There are no moronic questions here, Kkonkkrete!
The Sig Ins of the TGO are "bipolar" and can accept audio or CV
signals. At high frequency ranges (left side) and fast rise/fall
settings (right side) the effect is a non-resonant* lowpass filter.
At low frequency ranges (left side) and slow rise/fall settings
(right side) the TGO can be used as an envelope follower, to apply
portamento/lag to an incoming voltage, or to act as an attack-
sustain-release envelope when a gate is applied to the signal input.
Without feedback, these slopes are linear, but by patching the
output back into the CV in, various non-linear shapes can be
obtained.
* Using externally patched feedback, "resonance" can be introduced
into just about any audio path. The Serge system excels at handling
feedback in a musical *or* non-musical fashion, according to one's
preference!
in, thereby putting the right half of the TGO into cycle mode, when
you desire an LFO or audio oscillator. (In other applications, such
as enveloping, you would generally not use the cycle mode.)
the same time use the other half as an audio-rate oscillator. Is
this right?
Yes, you're correct. This is the hallmark of the Serge paradigm -
amazing flexibility!
It should be noted that Rex has set the frequency range of the Time
Gen Clock to a lower setting than the Time Gen Osc, so while you can
achieve audio rate cycling with the TG clock, the perceived pitch at
the highest frequency will be lower than that of the TG Osc.
Rex carefully buffers the outputs to prevent unhappy accidents.
plunge...
No problem - that's what community is for!
Chris Sawyer
> in the output section of the TGO, what are the Sig Ins for? Itake it these are audio inputs, but what for?
The Sig Ins of the TGO are "bipolar" and can accept audio or CV
signals. At high frequency ranges (left side) and fast rise/fall
settings (right side) the effect is a non-resonant* lowpass filter.
At low frequency ranges (left side) and slow rise/fall settings
(right side) the TGO can be used as an envelope follower, to apply
portamento/lag to an incoming voltage, or to act as an attack-
sustain-release envelope when a gate is applied to the signal input.
Without feedback, these slopes are linear, but by patching the
output back into the CV in, various non-linear shapes can be
obtained.
* Using externally patched feedback, "resonance" can be introduced
into just about any audio path. The Serge system excels at handling
feedback in a musical *or* non-musical fashion, according to one's
preference!
> also in the TGO, what do the switch and "trig on" do?This is equivalent to patching a cord from the gate out to the trig
in, thereby putting the right half of the TGO into cycle mode, when
you desire an LFO or audio oscillator. (In other applications, such
as enveloping, you would generally not use the cycle mode.)
> On the Sequencer-A: I assume I could use one side of the TG-clockas a low-frequency trigger source for driving the sequencer, and at
the same time use the other half as an audio-rate oscillator. Is
this right?
Yes, you're correct. This is the hallmark of the Serge paradigm -
amazing flexibility!
It should be noted that Rex has set the frequency range of the Time
Gen Clock to a lower setting than the Time Gen Osc, so while you can
achieve audio rate cycling with the TG clock, the perceived pitch at
the highest frequency will be lower than that of the TG Osc.
> Are serge systems short-circuit protected? Is there any riskinvolved in connecting two outputs together?
Rex carefully buffers the outputs to prevent unhappy accidents.
> Sorry about all these basic questions, I'm really excited about thepossibilities, but I just want to get things clear before taking the
plunge...
No problem - that's what community is for!
Chris Sawyer