Sound & Sam­ples

Future Music - - CONTENTS - Bruce Aisher

In the world of syn­the­siz­ers, Ober­heim need no in­tro­duc­tions, and for read­ers of FM and fans of sam­ple based in­stru­ments, UVI should also be pretty fa­mil­iar.

UVI have now turned their at­ten­tion to cap­tur­ing some of the magic for which Tom Ober­heim’s de­sign have be­come fa­mous. This col­lec­tion – which, like most of UVI’s takes on clas­sic synths, utilises sam­ples dis­tilled through a sub­trac­tive, ef­fects-equipped, front-end – fo­cuses on six items of Ober­heim hard­ware.

The jour­ney starts with UV-1 (based on the mono­phonic OB-1), and takes in VCO and DCO polysynths of the 80s, odd­i­ties like the OB-12 (made by Vis­count and noth­ing to do with Tom Ober­heim) and fi­nally the re­cent DSI OB-6.

UVI’s GUI de­signs are al­ways al­lur­ing, and cer­tainly help pro­vide each in­stru­ment with its own iden­tity, even if hav­ing a single front end for all of them might be more straight­for­ward in func­tional terms. Sam­pling will al­ways have some lim­i­ta­tions when it comes to recre­at­ing all the nu­ances of an ana­logue synth – es­pe­cially some­thing like the Ma­trix 12, with its stu­pen­dous mod­u­la­tion and con­trol op­tions – but UVI do a great job of cap­tur­ing some of the magic. I tested the UV-XXX against my OB-8, and there is clearly a fam­ily re­sem­blance when step­ping through the raw ma­te­rial (with all ad­di­tional pro­cess­ing switched-off). The fact that you can layer and tweak should be seen as a nice ex­tra on top of what re­mains a solid col­lec­tion of vin­tage-in­spired pre­sets that would work all across many gen­res.


Newspapers in English

Newspapers from Australia

© PressReader. All rights reserved.