Created to expand the capabilities of other synths, it could serve many purposes. Adding polyphony, fattening up their sound, and performing sequences in a supporting role to a main synth were all familiar roles for SEM.
One of the most remarkable modules on the SEM was its VCF. The 12dB per octave multi-mode filter helped define the sonic identity of Oberheim 's popular 70s synth, because it shaped a diverse range of sounds that were almost impossible to get on other synthesizers. Filter SEM not only carefully models the crossfadable modes of the filter - low-pass, high-pass, notch and band-pass, but also expands its functionality and features to create a great-sounding, versatile filter plugin that you'll want to use on every track you create.
Able to bring another dimension to whatever audio source you choose, the story of Arturia's reworked SEM architecture started in 2012, when they released SEM V; their analog modelled, virtual emulation of the classic. Through component analysis and the advanced techniques of the TAE technology, they were able to reproduce not only the filter, but every aspect of the original instrument in software. A hit as part of their V Collection, they couldn't help but wonder what SEM's filter would be capable of as a standalone plugin.
Once they isolated its VCF, they added some contemporary functionality that launch this iconic filter straight into the 21st century. Every aspect of Filter SEM, including all of the modern additions, are all controllable via MIDI CC, so should your DAW allow it, you'll be able to control and perform using Filter SEM in your live sets, too! Speaking of the additions, let's take a look at what they added to this cult synth icon: