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Oberheim SEM-V

1. NU_Speed BR a CHORUS DRY WET SOFT CLIP Selecting a preset If you choose All Banks and All Types the preset column shows entire preset sound programs of Oberheim SEM V Modifying the preset VCF Voltage Controlled Filter First select the following preset Templates Brass Simple Brass This is a very simple brass sound Second adjust the FREQUENCY knob in the VCF section to left and right You may hear that tone is becoming softer or brighter because now you are modifying the cut off frequency of the VCF Adjust the Frequency to about 100Hz then turn the MODULATION knob below FREQUENCY to the center position You should hear the tone become even softer The value of the modulation knob that controls the cutoff frequency of the VCF is dependent on the setting of ENV 2 Let s set the modulation knob to the right then turn the SUSTAIN knob to the left of ENV 2 you will notice that the cut off frequency of the VCF will be affected by this value Now listen to what happens when you turn the ATTACK and the DECAY knobs of ENV 2 Now let s toggle the modulation source from the ENV 2 to LFO 1 or LFO 2 by moving the switch below the MODULATION knob The tone will change continuously according to the value of the LFO rate Switch back to the ENV 2 and turn the modulation knob to left end then adjust the frequency knob to the right end Now the ENV modulation for the VCF is inverted You are now modulat
2. parameter a positive offset whereas moving the barline downwards means giving the corresponding parameter a negative offset 4 4 2 4 Changeable destination and activation switch The Voice Programmer destination is changeable Just right click on the columns on the left side a drop down menu will appear showing you the parameters that can be assigned as destinations of the Voice Programmer 4 4 2 5 Allocation modes The bottom left black box determines the mode of voice allocation in essence the direction On FWD forward the board goes from left to right It goes the other way on BWD backward and can also be played back and forth on FWD BWD Forward and backward Finally it can make the boards play randomy with the RANDOM setting 4 4 3 Modulation Matrix E MODULATION MATRIX source AMOUNT DESTINATION SOURCE gage DESTINATION LFO 1 rR WCF Frequency Aftertouch Mod Wheel ve Sustain VCA AM Mod Wheel E a i ais i 7 T Hi Thanks to this feature you can modulate many parameter values by several control sources such as Pitch bend Modulation wheel Velocity Aftertouch LFOs and Envelopes To operate the modulation matrix just click on the Source columns and select the control source Then click on the destination column and select one of the destination parameters The Amount knob in between the two source and destination menus sets how much modulation is sent from the source to the destination The cent
3. SYNC E LFO 1 generates a sinewave for modulation purposes The frequency knob sets how fast the LFO is running If you turn the switch to the on position the frequency will be synchronized with the host sequencer s tempo and you can set the ratio between 1 32 to 16 times the host tempo The following parameters include brand new original modules of Arturia s Oberheim SEM V that the real SEM didn t have 4 3 6 Sub Osc Oberheim SEM V original SUB OSC Ar A M The upper switch determins the wave form of the Sub Oscillator either sine sawtooth or pulse You can chose the pitch to be either of 1 or 2 octaves lower than VCO 1 s pitch The knob on the right side controls the width of pulse wave Sub Osc is not a independent oscillator the pitch is always identical of Osc 1 and is either 1 or 2 ARTURIA Oberheim SEM V User s manual 25 octaves lower For the detail please read the chapter 5 4 3 7 LFO 2 Oberheim SEM V original LFO2 RATE As AA FL e Bn FADE IN SYNC RETRIG l On this LFO you can chose the modulation waveform by using the upper switch either sine sawtooth or square If you turn the SYNC switch to the ON position the frequency will be synchronized with the host sequencer s tempo and you can choose the ratio between 1 32 to x16 the tempo If the RETRIG is set to ON the LFO phase will be reset when a key is played if there are no othe
4. This knob works for VCO2 and the function is the same as the VCO1 knob You can also double click on it to reset it to the center EXT This knob works as source selector between sub oscillator if turned to the left and the noise if moved to the right and also works as a volume control for each audio signal You can double click on it to reset it to the center 4 3 3 ENV 1 f ENV 1 A ATTACK DECAY SUSTAIN liha 1 E A E A A A AO gt A ee A ENV is an abreviation of Envelope It creates a modulation shape that is used to control the VCA amplitude or volume of each SEM V voice This shape is generated every time a note is ARTURIA Oberheim SEM V User s manual 24 played and the three knobs present in the ENV1 section Attack Decay and Sustain help determine the shape of the envelope In the case of the SEM V the ENV1 can also be sent as a modulation source to VCO1 s pitch or pluse width 4 3 4 ENV 2 ENV 2 ATTACK DECAY SUSTAIN l ae g j it j g i e x F Fi anit ee m ENV 2 is not directly sent to a SEM V parameter like ENV 1 sent to the VCA It can be viewed as an external Modulation source and can be sent to the filter frequency in the VCF or else to the frequency or pulse width modulation of VCO2 On Oberheim SEM V the Decay knob controls the release time as well Please have a look next chapter for more details 4 3 5 LFO 1 LFO 1
5. using the right click on your mouse To reset the parameter value double click on the knob the knob will set to the center position immediately works only on some parameters 4 2 2 Switches Oberheim SEM V has two types of switches Simply click on these switches to change their state Some are of the on off style others allow a selection of one out of several options m Mo Switches 4 2 3 Virtual keyboard The virtual keyboard which appears below the main pannel can make the synthesizer play a sound without an external master MIDI keyboard and without programming midi notes in a sequencer Just click and drag on a virtual key to hear the corresponding sound 4 2 4 MIDI control All the knobs and switches of the Oberheim SEM V can be manipulated with external MIDI controllers Click on the MIDI assign button all the way to the right of the tool bar You will see the assignable parameters highlighted in a blue violet color Click on one that you d like to control from an external controller Notice that after clicking the parameter which is ready to be assigned has a black rectangle around it in order for you to see which parameter you are about to assign You can always choose to move that focus by clicking on another parameter Now move the external slider knob or switch Assignment will be done instantly the colour of the parameter will become highlighted in red and a MIDI Control Change number will be displayed To unas
6. DECAY SUSTAIN SYNC 4 o ML OBERHEIM ELECTRON ICS INC First of all turn VCO 2 knob to the left in me VCF section Now both of the oscillators are sounding JO YEO 2 Secondly in the VCO2 section to the left of the VCF section turn the VCO 2 FREQUENCY knob slightly to the right with control click or right click with the mouse in order to get a comfortably detuned sound Next returning to the VCF section set the modulation source to ENV 2 then make the amount of modulation maximum positive towards the right Turn FREQUENCY knob to the left to get the effect of ENV 2 s modulation the frequency here sets the point where the modulation returns to Becasue the modulation is set to positive when a note is played the frequency of the filter will increase depending on the ENV2 settings that we ll look at in the next paragraph brigthening momentarily the sound then return to the frequency set here Turn RESONANCE to the right to get sound to ring a bit more enhance the filter frequency the filter type should be set to LP low pass filter ARTURIA Oberheim SEM V User s manual 39 EMV 2 LAO LFO 2 Go to ENV2 and adjust ATTACK between 20 to 100ms recommended to emulate the fast attack of brass instruments then adjust DECAY to about 100ms Now the basic Brass sound is completed 6 2 CLAVINET LIKE DECAYING SOUND WITH KEYBOARD FOLLOW This is another typical Ober
7. LFO2 ENV2 LFO1 LFO2 af i sync m iz aa me ON PULSE WIDTH PULSE WIDTH vco1 vco2 EXT D ry UN MO 0 J i SAW PUL SA NOI J ENV2 f Vi Y ATTACK DECAY SUSTAIN ATTACK DECAY SUSTAIN ON UNER carranment Nas E om nN ee Arpeggiator ARPEGGIATOR E OFF ON HOLD acon gee mm Using the presets Oberheim SEM comes with a great collection of preset sound programs which were made by some of the top synthesizer sound designers in the world Presets are categorized by Bank Type and Name The preset selectors are shown in three columns from the right side of the floppy disk icon to the center of the tool bar ARTURIA Oberheim SEM V User s manual 14 The Bank has sub folders which are sort by the name of the each of the sound designers The Type has sub folders which is named with the Type of the instruments For example if you chose the subfolder which named N Ubukata in the Bank column then choose Brass in the Type column the list of brass sounds which made by Mr N Ubukata appear on the right end column preset column Ein N Ubukata Brass gt NU_Bite Brass_BR E EA 0 OPEN MIDI Factory Presets SUB OSC PW Ar A M E i re LFO2 par Aru i A iA y MS ek FAT IFO IEA VCO 1 OVERDRIVE OUTPUT FREQUENCY RU Stess Gene Ss DRYAWET LEVEL NU_Brass Halls_BR e lt gt NU_Leap BR Ga on y NU OBBrass BR MODULATION
