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What is Serum?
Serum at its core is a wavetable synthesizer and an extremely flexible one at that.
If you’re new to this whole synthesis thing, let us break it down a little bit.
Unlike other types of synthesizers, that are based on simple sine, triangle and saw waves – wavetable synthesizers achieve their unique sound using groups of digital waveforms, collectively known as wavetables.
The advantages of wavetable synths are quite clear.
Instead of having to choose from the very most basic wave shapes there are and modulating them to fit the sound you like, you can choose from thousands of unique wavetable combinations, taking your sound design to new heights.
The two wavetable oscillators are the focus of this VST. Serum comes bundled with over 150 different wavetable shapes, which is a formidable amount of different sounds to choose from.
But those 150 wavetables are pretty much the tip of the iceberg for sound design newbies & veterans alike.
Aside from being able to morph between wavetables and import external ones, Serum’s party piece is the external audio function.
Using any audio file, you can create completely new and unique sounding wavetables using Serums built-in wavetable editor.
The editor features a large number of customization tools, yet remains an intuitive and easy to use environment suitable for experimentation and detailed tweaking of the wavetable at hand.
The digital, spectral and vowel sections feature numerous complex and abstract wavetables which are perfect for crafting a wide range of modern leads and bass sounds, as well as pads, drones, and pretty much everything else you could want from a wavetable synth.The noise and sub oscillators are somewhat less exciting than the two wavetable OSCs, but they both pack a few bonus traits which make them equally useful and an essential addition to Serum’s sound engine.For example, the sub oscillator can be routed directly to the output section, which is an easy way to fully build a bass patch inside Serum, without having to reach for an external sub source to be layered underneath.Similarly, the noise oscillator is more than just a standard white noise generator. It packs a wide variety of organic and abstract noises, as well as a large selection of clicks which can be used to enhance synthesized drums and percussive hits.No Xfer Serum VST review would be complete without mentioning the amazing FX unit.
The entire FX section is almost too good to be true, with ten great sounding effects that can be modulated, combined and freely re-arranged in the effects signal path.It’s quite a shame that Serum can’t process Live Audio, as it would make a stellar multi-fx unit, but this is what the standalone “Serum FX” VST is forThe raw power of Serum’s native effects is downright impressive. I’m pretty sure nobody needs 13 different distortion types in a synthesizer, but it’s there, whenever you might need it to spice up your sounds.Though appearing relatively basic, Serum’s Flanger can be tuned to pinpoint the sound you’re after.
The LFO-driven flanging Rate can either be set manually or synced to the BPM of your song, while the Depth control lets you alter the amount of LFO modulation.You can increase the effect’s strength using the Feedback control, while the Phase dial lets you adjust phase position.The onboard Reverb offers either Plate or Hall algorithms and they sound brilliant.You can alter the reverb Room Size, and tweak the amount of Pre-Delay to offset the time before the reverberation signal occurs.Low- and High-Cut controls let you adjust the reverb’s low and high frequencies, and Damping allows adjustment of high frequency attenuation.You can also control the reverb signal’s stereo spread using the Width control.
After three years in development, Xfer Records has at last released its eagerly awaited wavetable synthesiser, and a quick glance at the feature list makes it apparent that Serum (VST/AU/AAX) represents an earnest attempt to produce nothing less than the world’s most advanced instrument of its kind.For starters, fancy software engineering techniques have been employed to create oscillators that produce inaudible amounts of aliasing (the inharmonic artifacts that can occur in digital audio).
The result is that Serum’s oscillators sound cleaner and slightly brighter than what we’re used to hearing from synth plugins. It’s most noticeable when playing high-pitched parts, immediately setting it apart from everything else on the market.
The modulation matrix actually offers quite a bit of additional control over the active modulation connections, such as combining different modulation sources via the AUX modulation input, editing the modulation curve, mod inversion, and so on.
After spending time exploring the vast modulation capabilities, it becomes clear that using drag and drop for initial modulation setup, then switching tab to the mod matrix for precise control is an incredibly efficient and hassle free workflow.
Ableton users might not care too much, with their stellar max4live LFO device, however, LFO tool by Xfer is a great addition to the wavetable synthesizer.
On the surface, this unassuming LFO unit is nothing special, and honestly super similar to what Serum already has.
It’s got a pretty cool party trick however. There are 12 LFOs and only four destinations, sounds confusing, but bear with me for a second.
You can select new routing sources for the LFO in real-time by sending midi-notes to LFo tool, making it a must-have for performers.
Although Xfer’s LFO tool isn’t bundled with Serum, Serum FX is, and it duplicates a lot of LFO tools functionality.
Waveforms can be blended statically or dynamically using regular crossfading or harmonic/spectral morphing, the latter mutating from one to the next by adapting the level and phase of individual frequencies.
You can import your own audio to create custom wavetables, but Serum has a full-spec wavetable editor built in to cater for the more hardcore user.
Under the ‘table
The wavetable editor enables you to manipulate the waveform on a graph display using an assortment of tools that vaguely remind us of the Performer in NI Massive, although with very different results, of course.
Alternatively, you can edit the waveform by adjusting frequencies on an additive graph (similar to that of Camel Audio Alchemy), or process/generate it using preset functions and mathematical formulae.
There are more editing options than we can possibly cover here in full, which is an ongoing theme with Serum – Xfer seems to have thought of everything, or at least made its best effort to.
A third oscillator is on hand in the shape of the sub generator (although it can be transposed up or down by four octaves, so the name is a bit of an understatement), which sports six basic waveforms.
The noise generator is in fact a stereo sample player, pre-loaded with every flavour of noise you’re likely to need. These include basic white noise variations as well as output noise sampled from classic hardware synths, and some ‘otherworldly’ alternatives.
The noise generator can run looped or in one-shot mode, so it’s ideal for synthesising percussion instruments – it even comes with a selection of drum kit sounds and a very handy set of kick drum transients; and you can also import your own waves.
The filter module takes its list of types from Xfer Records’ LFOtool and so includes a good variety of the usual analogue-style models (low- high- and band-pass, and notch) alongside a variety of combs, flangers and phasers, not to mention ring modulation, formant filter, sample- and-hold and various more esoteric types.
Modulation is handled by an intuitive drag-and-drop system, similar to that of Massive, but with a 32-slot mod matrix letting you see everything in one place, and advanced features such as user-editable curves and an auxiliary ‘via’ source for each slot.
In terms of modulation sources, there are three AHDSR envelopes and four LFOs shaped using the same refined LFO editor found in LFOtool. The LFOs also feature an envelope mode for building complex, multi-stage envelopes, and four macros are in place for bringing multiple parameters under unified control.
Two Chaos modulation sources can be configured in the global tab, too. These are largely intended to help invoke analogue-style nonlinearities, and they do that well, but you’ll find plenty of creative uses for them beyond that.
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The unison feature reminds us of Synapse Audio’s Dune 2, and like that synth, Serum offers a selection of five stacking modes, including “Super”, which appears to replicate the supersaw unison found on Roland’s classic JP-8000.This sounds huge, but you may find that playing chords with heavy unison really starts to burden your CPU – an issue that Dune 2 doesn’t suffer from. Serum’s oscillators are dramatically cleaner-sounding, though, and you can take the default 4x oversampling down to 2x if more notes or instances is your priority (or, indeed, go up to 8x if fidelity is your priority).