![]() ![]() Underneath these, there are now eight additional items in each SEM. In the filter section, the mode knob of the original has been replaced by the LP/BR/HP knob and BP switch of the 21st‑century SEM reissues, and an LFO Sync switch has replaced the VCA On/Ext switch. ![]() Likewise, a VCO3 Wave/Noise knob has replaced the Ext#1/Ext#2 knob in the mixer. For example, the EXT (external signal) modulation option in each of VCO1, VCO2 and the VCF has been replaced with a VCO3 option, which tells us that there’s a third oscillator per voice lurking somewhere. But the differences that lie between an original SEM and the virtual SEMs in the OB‑E are important. I don’t propose to describe the sound generation capabilities of the SEM here because there’s a wide range of resources elsewhere if you want to pursue this further. Then, three years ago, Tom Oberheim discontinued production of his SEMs, so GForce decided to resurrect their project and develop a truer emulation of the 8‑Voice.Īudio titled GForce OB-E The Virtual SEMs This included a system by which you could apply offsets to a user‑defined selection of parameters, thus imitating some of the flexibility of the originals but, while this introduced a degree of poly‑timbrality, it wasn’t the same as a colony of independent SEMs. So the chaps at GForce transferred their attention to other projects, which left the field clear for Arturia to release SEM V. But this was when fate intervened because, during development, Tom Oberheim re‑released the SEM in hardware form. The following year, the ImpOSCar arrived, followed by the Minimonsta before GForce turned their attention toward the Oberheim SEM and its polyphonic progeny, the FVS 4‑Voice and EVS 8‑Voice. In addition to a sound that was closer to the original ARP than I had expected, things such as the ability to run multiple instances, velocity and aftertouch sensitivity, MIDI automation and, of course, the lack of crackly faders, meant that I was impressed. Can GForce capture the character of the legendary Oberheim 8‑Voice in software?īack in 2003, the GForce Oddity was the first ‘modelled’ soft synth I reviewed. ![]()
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