8. bar The save dialog window will appear on the screen center It allows you to save your setting modifications generally called a voice program as User preset Save as button in the tool bar As previously explained factory preset are not allowed to be modified You may create a new Bank and Type first Creating a new Bank Type and saving your voice program as a User preset is easy You just click on the box on the top left and type in the name of your new bank Then move to the next box the Type box by clicking or using the tab key and type in the Type name you wish to use At the end click ok Now all the necessary processes for saving your voice program have been completed and you have your own Bank and Type as well If you want to cancel this process without saving your voice program just click on the X to the left of the tab in this dialog window User Bank 1 Brass My sound Cancel Ok Save as Preset dialog window ARTURIA Oberheim SEM V User s manual 19 4 1 3 Import Export of a bank of presets It is possible to import new banks of presets conceived for the Oberheim SEM V To import a new bank of presets click on the preset bank import button on the tool bar Eje Preset bank import button on the tool bar When you click on this button a window will appear allowing you to choose the preset bank file for the Oberheim SEM V obsx extension Choose the file tha
9. for any direct indirect consequential or incidental damages arising out of the use of or inability to use this Product including without limitation damages for loss of business profits business interruption loss of business information and the like even if Arturia was previously advised of the possibility of such damages Some states do not allow limitations on the length of an implied warranty or the exclusion or limitation of incidental or consequential damages so the above limitation or exclusions may not apply to the Licensee in this case This warranty gives the Licensee specific legal rights and the Licensee may also have other rights which vary from state to state ARTURIA Oberheim SEM V User s manual 50
10. internal Oberheim SEM V menu with the presets saved like this they are usable no matter which mode is chosen standalone or other sequencer and they can be exported exchanged more easily and will stay compatible with future versions of the Oberheim SEM V Automation under Pro Tools The automation function with Oberheim SEM V functions like with all RTAS HTDM plug ins check the Pro Tools documentation for more details on plug in automations 7 6 CUBASE VST gt Instrument use in VST mode The opening of an Oberheim SEM V VST plug in is the same as opening all other VST plug ins Please consult the instruction manual of your host sequencer for more specific information Under Cubase open the menu VST Instruments and choose Oberheim SEM V in the rack File Edit Project Audio MIDI Scores Media Transport Devices Window 1 Help o Cubase 6 Project Untitledl y u e VST Instruments 1 v No VST Instrument Drum Groove Agent ONE Embracer HALionOne HALion Sonic SE LoopMash Monologue Mystic i Prologue Spector M la aa Using Oberheim SEM V as VST instrument in Cubase gt Rescan the plug in directory in Cubase If the Oberheim SEM V does not appear in the list of VST plug ins you can perform a rescan of the plug in directory Connection to a MIDI track In order for the Oberheim SEM V to play information coming from a MIDI track you have to choose a MIDI track and se
11. menu in which the VST sequencer allows you to save a new preset is of course usable with the Oberheim SEM V However it is highly advised to use the Oberheim SEM V internal menu the presets saved in this way are usable in any other mode standalone or with other sequencers they can be exported and exchanged more easily and they will remain compatible with the future Oberheim SEM V versions ARTURIA Oberheim SEM V User s manual 46 7 7 Locic Aupio Units MAC OS X ONLY Use in Logic Audio Select an Instrument track On the channel of the mixer corresponding to the selected track click on the button I O to obtain the list of plug ins then select Stereo gt AU Instruments gt Arturia Oberheim SEM V 10 O Untitled Mixer Arrange a t W Edit y Options y View v Single Arrange An EQ EQ Y No Plug in EFM1 FM Synth gt ES E Ensemble Synth gt ES M Monophonic Synth gt ES P Polyphonic Synth gt ES1 Synthesizer 1 gt ES2 Synthesizer 2 gt EVB3 Tonewheel Organ gt EVD6 Electric Claw gt EVOC 20 PS Vocoder Synth gt EVP88 Electric Piano gt ExS24 Sampler gt gt gt gt gt gt gt gt gt e gt gt External Instrument Klopfgeist Sculpture Modeling Synth Test Oscillator Ultrabeat Drum Synth GarageBand Instruments AU Generators AU Generators 32 bit AU Ins
12. no extra CPU cost all 13 AN HLL 60 dB at 6 034 Hz Linear frequency spectrum of the Oberheim oscillator made with TAE ARTURIA Oberheim SEM V User s manual 9 Better reproduction of analog waveforms Original analog oscillators used capacitor s charge and discharge cycles to produce common wave shapes saw tooth triangle square This means that waveforms were slightly curved TAE allows the reproduction of the capacitors discharge j an o a o n a o a o an o a o am Temporal representation of a waveform on a Oberheim SEM Temporal representation of the Oberheim SEM V waveform thanks to TAE In addition original analog oscillators were unstable Actually their wave shapes were always slightly different from one period to another Also due to analog hardware sensitivities new period trigger times varied with the temperature and other environmental conditions TAE simulates the instability of oscillators helping to create warmer sounds often given the affectionate term of fat ARTURIA Oberheim SEM V User s manual 10 Better reproduction of analog filters TAE allows the emulation of analog designed filters in a much more precise way than any existing digital filter In particular TAE has managed to reproduce the legendary Oberheim 12dB low pass resonant filter with great respect towards the original resonant filter from a typi
13. 3 movable ones in between You can easily add or remove the number of break points Just click anywhere on the screen to add a new point Right click on the circle to remove the breakpoint To move a breakpoint s position simply click and hold on the circle and move it by dragging The number of the breakpoints is limited to 32 ARTURIA Oberheim SEM V User s manual 28 4 4 1 3 Linear and exponential slope The slope between each breakpoint can be between linear or exponential You can change the curve between two points by dragging the up and down arrows that are in the middle of each line segment between two breakpoints 4 4 1 4 Changeable destination and activation switch The keyboard follow destinations are changeable Just right click on the columns on the left side a drop down menu will appear showing you the parameters that can be assigned as destinations of the keyboard follow You will also have the option of clearing the current curve for the selected parameter 4 4 2 Voice Programmer 0 8 VOICE PROGRAMMER VCFfreq O VOO1 2 coarse Envi decay VCA pan lt gt The 8 Voice Programmer module of the Oberheim SEM V allows you to change the value of up to 6 parameters according to the current state defined by the board see 2 2 The word board references the Circuit Boards used in the original Oberheim polyphonic synthesizers to give it 2 4 or 8 separate multi timbral voices With this module you can thin
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15. A Oberheim SEM V User s manual 23 4 3 2 VCF VCF FREQUENCY RESONANCE MODULATION NOTCH I I Env2 Le LPOZ YEO 1 VCO 2 A 04 Y j l A A A A M M M j i E This section determines the tone character of your sound FREQUENCY This parameter indicates the frequency to be filtered which is dependant on the filter type RESONANCE It normaly enhance the frequency determined by the FREQUENCY knob except when the filter type is set to notch For more details about filter type please have a look at the next chapter MODULATION The depth of filter frequency modulation clockwise means positive value and counter clockwise means negative value A double click will reset the value to zero The filter type selector is the knob to the right of the MODULATION knob You can choose the type of filter you d like to use among the 4 kinds of filter types available low pass notch high pass or band pass Modulation Source selector This switch determines the modulation source affecting the filter frequency ENV2 LFO1 or LFO2 On the very bottom of the VCF section are three additional mix knobs VCO 1 This knob works as waveform selector between sawtooth if turned towards the left and pulse if turned towards the right and also works as volume for each waveform since the center point is no volume for either waveform You can double click on it to reset it to the center VCO 2
