SERGE MODULAR MUSIC SYSTEMS

Wilson Analog Delay

Parts for Kit

  • 5 Black Banana Jacks w/nut
  • 4 Blue Banana Jacks w/nut
  • 1 Mini-Phone Jack
  • 1 Switch (3-position center-on)
  • l 50k Log Potentiometer w/nut &;amp lock washer
  • 6 50k Lin Potentiometer w/nut &;amp lock washer
  • 7 Knobs
  • 9 Shoulder Washers
  • 144" #24 Insulated Hook-Up Wire.
  • 4" #22 Bare wire (solid)
  • 1 AD 208 PCB (assembled)

 


Check for proper operation of this module by patching a mid-frequency audio signal from a VCA being enveloped by a short envelope (a beep-beep-beep type sound) into the IN-1 jack of the Delay module. Flip the Feedback switch to AUX, turn the Filter knob fully CW, and the DELAY time knob fully CCW. Adjust the knob for lN-l to get a clean signal from DELAY-A output. Check that there is also a clean signal at DELAY-B. There might be a slight level difference between the two, but this is normal. If you have a stereo monitor, monitor the straight signal from the VCA (applied to lN-l) on one channel, and the delayed signal from DELAY-A on the other channel. Turn up the DELAY Time, and the operation of the module should become apparent, with the sound first sounding as though it is changing spatial position, then as the delay gets longer, a distinct echo will be heard in the delayed channel. Do the same for DELAY-B and note a longer delay time for the same setting of the knob. For longer delay times, the FILTER knob will usually have to be turned down to filter out some of the High Frequency noise that appears. The V/OCT output will have a varying voltage which is directly related to the setting of the DELAY knob and VC. This module has extremely wide range, for all kinds of effects. Most commercial Delay lines have a range of about l/4 turn of the DELAY knob. So don't be discouraged if it sounds like you get a lot of weird effects at first....This range is useful, but like most Serge modules, it will take some time for you to get to know and use it effectively.

The FLANGING output is most dramatic at very short Delay times, and with a signal that is high in harmonic content. The FLANGING knob sets the level and polarity of mix of the delayed signal for different types if flanging sounds. Flip the FEEDBACK switch to the A position and center the FEEDBACK knob. Listening to the output beep-beep-beeping with a medium delay, turn the knob a little off center, and listen for multiple delays of the signal. This is caused by the signal being fed back into the input. As the knob is turned to extremes, the feedback may get so high as to regenerate, causing a sustained howl, even without an input signal present. Turn the knob to the other side of center and note the feedback effect. This feedback is of alternate polarity (the signal is inverted) from the other, and will produce different sounds. Listen to the DELAY-B output, center the FEEDBACK knob, and flip the switch to the center position (B). Multiple echoes will be more pronounced because of the longer delay of the B output. The AUX input is for applying an external signal (or a processed version of the Delay line's outputs) back into the module for feedback mixing.

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