Arturia SEM V V2 Virtual Synthesizer – Perfect Circuit
Our reviewer thinks that Arturia has a clear-cut winner on their hands. They have also produced some hardware MIDI controllers and synthesizers as well. Most of their plugins are modelled after famous hardware synthesizers from the past, and even some drum machines are covered by this multifaceted company. A few of their classic synthesizer emulations include the Minimoog, Jupiter-8, and Prophet 5. The Oberheim SEM was originally produced from about to
Review – Oberheim SEM V by Arturia
Our reviewer thinks that Arturia has a clear-cut winner on their hands. They have also produced some hardware MIDI controllers and synthesizers as well. Most of their plugins are modelled after famous hardware synthesizers from the past, and even some drum machines are covered by this multifaceted company. A few of their classic synthesizer emulations include the Minimoog, Jupiter-8, and Prophet 5. The Oberheim SEM was originally produced from about to When it was released, the idea was that it could back up the sound of another synth, giving it an extra boost by fattening the sound.
It could also be played on its own, as long as you had a keyboard of your own to connect to it. With this software version of the SEM, Arturia has added new features.
Some of these include a sub-oscillator, an additional LFO, an arpeggiator, polyphony, and effects. It can be loaded into many different hosts. You check the Arturia website for the list of supported hosts. There is also a standalone version you can use. Installation was easy, and only took a few minutes. The E-licenser copy protection works pretty well and you will need an internet connection for it to work. The whole process went smoothly, and I was soon able to load both the regular and standalone versions.
For most of my review purposes, I loaded it in Sonar X3 Producer. You can tune each VCO by rotating the Frequency knob, and if you use the right mouse button and turn the knob, it will fine-tune the frequency amount. You can also accomplish the same thing by holding the Control key while using the left mouse button.
There is also Sub-oscillator and a Noise generator. You can select a sine, saw, or pulse waveform, and it has its own pulse width control as well. Having never used an actual hardware Oberheim SEM, I thought placing it there was a little confusing. Rotating the waveform selection knob to the left gives you the sawtooth, and all the way to right switches it to the pulse.
It acts as a volume control as well, so when you get closer to the center position, the volume will be reduced. If it is straight up at the center position, there will be no output from the VCO.
The control for the Sub-Oscillator and Noise works the exact same way. Turning it to the left and you get the Sub-Oscillator, and all the way to the right is the Noise. If the knob is straight up, there is no signal from either of those two. The Noise it uses is actually white noise, which is an equal amount of all frequencies. When it is switched on, the VCO1 controls the pitch. When you change the Frequency knob for VCO2, it changes the resulting waveform. Filter section Arturia has included four filter types: Low pass, Notch, High pass, and Band pass.
The filter type control lets you vary the amount between the Low pass, Notch filter, and the High pass. As you turn the control from the left to the right, it will blend from the Low pass to the Notch, and then on to the High pass filter.
I really like how you can blend from one filter type to another. The Notch filter works a bit differently than the other filters types: The Resonance control normally boosts the frequency where it is being cut off by the Filter, and the frequencies around it are reduced.
The manual says if the resonance is set to a very high level, the VCO will begin to self-resonate. Modulation Below the two VCO frequency knobs are some modulation controls. The first one lets you choose between frequency and pulse width modulation.
It behaves just about the same as the waveform selection control for the VCOs. Whichever type of modulation you pick frequency or pulse width modulation will be directed to one of those three targets. The last control is the Pulse Width knob, which lets you adjust the actual pulse width itself. It can have either a negative or positive value. If it is at the center position, there will be no modulation.
You can pick one of those three to modulate the filter frequency. LFO1 is very simple; it just has a control for its rate, and a sync control. The only waveform available for it is a sine wave. For LFO2, there are three waveforms to choose from, as well as rate, sync, retrigger and fade-in controls.
This is also how you get to the effects section, just in case you want to fine-tune any of those. To open the individual panels for the modulation settings, you just click on the name of it, and it will slide into view. The available choices are: Keyboard Follow has six parameters you can use to modulate the signal. For instance, you could have it start out at a low level for the filter frequency on the lower notes.
As you play closer to middle C, you can have it set so the filter frequency goes up. As you play higher above middle C, then the filter frequency could go back down again as you play higher up on the keyboard. You can change any of the six parameters. Just right-click on one of six parameter names, and a menu will appear.
This works the same way with the 8-Voice Programmer. For instance, if you play eight notes one after the other , each note can have a different filter amount, or each note can even be panned left or right by different amounts. The Modulation Matrix is where you can assign certain sources to modulate other targets.
There are only eight modulation slots available, and I would like it if the number of slots could be increased. There are more than 25 targets for modulation available, so it would be great if had at least double the amount of slots. To open the individual effects, you click on the name of the effect, and it will slide into view.
As it is, you have to keep clicking on whichever one you want to see, and then it closes the other one you had open. The Overdrive is a distortion effect, with a Drive and Damping control. The Drive control adjusts the amount of distortion that is added, and Damping tones down the high-end by cutting out the higher frequencies. The Chorus effect has a Shape control, with choices of a sine wave or noise. It also has controls for rate, depth, feedback, spread, delay, and tempo sync.
The MIDI-learn is very easy to use: One way to give the arp a boost is to use the 8-Voice Programmer along with it.
For that download price, it is a definite steal. There is a day trial version of the SEM V that you can download from their website: Arturia has a clear-cut winner on their hands.
Description: Arturia Oberheim SEM V is a software emulation of one of the most famous synthesizers of the Oberheim brand, – SEM. The virtual. This addition to Arturia’s V Collection brings the classic sound of the Oberheim SEM Synthesizer Expander Module to the virtual landscape, offering options for. Arturia would like to thank you for purchasing our synthesizer model: the SEM V. We are confident it will prove to be an extremely valuable addition to your music.
The unique filter that allowed continuously variable operation from low pass to high pass gave it a sound that no other had. When multiple SEM’s were connected into a 4 or 8 voice polyphonic system, it became a thing of beauty. Our voice programmer mode allows you to recreate the sound of the huge and rare 8 Voice.
More than a Resemblance
Learn this powerhouse virtual instrument inside and out, including sound design tutorials for making Bass, Lead and Pad patches from scratch. Learn this beast inside and out as well ways to sound design Bass, Lead and Pad patches from scratch. Learn how this software recreates some of the most famous synth sounds in history, as well as new ones, all while mastering its user interface and features and functions.
WATCH VIDEO: Arturia – Overview
One of Arturia’s latest synth recreations is the Oberhiem SEM V, which was produced in the late 70s. Our reviewer thinks that Arturia has a clear-cut winner on. Arturia SEM V2 License Software Synthesizer A giant has come back to life. Oberheim’s legendary SEM – Synthesizer Expander Module – is back for the first time. Description: Arturia Oberheim SEM V is a software emulation of one of the most famous synthesizers of the Oberheim brand, – SEM. The virtual.