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17. ARP on the west coast of the U S and sold ARP synthesizers to many musicians including Leon Russel Robert Lamm and Frank Zappa While working for ARP he noticed that ARP2500 had the possibility of playing two notes at the same time known as duophonic he found this much more interesting and powerful than regular monophonic synthesizers and so he decided to modify the ARP2600 empowering it with the same duophonic potential as the ARP2500 in 1973 In addition to being an electronics wizard Tom Oberheim was also an educated computer engineer and subsequently designed the DS 2 digital sequencer to control ARP or Bob Moog s synthesizers This pioneering device was a huge step forward because the DS 2 was one of the very first digital sequencers and was the first step towards making his Synthesizer Expander Module or SEM The Oberheim DS 2A digital sequencer In May 1974 he showed the SEM that he designed with the help of Dave Rossum of E mu Systems at the Audio Engineering Society Convention in L A The SEM was the first synthesizer with the name Oberheim Electronics on the market ARTURIA Oberheim SEM V User s manual 6 The Oberheim SEM Tom expanded its concept again with the help of Dave Rossum and Scott Wedge Co founder of E mu Systems by creating polyphonic synthesizers that were in effect combinations of the SEM with a digital keyboard in one carry case They were known as the Oberheim 2 voice TVS 1
18. E Delay time FEEDBACK Delay feedback level PING PONG When this button is highlighted the delayed signal will be repeated with stereo panning DAMPING Tone control of the delay signal Moving this knob to the right will reduce high frequencies TEMPO SYNC When this button is highlighted the delay times are proportional to the host sequencer s tempo ARTURIA Oberheim SEM V User s manual 31 5 THE BASICS OF SUBTRACTIVE SYNTHESIS Of all forms of sound synthesis subtractive synthesis is one of the oldest and still certainly one of the most employed today It is this method that was developed on analog synthesizers like the ones from Bob Moog ARP Yamaha Buchla Oberheim Sequential Circuits Prophet series Roland Korg and many others towards the end of the 70 s This concept of subtractive synthesis is still used on most current digital synthesizers complementing sample reading or wave tables which progressively replaced the analog oscillators of the first synthesizers in the 80 s Oberheim SEM or even your own Oberheim SEM V is among the best illustrations of the enormous possibilities of subtractive synthesis The three main elements 5 1 OSCILLATOR OR VCO Oscillator Voltage Controlled Oscillator is the starting module with the noise generator which is often classed among the oscillators for the creation of a sound on an analog system It will generate the initial sound signal We can think of the osci
19. ITY The Oberheim SEM V is optimized for both 32 bit and 64 bit modes If you have a 64 bit OS and a 64 bit DAW you should use 64 bit version of the plug in Windows Usually on 32 bit Windows all 32 bit programs are installed in C Program Files however on 64 bit Windows you can find the 64 bit programs in C Program Files and the 32 bit programs in C Program Files x86 Mac users don t have to bother with this because the same plugin file contains both the 32 bit and the 64 bit versions and the host automatically chooses the better one 7 4 USING A VST AND AUDIO UNIT INSTRUMENT IN ABLETON LIVE Ml o From the plug ins tab simply double click on the SEM V VST icon or drag and drop the plug in into a MIDI track Using Audio Unit and VST Instruments in Live If necessary you can perform a rescan of the plug in directory in the Preferences File Folder tab press the Scan button or press Scan while holding Alt for a full rescan ARTURIA Oberheim SEM V User s manual 43 7 5 RTAS Pro TOOLS Utilization of the plug in Opening of the plug in Access to the Oberheim SEM V plug in is like all other plug ins in ProTools via an audio track insert INSERTS A E Y noinsert multichannel plug in EQ multi mono plug in gt Dynamics Pitch Shift iJo gt Reverb tate Delay Modulation Harmonic Noise Reduction Dither Sound Field Instrument Ableton Live stereo Other g
20. To save a user preset please click on the icon of the floppy disk that shows two disks stacked this is the SAVE AS function A dialog window will open Click on the rows to input the bank type and preset name Clicking Ok will save your new preset User Bank 1 gt Brass I Cancel Your new User preset can now be edited Using SAVE or SAVE AS you can overwrite the existing preset or create new presets ARTURIA Oberheim SEM V User s manual 16 4 USING THE OBERHEIM SEM V 4 1 Use OF PRESETS Presets let you memorize the sounds of the Oberheim SEM V that you create A preset contains all of the information pertaining to the reproduction of a sound In this software the presets are classed in Banks and Types in order for you to quickly and easily access the exact sound you re looking for Each Bank contains a certain number of Types which generally determine a kind of sound Types Bass Types Sound effects Types Pads etc Each Type contains within itself a certain number of presets Oberheim SEM V is shipped with several Factory banks made by our international team of sound designers But it is possible to create new user banks of sounds each containing a number of Types and Presets For security the Factory banks cannot be directly modified It is nonetheless possible to create or tweak a sound based on a factory preset and then save it as a User preset 4 1 1 Choice of a Ban
21. USER S MANUAL 2 edition November 2014 Oberheim SEM V ARTURIA YOUR EXPERIENCE YOUR SOUND Project management Kevin Molcard Product management Fr d ric Brun Programming Adrien Courdavault Kevin Molcard Design Shaun Ellwood decoderdesign com Sound design Noritaka Ubukata Glen Darcey Drew Neumann Carl Lofgren Tasmodia Greg Savage Lotuzia Musicrow DejaVu Sound Manual Noritaka Ubukata Pierce Warnecke Antoine Back Romain Dejoie Niccolo Comin Morgan Perrier Kevin Lamb Pierce Warnecke Jim Cowgill Jason Hearn Richard Courtel Ed Ten Eyck Roger Lyons Drew Anderson Reek Havok Tomoya Fukuchi Sylvain Missemer Niccolo Comin Special thanks to Tom Oberheim for creating such an amazing synthesizer and to Gibson Corporation Kosh Dukai Akis Ziak Charles Capsis IV Paul Steinway Silvere Letellier Houston Haynes Frank Orlich Steve Lindsey Sean Weitzmann Laurent Guerin Laurent Coueron Alex Theakston Christian Laffitte ARTURIA S A 1999 2014 All rights reserved 30 Chemin du Vieux Ch ne 38240 Meylan FRANCE http www arturia com Table of Contents EINTOdUC ION ir dao 2 ACTIVATION amp FIRST STAR Linn iaa aaa 21 REgISter QACUVALE cari AAA 13 3 QUICK Stata ao 4 USING The Oberheim SEM Visio ad 7 Ad USO PESOS A oa 17 Aia Choice ora Bank IDO Presea AS 17 AL SVN a US Cl prese Tiya AAA AA A A 19 41 5 IMport EXport of a Dank of Presencia A AAA A
22. and Oberheim 4 voice FVS 1 synthesizers and were released in 1975 He realized that operating these polyphonic synthesizers in real time was not practical from a musicians standpoint so he began to think of an alternate solution something that would render the instruments more straight forward and easy to use The answer he came up with was the Polyphonic Synthesizer Programmer which could store the synthesizer s sound settings This was the first voice programable synthesizer and a huge step in the world of sound synthesis ARTURIA Oberheim SEM V User s manual 7 The Oberheim 4 Voice The Oberheim 4 Voice synthesizer had a notable feature it was the one of the first electronic instruments to boast multi timbrality The 4 Voice was organized with the group of independent monophonic synthesizers SEMs which were controlled by master controller section that handled the main global controls it couldn t however set the all parameter values i e OSC waveform filter resonance filter type This specification while already a major innovation in the world of synthesizers made it Slightly unpractical to edit the machine in real time On the other hand if the player wanted to have different sounds for every single note in the chord it was possible making it a truly powerful and unique electronic instrument Therefore when player played a lead different sounds would be produced in a cyclical manner a very different approach to s
