サウンド・デザインの
芸術
emptyvessel - on SEM V
“The strength of SEM V for me has always been the sound, the sheer gritty analogue strength that can be subtly beautiful or confronting and powerful. With V3 we now have new, advanced modulation sources which do so much to expand the capabilities of the instrument. This really extends the possibilities we, as sound designers, can explore and bring SEM V firmly into the modern age. I prefer to make dusty, imperfect sounds full of life and organic movement, here it was also important to show the scope & timbral possibilities. I like to react to the sound of the instrument and how it makes me feel to interact with the interface, sort of like a collaboration or conversation. In this case the focus was to explore the new MultiArp, modulators and fx and to imagine this classic instrument in a modern context.”
Mindsong
I set out to create an expressive, powerful pad suitable for scoring. From there the approach is intuitive and explorative until a point is reached where I’m happy with the sound and how it plays. I mainly used the Voice Mod to give random variation in timbre & tuning to each note for an imperfect, vintage sound and a Step Seq to send more random modulation to various sources for an evolving sound.
Strings And Angels
Strings and Angels'is for me a very nice example of a classic SEM pad sound, using the 2 oscillators and the famous SEM filters. A mix between the low pass (for a soft voice sound) and notch filter (for a bright strings sound).
Jean-Michel Blanchet - on SEM V
“The SEM V3 is a superb evolution of the famous SEM modules emulation. The sound obtained with the 2 oscillators and the filters, through the various types, is very faithful to the behaviour of this legendary synthesiser. I really enjoyed creating sounds, starting with the 'Init' preset to obtain either very famous or typical sounds from this synth or more modern sounds, showing the different synthesis possibilities provided by the advanced panel.”
Foreign Lands
My favorite preset is probably Foreign Lands. When I created it, I only had a vague idea of an evolving soundscape, and I realized while experimenting with the Function Generator (modulating the filter) set to Poly mode, that if I played chords but shifted the notes slightly in time, I obtained a kind of ambience with rather unpredictable movements.
Gabriel Sauvage - on SEM V
“The SEM was one of the first synthesizers to include a SEM filter, giving rise to a long list of Oberheim polyphonic synthesizers. Rediscovering the color and character of this machine within such a flexible and intuitive interface, allows us to go far beyond the limits of the original machine. Of course, you can get back to vintage sounds by extending the number of polyphonies, and playing with Unison, as is the case with many of today's synthesizer software redesigns; but you can also go quite deep into synthesis, to blend the old with the new. Among the presets I designed, my aim was to provide typical “classic” sounds, as well as others that tried to push the instrument to its limits. Therefore, I enjoyed experimenting with Function Generators to design complex envelopes and sequences, as well as using them to modulate oscillators and filters in audio rate for more industrial sounds. This is one of the approaches I used for one of my presets, called “Sea of Metal”, inspired by the sounds of Blade Runner 2049.”
Drew Schlesinger - on SEM V
“The SEM is and always has been a classic but fairly basic synthesizer design that can do more than meets the eye. The continuously variable filter type allows for a lot of sonic variations and the inherent modulation is quite useful including PWM, pitch, filter etc. The oscillator sync is also one of the most notable sounds from the SEM. This version with the Advanced controls and effects takes it to a whole different level but the classic and much-loved sound is still ever present. Its basic sound is just great. I approached sound design for the SEM in two ways; one is to try and craft classic sounds that musicians would want and expect from such a historical synth, and the second was to leverage all the Advanced functionality to create completely new and more complex sounds that you’d not expect from the SEM. Combining the extra envelope, modulators and arpeggiator allowed for some really great moving, morphing and rhythmic sounds that are exciting to play.”
Jumper Hitop
This patch takes advantage of the Multi-Arp to create a non-repeating pattern, the extra ADSR for controlling the level and articulation of the second high pitched oscillator and the stepped Voice Mod to add per note panning. Lastly there’s the slight high pitched “shimmer” effect that adds sparkle on top of the fundamental sound. A lot going on in one patch.
Game On
“Game On” is my favorite preset. This preset always makes me smile whenever I hear it. It’s reminiscent of retro arcade games, with a vibrant, choppy, bit-crushed energy. The balance between the two oscillators and the grainy noise layer creates the perfect combination. The multi-arp and trance gate are essential to the fun, snappy melodic motif, which is catchy enough when performed as a single sustained note, let alone when holding down a chord! To further enhance the expressivity of the preset, you have complete control over both its intensity and quirky timbre, all pre-mapped to macro controls.
Joseph Gilling - on SEM V
“Most of my sound design work is a process of discovery - uncovering the character of an instrument through experimentation. This approach often leads to the most natural point of inspiration for a sound, as I’m constantly surprised by what I uncover through tweaking parameters and layering effects. The SEM makes fresh sound generation quick and simple. You can go from nothing to something incredibly unique in a matter of minutes.”
Astral Waffles
I had a precise idea in mind when I created Astral Waffles: to design a versatile bassline suitable for deep techno, club, and psychedelic tracks, taking advantage of the SEM’s fat and warm character. Filter resonance and overdrive are pushed quite high to give this bassline its character. A sequencer subtly modulates the cutoff, adding to its psychedelic influence.
Martin Rabiller - on SEM V
“To me, the audio engine, combined with the new advanced panel, is the main strength of the instrument. It sounds much better—warmer and fatter—compared to the SEM V2, while remaining very easy and quick to use. The overdrive per voice also sounds great and is a nice addition for achieving huge and gritty sounds. I created sounds that combine the analog grain and fatness made possible by the new audio engine with the modern flexibility and variability offered by modulators such as the function generator and sequencer. I also made my presets as expressive as possible, heavily relying on velocity, aftertouch, and MPE slide modulations.”
「アドバンスト・パネルとエフェクトを搭載したこのバージョンは、もはや別次元に引き上げられているが、長い間多くの人々に愛され続けてきたあの定番のサウンドはちゃんと健在だ。そして基本的なサウンド自体が、とても素晴らしいんです。」
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