1. Arturia Oberheim Sem V Mac Osx Manager 10
2. Arturia Sem V

By Gordon ReidTom Oberheim's classic two-voice synth gets the Arturia treatment in the form of the SEM V.Introduced in 1974, the Oberheim SEM (Synthesizer Expansion Module) was developed as an addition to a keyboard synth or a sequencer, not as an instrument in its own right. Nevertheless, it wasn't long before people realised that one or more SEMs could be combined with their own keyboards to create self-contained synthesizers. The SEM's popularity, in turn, inspired the birth of the 4-Voice, in 1975. This was a wonderful instrument; each voice was generated by an independent synth module, and the ensemble had amazing depth when you could get it to stay in tune with itself. Inevitably, the 4-Voice was followed by the 8-Voice. There were three versions of this, two of which were dual-manual monsters with eight SEMs mounted in the lids of their huge cases. While programming and playing these was often impractical, players who owned them would rarely (if ever) say a bad word about them, and they remain desirable to this day.

Nonetheless, the 8-Voice was soon superseded by the first of the OB series, the OBX, which, together with the Prophet 5, ensured that the era of the SEM was over. Except that it wasn't. Vintage SEMs remained objects of desire for the next three decades, and a couple of years ago Tom Oberheim announced that he was going to start manufacturing them again.

Arturia Oberheim Sem V Mac Osx Manager 10

In September 2010, I reviewed the MIDI version in Sound On Sound, and I was impressed. Meanwhile, on this side of the pond, the chaps at Arturia were working on a 'soft' emulation of the SEM that could be used as a monosynth or duosynth, as a 4-Voice or 8-Voice emulator (with all the vagaries and inconsistencies that that implies), and as a modern polysynth with a maximum of 32 voices. Now it's arrived. It's the SEM V.The SEM V with its top panel revealed.An SEM V patch is based on the same dual-oscillator architecture as the original, with sawtooth and variable-width pulse waves, frequency modulation and PW modulation, as well as oscillator sync. Likewise, the 12dB/octave state-variable filter offers the same BP/LP/BR/HP options as before, with seamless transitions from low-pass to band reject (notch) to high-pass modes, and both positive and negative modulation of the cut-off frequency. The simple sine-wave LFO is also retained (although it now boasts host synchronisation) as are the dual ADSD contour generators with ENV1 hard-routed to the VCA and assignable to VCO1, and ENV2 assignable to VCO2 and/or the filter.Amazingly, the last paragraph is an almost complete description of a vintage SEM, so everything else within the SEM V is an enhancement.

Most obviously, to the left of the central panel in the GUI, there's a second LFO, this time with three waveforms, host sync, key retriggering, and fade in, and you can route this to either or both VCOs, as well as the filter. It may seem a small improvement, but having independent control over, say, VCO1 vibrato and VCO2 PWM makes it possible to create all manner of lush sounds that were unavailable on the original. However, unlike LFO1 (which is generated independently for each voice), LFO2 is monophonic, and therefore modulates its destinations identically in every voice. This means that it's not suitable for generating effects such as independent panning and sweeping of voices, but it's ideal for things such as tremolo.Above LFO2, there's a sub-oscillator that offers three waveforms (sine, sawtooth and variable-width pulse) and can be placed either one or two octaves below the pitch of VCO1, and this is injected into the signal path where the external signal #1 input lies on the original. Replacing the external signal #2 input, there's a white-noise generator, which is also a welcome addition.

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Arturia Sem V

In truth, the omission of the external signal inputs is no great loss. There are myriad other ways to filter, chop up, overdrive, chorus and delay sounds, and I'm not going to shed any tears because the SEM V isn't one of them.To the left of the GUI's keyboard lie two more facilities found on Oberheim synths based on SEMs, but not on the SEMs themselves. These are a master tuning knob and a portamento function, neither of which require further discussion here. However, next to these, the monophonic arpeggiator deserves mention. This offers the usual four modes (up, down, up/down and random), up to four octaves' range, a hold function, and host sync so that you can lock the arpeggio to the tempo of the track and anything else going on within it. There are numerous species in the genus 'revered vintage monosynth becomes virtual polyphonic soft synth with lots of extras and effects bolted on'.

Arturia's other offerings in this area include the Minimoog V, Moog Modular V and ARP2600 V, while their local neighbours, XILS-Lab, entered the field with the innovative XILS-3, which was inspired by the EMS VCS3. In the UK, GForce recreated the OSCar, recently updating their impressive ImpOSCar to V2 status while, in the Far East, Korg reinvented their own MS20 for inclusion in the Legacy Collection. None of these are turkeys — indeed, all are capable of superb synthesis and sound quality — so your choice will probably be determined by taste rather than by any objective measure of superiority. The current breed of hardware SEM doesn't offer the MIDI overflow function that would allow users to connect multiple units for use as a polysynth. However, the Oberheim SO4V (Son Of 4-Voice) is due later this year, and this will combine four SEMs with a degree of programmability, plus the ability to cascade two units — with a projected cost of a hair under US$7000 — into a genuine Oberheim 8-Voice.

But until that appears, the SEM V is the only contemporary way to obtain the 'Oberheim sound' polyphonically. All contents copyright © SOS Publications Group and/or its licensors, 1985-2019. All rights reserved.The contents of this article are subject to worldwide copyright protection and reproduction in whole or part, whether mechanical or electronic, is expressly forbidden without the prior written consent of the Publishers. Great care has been taken to ensure accuracy in the preparation of this article but neither Sound On Sound Limited nor the publishers can be held responsible for its contents. The views expressed are those of the contributors and not necessarily those of the publishers.Web site designed & maintained by PB Associates & SOS.