23. ays an arpeggio according to the notes which you play When the switch is in the HOLD position the Arpeggiator continues to play the note or chord which you played after keys are off and until next note or chord is played The lower left switch determines the type of arpeggio when more than 1 octave is played upward downward upward and downward or random notes The rate knob controlls the speed of arpeggio If the upper right switch is on Sync the speed is synchronized with the host sequencer and the knob works as tempo ratio that is set according to the host sequencer s tempo The lower right switch selects the octave range of the arpeggio 1 to 4 octaves 4 3 11 Tune And Portamento a TUNE E PORTAMENTO rie A a Pi a ar TE E E A Damms TUNE controls the master tuning of Oberheim SEM V within A 420Hz to 460Hz The PORTAMENTO section has 2 parameters The ON OFF switch and the knob that adjusts portamento time in between 0 millisecond to 2000 milliseconds Portamento creates a glide in pitch between two notes that are played one ofter the other ARTURIA Oberheim SEM V User s manual 27 4 4 THE TOP PANEL MODULATION MODULES M KEYBOARD FOLLOW MW 8 VOICE PROGRAMMER W MODULATION MATRIX The top panel which can be opened by clicking on the OPEN button on the right side of the toolbar gives access to 3 special functions especially made for the Oberheim SEM V These advanced modulation functions ar
24. bank click on the left most box A dropdown menu appears with a list of banks available Each bank contains a certain amount of Types and Presets contained in each of the Type sub banks You can thus freely choose a preset by clicking on its name gt N Ubukata Strings NU_CleanComp_ST All Banks Factory Banks D Anderson D Neumann Ed Ten Eyck G Savage Gingold Glen Darcey J Cowgill JaseFOsS Kevin Lamb Kevin Schr der Lotuzia N Ubukata P Warnecke Plughugger Reek Havok Richard Courtel Roger Lyons Tasmodia Templates Choice of a preset in another main bank In each dropdown menu the All option at the top allows you to open a sub list with all of the types available in all of the banks This gives you access directly to all of the presets of a given type for example all of the basses no matter which bank they are in This function is particularly useful to quickly see all of the presets of the same type ARTURIA Oberheim SEM V User s manual 18 All Banks gt All Types DN_BandFuzz_ARP All Types Bass Lead Percussive Arpeggio Sequence Fx Woodwind Keyboard Organ Brass Strings Synth Template Delete Type All Types Choice of preset regardless of bank When a preset has been modified an asterisk appears next to its name in the tool bar 4 1 2 Saving a user preset To save your setting modifications in the current preset click on the Save as button in the tool
25. cal Standard 12dB digital low pass software synthesizer Very selective 12dB resonance filter of the Oberheim SEM TAE made resonance filter first te selective i 12dB resonant filter to be that Comparative response filters ARTURIA Oberheim SEM V User s manual 11 Implementation of soft clipping In analog synthesizers particularly Oberheim s the resonant filter at the VCA uses a current limiting function preventing the signal from being too loud soft clipping TAE reproduces this current limiting function making the sound more natural It also allows filters to enter self oscillation like original hardware synthesizers do Current limiting emulation Input Low pass resonant filter Output Soft clipping transfer function ARTURIA Oberheim SEM V User s manual 12 2 ACTIVATION amp FIRST START Oberheim SEM V works on computers equipped with Windows 7 or 8 and Mac OS X 10 7 or later You can use the stand alone version or use Oberheim SEM V as an Audio Units AAX VST2 or VST3 instrument 8 vr Audio Units 2 1 REGISTER amp ACTIVATE Once the Oberheim SEM V has been installed the next step is to register the software The registration process will require you to enter the serial number and the unlock code you received with the product In order to proceed go to this web page and follow the instructions http www arturia com register Note If you don t have a
26. connected For example If the sine waveform of an LFO modulates the volume of an amplifier the sound will increase in volume then disappear in a varying manner following the speed the frequency of this LFO This will produce a tremolo effect A sine waveform on an LFO modulating the frequency of an oscillator would produce a vibrato effect With an LFO sine wave modulating the cut off frequency of a slightly resonant low pass filter you will obtain a wah wah effect Oberhime SEM doesn t have LFO modulation for the VCA so the Oberheim Sem V doesn t either RETRIG LFO 2 RATE 2 pe A PU E a 1 SYNC MN os FADE IN i i i The LFO modules of the Oberheim SEM V ARTURIA Oberheim SEM V User s manual 38 6 ELEMENTS OF SOUND DESIGN Here are some examples that will guide you to make your own original sounds with Oberheim SEM V 6 1 SIMPLE SYNTH BRASS One of the typical Oberheim sounds is simple but powerful synth brass sound Let s try to make it from scratch Templates Init Voice 1 ____ SYNTHESIZEREXPANDERMODULE _ _____6 yea Al E WOOP i VCF YA FREQUENCY FREQUENCY FREQUENCY RESONANCE SYNC K FREQ Py ENWI LEO o2 ENVZ LEO LFO Mor ODUL WOM MODULATION i i py ENWI LAO LFO 2 PULSE WIDTH PULSE WIDTH vco 1 VCO 2 e VE ko 0 ENV 1 3 i ATTACK
27. djusts the volume before it is sent to the speakers ARTURIA Oberheim SEM V User s manual 36 In conclusion here is a diagram that should help you to understand the composition of a basic sound OSCILLATOR FILTER AMPLIFIER HI LOUD SPEAKERS audio signal Basic audio path in analog synthesis 5 2 OTHER MODULES 5 2 1 The keyboard If we stop here the sound that you will obtain will be uniform without life and without an end The oscillator delivers a sound signal the audio output of a waveform of a fixed pitch in a continuous manner In the diagram above the only way to stop this quickly unpleasant sound is to lower the filter cut off frequency so that it becomes more and more damp until it finally disappears or simpler yet lower the volume of the amplifier gt To start and stop the sound at the pitch that we require we use a keyboard that is connected both to the VCA through a gate and to the frequency of the oscillators This will play the sound as soon as a key is pressed and mute it when released Of course this connection is made through MIDI it replaces the gate type of connections on analog synthesizers which trigger the note when a key is pressed and stop it when released The key position provides a control voltage that tells the oscillator what pitch level to play when the gate opens If you don t have a MIDI keyboard you can also play on the virtual keyboard of the Oberhe
28. e not available on the original analog SEM and highly enhance the sound making capacities of the SEM V the Keyboard Follow the 8 Voice programmer and the Modulation Matrix Keyboard follow is a fairly common parameter for many kinds of synthesizers however this keyboard follow has a several new features which are sure to make it stand out from the rest 4 4 1 Keyboard Follow M KEYBOARD FOLLOW VCF freg M WEF reso 1 VCF mode W WCO2 coarse 5 LFO1 freq The Keyboard Follow module of the Oberheim SEM V allows you to modify the value of up to 6 parameters according to the note that is played on the keyboard It does this by letting you draw the curve of reactivity so to speak between the pitch of the note and the parameter modulated 4 4 1 1 Activate Deactivate Keyboard follow You can activate or deactivate keyboard follow function globally for all 6 parameters and individually for each parameter To activate or deactivate the entire keyboard follow function click on the top left button next to the words KEYBOARD FOLLOW it will toggle the function on and off To activate or deactivate individual keyboard follow parameters click on the corresponding button to the right of each individual parameter name in the parameters column on the left 4 4 1 2 Multi break points Each keyboard follow parameter has 5 default break points 2 fixed position points for low and high end and
29. ency The removal of undesirable frequencies at the cut off frequency is not done suddenly but progressively depending on the filtering slope This filtering slope is expressed in decibels per octave or dB Oct The filters used in classic analog synthesizers have 24 dB Oct or 12 dB Oct Slopes Oberheim SEM V offers one type of slope 12 dB Oct slope amplitude amplitude CF amplitude frequency frequency frequency rough signal low pass filter filtred signal CF Cutoff Frequency Spectral representation of 12DB LP filtered signal rough With the Oberheim SEM V you have access to three types of filtering The Low pass filter LPF progressively eliminates high frequencies above the assigned frequency limit cut off frequency and allows the frequency of the sound below the cut off to pass through We will hear the sound becoming more bright as we augment the cut off frequency or more muffled as we lower the cut off This is the type of filtering that you will find most often on synthesizers that use subtractive synthesis It can be found on most of the recent analog and digital synthesizers ARTURIA Oberheim SEM V User s manual 55 VY Y Fi ft pun j Hz 2000 40 00 80 00 180 0 320 0 6400 1280 2560 5120 10240 Spectrum of a noise signal proceed with a low pass filter The Notch Filter eliminates frequencies around the cut off frequency and allows all other frequencies to pass through The High pass filter
