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Tom Oberheim's classic two-voice synth gets the Arturia treatment in the form of the SEM V. Introduced in 1974, the Oberheim SEM (Synthesizer Expansion Module) was developed as an addition to a keyboard synth or a sequencer, not as an instrument in its own right. Nevertheless, it wasn't long before people realised that one or more SEMs could be combined with their own keyboards to create self-contained synthesizers. The SEM's popularity, in turn, inspired the birth of the 4-Voice, in 1975. This was a wonderful instrument; each voice was generated by an independent synth module, and the ensemble had amazing depth when you could get it to stay in tune with itself.

Inevitably, the 4-Voice was followed by the 8-Voice. There were three versions of this, two of which were dual-manual monsters with eight SEMs mounted in the lids of their huge cases.

While programming and playing these was often impractical, players who owned them would rarely (if ever) say a bad word about them, and they remain desirable to this day. Nonetheless, the 8-Voice was soon superseded by the first of the OB series, the OBX, which, together with the Prophet 5, ensured that the era of the SEM was over. Except that it wasn't.

Vintage SEMs remained objects of desire for the next three decades, and a couple of years ago Tom Oberheim announced that he was going to start manufacturing them again. In September 2010, I reviewed the MIDI version in Sound On Sound, and I was impressed. Meanwhile, on this side of the pond, the chaps at Arturia were working on a 'soft' emulation of the SEM that could be used as a monosynth or duosynth, as a 4-Voice or 8-Voice emulator (with all the vagaries and inconsistencies that that implies), and as a modern polysynth with a maximum of 32 voices.

Now it's arrived. It's the SEM V. The SEM V with its top panel revealed. Onra les chinoiseries rar.

An SEM V patch is based on the same dual-oscillator architecture as the original, with sawtooth and variable-width pulse waves, frequency modulation and PW modulation, as well as oscillator sync. Likewise, the 12dB/octave state-variable filter offers the same BP/LP/BR/HP options as before, with seamless transitions from low-pass to band reject (notch) to high-pass modes, and both positive and negative modulation of the cut-off frequency. The simple sine-wave LFO is also retained (although it now boasts host synchronisation) as are the dual ADSD contour generators with ENV1 hard-routed to the VCA and assignable to VCO1, and ENV2 assignable to VCO2 and/or the filter. Amazingly, the last paragraph is an almost complete description of a vintage SEM, so everything else within the SEM V is an enhancement. Most obviously, to the left of the central panel in the GUI, there's a second LFO, this time with three waveforms, host sync, key retriggering, and fade in, and you can route this to either or both VCOs, as well as the filter. It may seem a small improvement, but having independent control over, say, VCO1 vibrato and VCO2 PWM makes it possible to create all manner of lush sounds that were unavailable on the original. However, unlike LFO1 (which is generated independently for each voice), LFO2 is monophonic, and therefore modulates its destinations identically in every voice.