Understanding Serum's Miscellaneous

Filters
While most softsynths include classic options like lowpass,
highpass, bandpass, notch (and sometimes comb and formant) with
different roll-off slopes, Serum’s filter includes ninety modes. While
many of these are variations on those mentioned above, as well as
21 combination modes that are reminiscent of the original Oberheim
Xpander, the “miscellaneous” group is of special note.

Here, you’ll find a few filter types that aren’t immediately obvious in
their uses. Granted, the EQs are relatively self-explanatory, as are
the ring mod options. But it’s worth exploring the more esoteric
modes below:

SampHold
 Works a lot like a bit-crusher, with low “cutoff” values
dissolving the sound into a mass of digital grunge. Try applying
this filter type to one of the white noise options and the result
will be quite similar to vintage video game explosions. Bottom
line: It’s great for fans of the chiptune genre.

Reverb
 At first, listen, this mode doesn’t seem to add a traditional
reverb tail to the sound, unless you use extremely low cutoff
values, resulting in a tight room reverb. At its core, the Reverb
filter is actually a feedback delay network that can be used for
hard-to-reproduce physical modeling effects when the cutoff is
static. When the cutoff is modulated, all bets are off, as it
sounds a bit like a flanger through a wormhole. For squeaky
transients, modulate the cutoff quickly with an envelope. For
full-on mayhem, use an LFO.
  PRO TIP: All of Serum’s filter types are also available in its
end-of-chain Filter effect, so if you want to hear the Reverb
mode (or any other) in a different context, audition the options
in the effect device. 

Formant I, II and III

 Each of these formant filters are optimized for different vowel
transitions when adjusting the cutoff parameter. I’ve used
these modes extensively for analog choir effects.

German LP and French LP 

 These lowpass filter modes are amazingly warm, with an
analog-like depth, though being located in the “Misc” category
means they’re often overlooked. For the technically inclined,
German is a “zero delay feedback” LPF, while French is a pair
of LPFs cascading in series.
 PRO TIP: Watch those parameters. Many of the filter’s
parameters actually change, depending on the filter mode. The
top row of parameters is always cutoff, resonance, and pan
(which offsets the cutoff in stereo, with increasing widths). The
bottom row includes drive and mix, which controls the wet/dry
balance of the filtered signal. The center parameter on the
bottom row is the wild card that you should always note when
switching between types. For example, in EQ modes, it’s a
boost/cut parameter. Formant modes allow for further
customization of vowel characteristics. In the multi modes, it
governs filter morphing between the various slopes.

 
I believe serum comes with some moog wavetables. That’s what I’ve assumed the
“Mini” tables are under the analog section.
You can emulate a moog but I won’t be exactly the same. You can’t get the same filter
sounds and analog drift and such, but you can get decently close.
Some tips I know:
-Use the synth in mono mode and only use 1 voice her oscillator (as moog’s don’t have
unison).
-Load up two moog wavetables in each oscillator and then define them from each other
slightly.
-Use a slow lfo to add subtle drift to the fine pitch of the oscillators
-load up an analog noise sample to taste
-use a 24db low pass filter, maybe with a bit of drive
This will get you started. If you want a true moog sound, use a real moog or a soft synth
like Monark from native instruments that emulates it. You’d be hard pressed to totally
match a moog sound in serum, but you can make really great moog-ish sounds.