30. er position is the zero value meaning no modulation is sent Turning this knob to the left means giving the destination parameter a negative amount of modulation turning it to the right means a positive amount You can also make a layered assignment meaning you can select multiple sources in the left column to be the same modulation source then assign them to different destinations For example with the modulation wheel you can control the LFO depth and VCF cut off at the same time Conversely you can control same destination with different sources for example control LFO depth by both the Modulation wheel and by Aftertouch 4 5 EFFECTS Oberheim SEM V has 3 kinds of effects which are distortion overdrive chorus and delay ARTURIA Oberheim SEM V User s manual 30 4 5 1 Overdrive DRIVE Adjusts the degree of distortion DAMPING Reduces the high frequency content of the output 4 5 2 Chorus SHAPE Selects the chorus modulation waveform You can chose either sine wave or noise RATE Modulation speed DEPTH Modulation depth amount FEEDBACK Value of the modulation feedback SPREAD Stereo width of the chorus effect DELAY Delay time of modulated signal wet signal TEMPO SYNC When this button is highlighted the modulation rate varies in proportion to the host sequencer s tempo 4 5 3 Delay LINK When this button is highlighted left and right channel s delay times will be identical TIM
31. h it contains only odd harmonics It is often used for woodwind sounds like clarinet or oboe depending on the percentage of Pulse Width and decaying sounds such as piano or guitar Amplitude Hannenic number 10 20 30 40 Frequency Armplitude Hanresic number 10 EY 30 40 Fraquency Time and spectral representations of the pulse top and square bottom waveforms ARTURIA Oberheim SEM V User s manual 33 5 1 3 Pulse width Modulation PWM Pulse Width Modulation is a setting that allows you to modify the percentage of the asymmetric diversity of pulse wave by using an LFO or the Envelope generator This pulse width variation translates to a spectrum modification resembling a waveform change 5 1 4 Synchronization The synchronization of an oscillator with another creates more complex waveforms If for example you synchronize oscillator2 with oscillator1 oscillator2 will restart a new period every time the first oscillator completes a period even if oscillator2 has not completed a full period this signifies that it is not tuned to the same tonality The more you tune oscillator2 upwards the more you will encounter composite waveforms gt F One Period Oscillator 1 Oscillator 2 synchronized In the above image oscillator2 is synchronized with the first oscillator and tuned to double the tonality The resulting waveform is unique in that it cannot be created by standard synthesis techniques such a
32. heim sound Stay on the Brass sound that you have just made in the previous section In the VCF zone adjust the VCO 1 knob to fully right and VCO 2 to center This means using VCO 1 only with pulse wave VCO 2 s volume is set to zero Leave FREQUENCY and MODULATION as they are then adjust RESONANCE value to what ever you want between 0 and 50 is recommended i VCF FREQUENCY RESONANCE MODULATION LAG LAG VEO 2 Go to ENV 2 and set the SUSTAIN knob to left most setting 60 00 dB and adjust decay time to somewhere around 2000 ms this gives our filter envelope no sustain but a very long decay and release time ARTURIA Oberheim SEM V User s manual 40 The next steps involve adjusting VCO 1 and ENV 1 In the VCO 1 section turn the PULSE WIDTH knob to left most setting in order to set the PW value to 10 00 then go to ENV 1 and adjust the decay time to about 100ms and the sustain level to about 7 to 8dB This should give you a clavinet like sound with a long decay FREQUENCY MODULATION 5 ENVI LAG LPO 1 PULSE WIDTH ARTURIA Oberheim SEM V User s manual 41 7 MODES OF OPERATION 7 1 STANDALONE The Oberheim SEM V application can be used as an instrument independently from a sequencer software Standalone mode This allows you launch the application as a single instrument and to play with an ex
33. im SEM V to hear sounds while editing voices on your computer 5 2 2 The envelope generator The envelope generator connected to the amplifier is used to sculpt the volume of the sound when we press a key on the keyboard It ends volume returns to zero after the note is released The most common modules developed use 4 settings that we can vary Attack is the time that the sound will take to reach its maximum volume once we have pressed a key on the keyboard Decay fall is the time that the sound will take to diminish after the attack portion is complete Sustain hold is the maximum volume level that the sound will reach after the decay is complete It stays at this level as long as the key is held Release is the time that the sound will take to fade to silence once the key has been released The two envelopes of the Oberheim SEM V contain only 3 parameters Attack Decay and Sustain The release time is thus identical to the decay time of the envelope ARTURIA Oberheim SEM V User s manual 37 f ENV 1 ATTACK DECAY SUSTAIN t i z A A A A O O A AS AO A A 5 2 3 Low frequency oscillator The LFO Low Frequency Oscillator possesses more or less the same characteristics of the classic oscillator but it only produces frequencies lower than 20 Hz In other words you won t hear the sound from this oscillator It will create a cyclic modulation of the parameter to which it is
34. ing the VCF cutoff negatively Try changing the attack the decay and the sustain ARTURIA Oberheim SEM V User s manual 15 controls of ENV 2 and listen to the results Oscillator mixer The oscillator mixer is in lower part of the VCF section You can choose either the sawtooth or pulse wave for each of the VCOs If you adjust the VCO 1 knob to the top center position you will not hear any sound because the volume of the oscillator is at zero Let s turn the VCO 1 knob to the right the volume of the pulse wave will be progressively increased Now let s turn the VCO2 knob fully left you can hear the mixed sound with the sawtooth and pulse wave Oscillator tuning In the oscillator section one of the most commonly used is the tuning function When you click on the FREQUENCY knob and drag the mouse this knob will adjust the oscillator pitch in semitones When you right click or Control Click and drag the mouse this knob will adjust the fine tuning of the oscillator Templates To help you understand better the basic operation of the synthesizer we have provided some simple sound programs When you click the center TYPE column subfolders are displayed by type of instrument Let s select any of the sound programs that you want to try Try turning a variety of knobs and switches on the main panel and listen to how the tone changes Saving the preset The preset now you have modified could be saved as a new user preset
35. k Type Preset The information for the Bank Type and Preset currently in use by the Oberheim SEM V is permanently displayed in the synthesizer tool bar N Ubukata Strings NU_CleanComp_ST Display of current Bank Type and Preset To choose a preset in the current Type click on the box the furthest to the right of the three A dropdown menu appears with a list of the presets of the same Type You can choose another preset by clicking on its name in the dropdown menu As soon as the preset has been chosen you can play the new sound on your MIDI keyboard or from your sequencer N Ubukata Strings NU_CleanComp_ST Factory Presets Y NU _CleanComp_ST NY Clean ST NU_MarcatoRandomPan_sT NU Octavelverbrive 5 NU StringMachine_ST NU Tronis _SP NU Apressive ST Choose a preset in the same Type To choose a preset in the same bank but a different type click on the middle box A dropdown menu appears with a list of the Types of sounds available in the current bank choose one Each Type listed in the menu gives acces to a list of presets in the right box that ressemble the Type specified Click on the name of a preset in the right box in order to select a preset of a new Type ARTURIA Oberheim SEM V User s manual 17 N Ubukata strings NU_CleanComp_ST All Types Bass Strings Keyboard Lead Fx Pad Delete Type Strings Choice of a preset in another Type To choose a preset in another main
