Serge Modular Music Systems

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.

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.

Commercial builds and DIY kits of Serge synthesizers are currently available under license from a number of manufacturers.

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.

Early systems could have custom graphics—or no graphics—depending upon the whims of the artist. 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.

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