This virtual instrument bundle includes more than 8,000 sounds from 28 vintage keyboards and synths with the spot-on realism that Arturia is famous for. V Collection 8: Iconic Instrument AnthologyĬlassic DCO-infused synth sounds, grungy vintage digital textures, mind-boggling vocoder effects, and aggressive-sounding growls - you’ll find all of that and more in Arturia’s V Collection 8. OS Requirements – Mac: OS X 10.13 or later.Hardware Requirements – Mac: 2.5GHz CPU or higher, 4GB RAM or more recommended, 20GB drive space.Authorization Type: Arturia Software License.Format: Standalone, VST2.4, VST3, AU, AAX, NKS.Software Type: Software Keyboard Bundle.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. In September 2010, I reviewed the MIDI version in Sound On Sound, and I was impressed. 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. Nonetheless, the 8-Voice was soon superseded by the first of the OB series, the OBX, which, together with the Prophet 5, ensured that the era of the SEM was over. 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. There were three versions of this, two of which were dual-manual monsters with eight SEMs mounted in the lids of their huge cases. Inevitably, the 4-Voice was followed by the 8-Voice. 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.
The SEM's popularity, in turn, inspired the birth of the 4-Voice, in 1975. 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. 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.
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