36. k of the Oberheim SEM V as an Oberheim 8 Voice synthesizer where each voice can play a different sound opening up an entire world of multi timbrality 4 4 2 1 Activate Deactivate Voice Programmer You can activate or deactivate Voice Programmer function globally and individually To activate or deactivate entire function of the voice programmer click on the top left button next to Voice Programmer it will toggle the function on and off To activate or deactivate individual Voice Programmer settings click on the buttons to the right of the parameter names 4 4 2 2 Polyphony 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 4 4 2 3 The Barlines The barlines of the window allow one to offset the desired parameter value from its original value defined on the main panel using the normal GUI interface knobs For each barline the center position represents the same parameter value as the value defined on the main panel there is no modulation of the parameter Moving the barline upwards means giving the ARTURIA Oberheim SEM V User s manual 29
37. ld them a ring modulator so he set to work researching how to create it Thanks to an article by Harald Bode Oberheim was able to hand build a model suitable for musical applications This was the very first piece of his legendary music equipment and the beginning of a long carrer in the crafting of unique and fabulous sounding electronic instruments The ring modulator was an instant success and became widely used in music production most notably in the soundtrack of the film Beneath the Planet of the Apes Eventurely his ring modulator was released to the market as Maestro Ring Modulator RM 1A garnering widespread positive feedback and used by many musicians like Herbie Hancock Jan Hammer John Lord and more The Maestro RM 1A Ring Modulator A few years later Oberheim became very interested with the sound of instruments played through a Leslie rotary speaker This fascination inspired him to plan and construct a phase shifting effect which was intended to imitate the Leslie speaker sound it was released as Maestro PS 1 It too was a true success and sold nearly 25 000 units ARTURIA Oberheim SEM V User s manual 5 The Maestro PS 1A Phase Shifter In 1969 he founded Oberheim Electronics At the NAMM show In 1971 Tom Oberheim approached Alan Robert Pearlman of ARP Instruments Inc and asked him to become an ARP dealer in Los Angeles After a positive conversation Oberheim Electronics became the first dealer of
38. lect Oberheim SEM V as the MIDI output of this track See the picture below for more details on how this is accomplished Cubase asks you directly if you wish to create a MIDI track for the newly inserted VST The events played on a MIDI keyboard are recorded by your host sequencer and now you can use ARTURIA Oberheim SEM V User s manual 45 the MIDI editing possibilities of the sequencer to control any parameter with the Oberheim SEM V a E 6 File Edit Project Audio MIDI Scores Media Transport Devices Window 1 Help lt Cubase 6 Project Untitled1 ET rr ren tnnt per F Ee VST Instruments ME oberheimsemv misfr w Bi i E Oberheim SEN RJ fvolume EDETI Oberheim SE tit Master Volume 22 m S Oberheim SEM v r u All MIDI Inputs 1 OberheimSEMV Midiln Not Connected 1 Oberheim SEM V Midi In Fast Track Pro MIDI Out Microsoft GS Wavetable Synth ReMOTE SL MIDIOUT2 ReMOTE SL MIDIOUT3 ReMOTE SL 3 Fast Track Pro MIDI Out Saving of presets When the session project is saved the Oberheim SEM V is saved in its last mode of operation with all modifications intact For instance if you were working on a P1 preset in which you had modified parameters without saving them as a separate preset within the plug in itself the next time you open the project the Oberheim SEM V will load the P1 preset plus the modifications you made previously The drop down
39. llator like a violin string that once stroked or plucked vibrates to create its sound VCO 1 VCO 2 FREQUENCY FREQUENCY ENVI LAO LFO2 ENV2 LACH FOR j to PULSEWIDTH PULSEWIDTH ie i a ee Y 10 30 E The oscillators The main oscillator settings are The pitch determined by the oscillation frequency You can set the frequency of the oscillator with controller knob On the Oberheim SEM V pitch changes are made by semitone steps Corse when you move the knob If moving with the control key pressed the knob works as a fine tuning knob changes the frequency in Cents The waveforms which determine the harmonic richness of the audio signal On the Oberheim SEM V the waveforms shown below are available e Sawtooth e Pulse e Sub Oscillator 1 or 2 octaves lower than OSC1 selectable as a saw or square ARTURIA Oberheim SEM V User s manual 32 e Noise e VECO 2 TAW PUL 2 4 PUL T NOI Oberheim SEM V waveform selector 5 1 1 Sawtooth The sawtooth wave presents a rich audio signal it contains all of the harmonics at decreasing volume levels in high frequencies Its sound is ideal for brass string percussive bass or rich accompaniment sounds Amplitude Tite Hanrmocic number Frequency Time and spectral representations of the sawtooth waveform 5 1 2 Pulse Pulse wave possesses a more hollow sound that the sawtoot
40. n Arturia account yet you will need to create one The process is quick but it does require that you can access your e mail address during the registration process Once you have acquired an Arturia account you will be able to register the product ARTURIA Oberheim SEM V User s manual 13 3 QUICK START This chapter will help you know the main aspects of how the Oberheim SEM V works You will be presented with an overview of the different parts of the synthesizer while using the program for the first time You will also find a detailed description of all visible settings and controllers in the following chapters Chapter 6 A few elements of sound design is specially recommended for those who are not familiar with subtractive synthesis and who wish to learn the basics in this technique Tool Bar Keyboa rd Mi N Ubukata gt All Types NU_OBBrass_BR Follow Effect KEYBOARD FOLLOW OVERDRIVE Wi nd OW 8 VOICE PROGRAMMER CHORUS Voice n ae Z VCF reso m Programmer F vor mode gt VCO1 2 coarse Envi decay VCA pan 10 JEPTI B B B O Bs oo A o Euro Sim MODULATION MATRIX W DELAY Modulation Matrix ee SYNTHESIZER EXPANDER MODULE ee SUB OSC vee VCO 2 VCF OVERDRIVE Dons la FREQUENCY FREQUENCY FREQUENCY spay a DRYAWET Man ne EE on Ma i gt lt MODULATION ar MODULATION MODULATION NOTCH l LFO2 pate y ll Fi CHORUS Main Pa nel am FREQ pw FREQ E i DRYMWET o ENVI LFO1 LFO2 ENV2 LFOI
41. progressively eliminates high frequencies below the cut off frequency and allows the frequencies above the cut off to pass through We will hear the sound becoming more thin as the cut off frequency is augmented or more thick as the cut off is reduced Band pass filter eliminates the frequencies above and below the cut off and allows the band around the cut off frequency to pass through 5 1 7 2 Resonance A second setting to compliment the cut off frequency is the resonance You will also find it called Emphasis or Q for Quality of filtering on certain synths Resonance amplifies the band around the cut off frequency Depending on the type of filter resonance reduces the frequencies above or below the cut off frequency more or less drastically However resonance exceptionally works as the band width when used on the notch filter When you increase the resonance a lot the filter range becomes narrower and the cut off frequency is strongly amplified the sound begins to ring Amplitude z iS utoff Frequency resonance With a very high resonance level the filter will begin to self oscillate creating sound which is close to a sine wave At this stage using a key follow on the filter frequency is very important Since it will allow you to play a melody with correct tuning 5 1 8 Amplifier or VCA The Amplifier Voltage Controlled Amplifier receives the audio signal coming from the filter and a
42. puter on which the Product is installed Owning a license of the Products entitles the Licensee to get access to the future updates of this Product 2 3 Any Products provided to you as NFR Not For Resale version grants the Licensee a non exclusive right to use the Product for a limited period of time The Product shall only be used for demonstration testing and evaluation purposes NFR Products must not be used for commercial purposes and must not be resold or transferred The Licensee can activate the Product on up to five computers as long as only one installation is used at any given time The Licensee must register the Product to Arturia to get access to client Support and to activate his Product An internet connection is required to register and ARTURIA Oberheim SEM V User s manual 48 activate the Product either on the computer on which the Product is installed either on another device able to exchange files with the computer on which the Product is installed NFR Products are exempt from update upgrade or crossgrade offers and cannot be purchased with or exchanged for vouchers or coupons Furthermore as an owner of a NFR Product you are not entitled to any vouchers that ship with the standard version of the Product 2 4 Any Products labelled or otherwise provided to you as an Educational version grants the Licensee a non exclusive right to use the Product in perpetuity The Product Shall only be used by students or
