Originally Posted by carlheinz
Enough about the filter for me...sounds pretty good for a VA.
Question to anyone who understands the slight shifts in sound and or tuning and where the oscillators are beating at points or speeds from one voice to the next with the real thing...
Iv'e looked at the OP-X and that VA seems to address those nuances.No 2 SEMs or even OBX-x's voice cards are 100 percent the same as they are totally discreet and independent which is a big factor in these old synths.Tuning instabilities and or drift is part of the charm with the old poly's
Did Arturia get these variations right or are all of the voices marching exactly the same detune and phase rate from one to the next when used polyphonicly?
I've spent most of this weekend working with the Arturia SEM and if anything my appreciation of what has been achieved has increased. The eight voice programmer enables you to specify exactly how aligned each of the eight voices are when working polyphonically and goes far beyond tuning and phase alignment (virtually any mod source can be set on a per voice basis and the triggering randomised). As a generic Oberheim emulation it spanks the OP-X - which at the end of the day is based on SynthEdit technology so has no ability to match what low level coding can achieve. However unlike the OP-X, Arturia aren't marketing the SEM V as a generic Oberheim clone but as an eight voice version of the SEM. They've been very careful not to over-egg their claims by comparing it to the 'Oberheim Eight Voice' - Oberheim Eight Voice | Vintage Synth Explorer
- which effectively is the same as linking eight SEM's together (something you could do in Logic's environment or by using any other modular plugin technology with the Arturia emulation).
With regards to polyphony, I've lifted this directly from the SEM V manual
"The polyphony of Oberheim SEM-V is, in theory, limited to 32 voices (depends on CPU power). However, in order to reproduce the multi-timbral function like a real Oberheim 4 voice or 8 voice, the SEM-V is equipped with eight sound modules (which are called “boards”).
To set the number of multi-timbral 'boards' (when in poly mode), click on buttons 1 to 8 (visible on the bottom of the window) to turn the corresponding board on or off."
It works fantastically well for polyphonic sounds but Arturia unfortunately missed a trick on mono sounds as it doesn't allow for mono voice stacking (something which has already been raised with the Arturia dev team on the Arturia boards).
The other main elements you need to be aware of when working with the Arturia SEM emulation is the output section. I've always hated Arturia's effects (the delay and chorus modules) and these are still as awful as ever and in effect smear everything that's put through them (however the overdrive module is ace). The other unit that you need to be careful of when using is the soft clipping switch. This can be very useful but you need to be careful not to drive it with too much signal or it turns everything to mush.
Output section aside, I've been mightily impressed with the richness of timbre I've been able to achieve using the Arturia SEM emulation (no sample set could match the subtleties of the eight individual voice boards doing their thing). I very much hope they sort out mono voice stacking and add unison but as a version one product it delivers on it's promise. As ever with software products it has a smattering of annoying bugs but none of them make it unworkable (and these will hopefully be squished some time soon anyway).
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