When patching sometimes you strike gold and sometimes you strike out, but that’s just modular, right? The Easel and shared system are more tailored to tonal music, but Serge can compete in that realm too.
Absolutely superior patching and composition. Instant fan. I've found patching/unpatching cables during play an invaluable strategy for creating evolving structure in my own patches, for both audio and control signals.
Thank you! I think it was Doug Lynner who suggested patching/unpatching whole stacks of cables as a performance technique which I have yet to try, but sounds like a powerful idea.
@@VoicesFromBeyondTheWaves your patches of the paperface 50 are amazing. Very musical and inspiring. Plus, you have managed to demonstrate a more aggressive and raw tone to the Helios voice panel than I've seen in any other demo on RU-vid. As a novice when it comes to modular and Serge modules, what would you say is the main contributor towards this when it comes the modules included with the Helios? would you say it is mainly the oscillators or the specific combination of certain modules to obtain that tone your are getting?
Haven't tried using the SSG as a sound source. So you're able to sequenced it without a v/oct input, how are you pulling that off? Patch 3 sounded so great, didn't think it could get better than the first two!
Thanks! Give the SSG a try as a sound source. Feeding a lane of CV from the programmer to the smooth CV input on the SSG works great. Since the programmer/sequencer doesn’t have quantized voltages it’s not any more difficult to work with than one of the oscillators for the most part. Things can get a little weird if you are using the stepped side of the SSG as well though. The stepped side can influence and knock out the tuning of the smooth side even when they are not patched together.
excellent patching. Random Source really needs to release a eurorack version of the sequencer programmer. The 8 step is huge and doesn't offer nearly the flexibility.
thanks for the love! i don't have anything up at the moment but have been compiling things as I make these videos. i hope to have something worthy in the near future. appreciate you checking out the videos!
Thank you! The VCOs have been updated with temperature compensation and a v/oct input on the 50th anniversary edition made by Random*Source and are very stable. However there are no quantized voltages on either panel, so the melody is still being created with voltages from the sequencer/programmer tuned by ear. The non v/oct inputs on the oscillators work equally as well when creating melodies.
What made you choose this system over the kb one? I'm thinking maybe i would get one or the other but not sure which one? This one is $500 more then the kb one..
I went with Tempo Di Roma for a couple of reasons. The TKB version seems like the deluxe way to control a single voice while tempo di roma can address two completely independent voices, albeit in a more rudimentary way. You can even get a third sequencer going patching the 8 step tigger sequencer into the mixer. It seemed more interesting and flexible to me for how I envisioned using it. Also with tempo di roma you get a scaled down peak/trough and the three routers.
you make this thing sound so beautiful, and i'm seeing multiple people express the opinion that the wave multiplier sounds better than the triple wave shaper, and i find that hard to believe. the wave shaper sounds pretty good! how good can the multiplier be??