43. r keys pressed Otherwise the LFO will be free running The FADE IN knob allows the LFO amplitude to rise continuously from the moment a key is pressed with a duration which is set by this knob The LFO 2 is a monophonic LFO when playing the Oberheim SEM V in a polyphonic way it will modulate all voices identically On the other hand LFO1 is part of the SEM module so it is replicated in each voice 4 3 8 Effects Oberheim SEM V original OVERDRIVE CHORUS eae DRYAWET R en r re i Oberheim SEM V has 3 kinds of effects Distortion Chorus and Delay You can turn them on or off by using the switches on the right side and control the dry wet balance by adjusting the knobs to the left For the details of the function of these effects please read the chapter 6 ARTURIA Oberheim SEM V User s manual 26 4 3 9 Output OUTPUT O LEWEL SOFT CLIP u E A A The Level or Master Volume knob adjusts the final output level of the audio signal It can range from 80dB to 24dB so be careful because it may cause audio clipping if set too high The Soft clip feature allows to introduce a very subtle distortion to the signal which brings some additional warmth like on analog output stages At high volume levels this may cause unwanted distortion 4 3 10 Arpeggiator Oberheim SEM V original ARPEGGIATOR I OFF ON HOLD When the upper left switch is on the SEM automatically pl
44. rument sample library sample based Product or other musical instrument is strictly prohibited Individual samples sound sets or audio loops may not be distributed commercially or otherwise standalone Furthermore these samples sound ARTURIA Oberheim SEM V User s manual 49 sets or audio may not be repackaged in whole or in part as audio samples sound libraries or sound effects 6 Data Protection Arturia attaches great importance to compliance with legislation on data protection The User data collected are used exclusively for performing its contractual obligations No data is passed on to third parties Further information can be obtained from our Privacy Policy at www arturia com privacy 7 Limited Warranty Arturia warrants that the physical media on which the software is provided is free from defects in materials and workmanship under normal use for a period of thirty 30 days from the date of purchase The Licensee s invoice shall be evidence of the date of purchase Any implied warranties on the software are limited to thirty 30 days from the date of purchase Some states do not allow limitations on duration of an implied warranty so the above limitation may not apply to the Licensee in this case All programs and accompanying materials are provided as is 8 No Liability for Consequential Damages Neither Arturia nor anyone else involved in the creation production or delivery of this Product shall be liable
45. s layering or filtering 5 1 5 Sub Oscillator The Sub Oscillator is not an independent oscillator module Its pitch is derived by taking the pitch from Oscillator 1 and using a frequency divider to drop the pitch by either 1 or 2 octaves It is often used in single OSC synthesizers to make the sound richer and fatter like an octave unison bass sound 5 1 6 Noise The noise signal spectrum has all frequencies at an equal volume level often referred to as white noise For this reason the noise is used to create special sound effects like the imitation of the wind jet planes helicopters steam locomotives and much more On pre cabled patched synthesizers the noise is either integrated into the oscillator its audio output being placed to compliment the waveform outputs or within the mixer directing ARTURIA Oberheim SEM V User s manual 34 the signals towards the filter 5 1 7 Filter or VCF FREQUENCY RESONANCE MODULATION NOTCH O gt ENV2 LFOT LFO2 The audio signal generated by an oscillator the waveform is then usually directed to a filter module Voltage Controlled Filter It is this module that we use to control the sound by filtering by subtraction which explains the name given to this type of synthesis the harmonics situated around a cut off frequency It can be seen as a sophisticated equalizer that reduces depending on the case the high or low frequencies of a sound 5 1 7 1 Cut off frequ
46. sign a parameter you can right click on it MIDI MIDI assign button ARTURIA Oberheim SEM V User s manual 21 Eh Oberheim SEM W Gingold SYNTHESIZER EXPANDER MODU ULE ae Paved A L VCO A r WCF FREQUENCY FREQUENCY FREQUENCY RESONANCE l I SYNC tam MODULATION MODULATION yi l FREQ PW FREQ PV ENVI_LFO1 LFO ENW2 LRG LAPOZ yA LEO LFOZ SOFT CLIP LSE WIDTH 1 VCO 2 e L cy DECAY SUSTAIN 1 SHE MO External MIDI assign waiting mode Exceptionally when you click on the VCO1 and 2 frequency knobs the dialog window will show up It allows you to assign MIDI controllers to both the coarse and fine frequency parameters Separately x Please choose the parameter to assign Coarse tune Fine tune Cancel Choosing Coarse Fine dialog window 4 3 SYNTHESIZER EXPANDER MODULE This part is the core of the sound generation and almost everything that makes the Oberheim SEM V what it is can be find here You may notice that SEM stands for Synthsizer Expander Module ARTURIA Oberheim SEM V User s manual 22 4 3 1 VCO yc a f VOF FREQUENCY FREQUENCY o SYNC ON y MODULATION MODULATION i FREQ PW I ENV LFO LAO ERW2 LIC LAGE y PULSE WIDTH PULSE WIDTH OM j I a a A A VCO is an oscillator
47. t Analog Laboratory stereo ARP2600 V2 stereo Boom stereo Brass 2 stereo CS 80V2 stereo CS 80V2 10 voices stereo DB 33 stereo Jupiter 8V2 stereo Mini Grand stereo mini V stereo Modular V 2 stereo Oberheim SEM V stereo Pianoteq stereo Prophet V2 stereo SENDS F J Spark stereo Structure Free stereo TL Metro stereo Vacuum stereo Xpand2 stereo Opening the Oberheim SEM V in Pro Tools The Oberheim SEM V must be loaded on an audio stereo track We can now make the Oberheim SEM V sound by playing with the mouse on the virtual keyboard Connection to a MIDI channel To enable the Oberheim SEM V to play the information coming from a MIDI track you have to associate it to a MIDI channel via the appropriate menu See the Pro Tools menu for more information on plug in connection Saving the presets When the session is saved the status of the Oberheim SEM V is saved as it is even if its programming does not correspond to the preset For example if you are working on a preset P1 in which you have modified the parameters without saving them in the plugin itself the next time you open the session the Oberheim SEM V will load the P1 preset plus the ARTURIA Oberheim SEM V User s manual 44 modifications you made to it The Librarian Menu of Pro Tools can be used with the Oberheim SEM V like with all other plug ins Nevertheless it is highly recommended to use the
48. t and the rights of use granted under this EULA 1 3 By installing the software on your computer you agree to these terms and conditions If you do not approve these terms and conditions you must not install this software 1 4 If you do not approve these terms and conditions please return the complete Product including all written matter packaging and similar material to the dealer from whom it was originally bought within 14 fourteen days after the day of purchase For purchases from the Arturia Online Store please contact Arturia on the internet website www arturia com support askforhelp purchase 1 4 Arturia reserves all rights not expressly granted in the EULA 2 Right of use 2 1 The Product is protected by copyright The Licensee may not lease loan or sub license the software The Licensee is not authorized to modify the software 2 2 Owning any product provided to the Licensee as Standard version grants the Licensee a non exclusive right to use the Product in perpetuity including commercial purposes The Licensee can activate the Product on up to five computers as long as only one installation is used at any given time The Licensee must register the Product to Arturia to get access to client support and to activate his Product An internet connection is required to register and activate the Product either on the computer on which the Product is installed either on another device able to exchange files with the com
49. t you want to import and click on Open The new bank of presets will automatically appear among the available banks Oberheim SEM V equally offers the possibility to export your own sounds to archive them to use them on another machine or to make them available to other users It is possible to export a Preset a Type or a Bank To export the current Bank Type or Preset click on the export button in the tool bar of the program Y 1 Current Bank Current Type Current preset bank export button in the tool bar Select the type of export that you want to perform bank type or preset and a window will appear giving you access to a choice of destination folder and file name for the bank that you are exporting 4 2 Use OF CONTROLLERS Oberheim SEM V uses 2 types of controllers potentiometers and switches Let s take a look at those 2 types of controllers 4 2 1 Potentiometers A potentiometer determines the value of the various control parameters Place the mouse pointer over the knob click on it and move your mouse up and down by dragging like moving the slider This will rotate the knobs in the GUI and display the new value in a yellow dialog box that appears next to the knob Potentiometers It normaly works as a Coarse adjustement However knobs can also work as Fine adjustements for more precision when you drag your mouse with control key pressed or by ARTURIA Oberheim SEM V User s manual 20
50. ternal MIDI keyboard Launching the application To launch the Oberheim SEM V application on Windows go to the menu Start gt Program Files gt Arturia gt Oberheim SEM V and choose Oberheim SEM V On Macintosh open the Finder gt Applications gt Arturia and double click on the Oberheim SEM V application icon Configuration of an instrument x Audio MIDI Settings Device ASIO M Audio USB ASIO il Buffer size 512 samples 11 6 ms Sample rate 44100 Hz Show Control Panel MIDI Devices M ReMOTE SL MIDIIN2 ReMOTE SL MIDIINS ReMOTE SL 3 Fast Track Pro MIDI In Close Click on the Settings Windows on the application menu bar or Preferences Mac It will show the following Audio MIDI Settings dialog box In this options menu you can gt Set the audio output port Chose the audio interface Chose memory buffer size smaller size will increase the load on the CPU Choose sample rate between 44100Hz and 96000Hz gt Choose one or several active midi input port s ARTURIA Oberheim SEM V User s manual 42 7 2 VST3 VST3 is a new protocol of audio plugins This has improved performance over previous versions of the VST protocol and has many new features as well With VST3 on Windows users do not have to choose a folder path to install the plugin The installer will put vst3 files automatically into the appropriate directory on your hard drive 7 3 64 BIT COMPATIBL
51. those working in educational institutions This definition includes students faculty staff and administration attending and or working at an educational institutional facility private public schools colleges universities and similar These Products must not be used for commercial purposes and must not be resold or transferred The Licensee can activate the Product on up to five computers as long as only one installation is used at any given time The Licensee must register the Product to Arturia to get access to client support and to activate his Product An internet connection is required to register and activate the Product either on the computer on which the Product is installed either on another device able to exchange files with the computer on which the Product is installed These Products are exempt from upgrade or crossgrade offers and cannot be purchased with or exchanged for vouchers or coupons Furthermore as an owner of an educational Product you are not entitled to any vouchers that ship with the standard version of the Product 2 5 Any Products labelled or otherwise provided to you as a Demo version grants the Licensee a right to use the Product only for demonstration and evaluation purposes These Products must not be used for commercial purposes and must not be resold or transferred These Products are exempt from upgrade or crossgrade offers and cannot be exchanged for vouchers or coupons 3 No Unbundling B
52. truments AU Instruments 32 bit AU MIDI controlled Effects 32 bit mini V Modular V2 OB SEM V Spark Oberheim SEM V opening in Logic Since version 7 there has been an Audio Unit plug in manager in Logic To launch it click on the menu Preferences gt Start Logic AU Manager This Manager allows us to see the list of available plug ins to test their compatibility with Logic and to activate or de activate them If it happens that one of the Arturia plug ins poses a problem in Logic start by checking that this plug in has passed the compatibility test and that it is actually selected for use ARTURIA Oberheim SEM V User s manual 47 8 OBERHEIM SEM V END USER LICENSE AGREEMENT 1 General 1 1 In consideration of payment of the Licensee fee which is a portion of the price you paid Arturia as Licensor grants to you hereinafter termed Licensee a nonexclusive right for the use of software including related media documentation for example program descriptions manuals and other documents and materials manufactured by Arturia SA Product s All intellectual property rights in the software belong to Arturia SA hereinafter Arturia 1 2 The following editions of the Product are available Demo Standard EDU and NFR Whilst each edition equips the User with the same software the editions vary as regards both the scope of functions activated in the Produc
53. undles product bundles are an association of software and hardware or software only products can only be resold transferred as a whole The individual components of a bundle must not be resold transferred separately 4 Resell 4 1 Renting or lending the licensed Software to a third party is expressly forbidden Apart from that and if not provided otherwise within this EULA 4 2 Except if otherwise stated within this EULA Licensee may resell the software to a third party or transfer the software permanently free of charge provided the third party agrees in writing with this EULA and Licensee ceases all use of the software completely removes all installed copies of the software from his computers and if the software was not purchased via download deletes or transfers the original media delivered with the software to the third party In addition Licensee is required to de register the purchased software with Arturia more information available on www arturia com 5 In case a sound library is part of the purchased Product the following shall apply in addition to the EULA The provided samples instruments and presets can be used for commercial or non commercial music and audio Productions without the prior permission from Arturia under the terms of this Agreement The usage of this Product in particular samples instruments and presets for the creation of a sound library or as a sound library for any kind of synthesizer virtual inst
54. which generates the foundamental audio signal to be processed There are two VCO sections in the SEM V named VCO1 and VCO2 In this section you can set the pitch by using the frequency knob modulation depth for oscillator pitch modulation or pulse width amount These knobs are found below the frequency knob Their waveforms however are choosen in the VCF section on the module The bottom most knob in the VCO sections controls the width of the pulse wave When this knob set at center position the OSC generates a symmetrical square wave and when it moves to clockwise or counter clockwise the waveform progressively changes to an asymmetrical shape and the tone also changes with it The switch in between OSC 1 and 2 is an on off switch for oscillator pitch synchronization When this switch is on the pitch of OSC 2 will be forced to synchronize with the pitch of OSC1 For more details of OSC sync please have a look at the next chapter The modulation knob can have two different functions if turned to the left side it will control how much of the the selected modulation source affects the oscillator frequency But if turned on the right side it will affect the modulation of the pulse width In the center position which can be reached by double clicking for ease of use there is no modulation of frequency or of pulse width The switch below the modulation knob determines the VCO s modulation source either ENV LFO1 or LFO 2 ARTURI
55. ynthesizers by today s standards It is worth noting that this feature made key split and unison available as well The next machine Tom created the Oberheim 8 voice was very similar to the 4 voice and can be summarized basically as the FVS 1 plus 4 externally combined SEM modules It released in 1977 The Oberheim 8 Voice Afterwards Oberheim Electronics continued to be a prolific synthesizer company releasing the OB 1 OB X OB Xa OB 8 Xpander and Matrix6 and 12 all highly regarded and influential machines In 1985 Oberheim Electronics closed however Its brand and some of the products are continued by Gibson Guitar Corporation Tom recently began producing hand made updated SEMs and has announced the release of a successor to his original 4 voice available in the next few years ARTURIA Oberheim SEM V User s manual 8 A better emulation thanks to TAE TAE standing for True Analog Emulation is a new technology dedicated to the digital reproduction of analog circuits When implemented in software code TAE algorithms guaranty the respect of hardware specifications This is why the Oberheim SEM V offers an unparalleled quality of sound In detail TAE means Aliasing free oscillators Standard digital synthesizers produce aliasing in high frequencies and also when using Pulse Width Modulation or FM TAE allows the production of totally aliasing free oscillators in all contexts PWM FM and at

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