Oberheim SEM 2-voice: Fun With Filters At Mutato Muzika
Credit the Oberheim SEM 2-voice in this video for making an appearance in Wes Anderson's Life Aquatic With Steve Zissou, a movie featuring some of the most interesting original scoring you'll hear. Albert Fox shows us the Oberheim and twiddles with the filters and sequencer to show us just a few of the things this synth can do.
BILL HOLLAND: I notice also you have a -- There’s an Oberheim over here.
ALBERT FOX: That’s Mark favorite synth of all time, this one because of the filters.
BILL HOLLAND: What uh -- I know they used this on a few different recordings. There’s this one that comes to mind that they used that -- he’s used that on that you can think of.
ALBERT FOX: I think it might have been used for Life Aquatic for a little bit.
The synths that we have are, you know, they’re really good for inspiration for us but we don’t tend to really use them a lot in final projects. I mean they’re really good to get stuff going and we might maybe take up a little, you know, a little chunks here and there of samples, but in terms of actually like putting the synths, you know, up against picture, it’s like very rare because these things, you know, they tend to not behave and do what you need them to.
[ALBERT FOX PERFORMING AN DEMONSTRATION OF THE OBERHEIM SEM 2-VOICE]
BILL HOLLAND: So, you’re going to place the filters now?
ALBERT FOX: Yeah.
[ALBERT FOX PERFORMING AN DEMONSTRATION OF THE OBERHEIM SEM 2-VOICE]
The great thing about this one is the filter section over here. You have band pass, low pass, and high pass, and you can basically vary anywhere in between which makes for a really unique, you know, really unique settings. I mean I think there’s like one software instrument that I can think of that does this but, you know, the great thing is it’s got -- get some more level up here. You know, the [INDISCERNIBLE] section up here is insane.
BILL HOLLAND: Okay.
ALBERT FOX: I’ll kill with this thing [INDISCERNIBLE]
[ALBERT FOX PERFORMING AN DEMONSTRATION OF THE OBERHEIM SEM 2-VOICE]
BILL HOLLAND: [INDISCERNIBLE]
ALBERT FOX: [INDISCERNIBLE] hear that basically. I’m just setting up an eight-step sequence right now, and this is your, you know, you can turn into four steps or three steps or, you know, seven if you’re into the math rock or whatever it is [LAUGHING] you know.
BILL HOLLAND: Play some Genesis, you know.
ALBERT FOX: Yeah. You can basically start increasing this, your tempo up here. So, you can basically start increasing this. Let me make this a seven and then [INDISCERNIBLE] up here.
[ALBERT FOX PERFORMING AN DEMONSTRATION OF THE OBERHEIM SEM 2-VOICE]
So, I was in here messing around at one point last week when they were tracking some Devo stuff, Gerry Casale like came in and said, “Oh my God! That’s great!” because he wanted a really good what he calls the “[EXPLETIVE]” sound. He wanted a really [IMITATING THE [EXPLETIVE] SOUND] you know, driving [LAUGHING] really driving bass, so.
So, if you want to increase the pitch, you just move it up here and we’ll speed this up.
[ALBERT FOX PERFORMING AN DEMONSTRATION OF THE OBERHEIM SEM 2-VOICE]
This we used on a Nike movie, “Nothing but the Truth”.
[ALBERT FOX PERFORMING AN DEMONSTRATION OF THE OBERHEIM SEM 2-VOICE]
We had to break it out because I think they had originally used this thing on a Nike movie.
[ALBERT FOX PERFORMING AN DEMONSTRATION OF THE OBERHEIM SEM 2-VOICE]
[INDISCERNIBLE] [LAUGHING]
[ALBERT FOX PERFORMING AN DEMONSTRATION OF THE OBERHEIM SEM 2-VOICE]
That’s how I got into this whole thing. Because instead of going to school and doing my homework, I would come home and mess with my synths and well now I’m working here, so [LAUGHING] it wasn’t a bad move I guess.
BILL HOLLAND: That’s kind of how I got my job too.
[ALBERT FOX PERFORMING AN DEMONSTRATION OF THE OBERHEIM SEM 2-VOICE]
BILL HOLLAND: He’s putting it back to normal now, trying to get what we originally had.
[ALBERT FOX PERFORMING AN DEMONSTRATION OF THE OBERHEIM SEM 2-VOICE]
ALBERT FOX: [INDISCERNIBLE] The ‘80s video games had the best sound.
BILL HOLLAND: Oh yeah.
ALBERT FOX: You know, like Defender. I don't know if you guys ever played Defender. Defender I think had like some of the best sounds like every.
BILL HOLLAND: [IMITATING SOUNDS FROM “DEFENDER”]
ALBERT FOX: [OVERLAPPING] the, you know, the thrusting, the -- You name it. It was just great. It’s just awesome sounds. [LAUGHING] You know, what happened? But anyway, you got nowadays video games, you know, have such elaborate scores. Everything is just, ah, it’s just crazy. You have to work in like -- it’s not just background music. Everything is interactive. You have to work in like four layers so if like the character, you develop one like a main basic theme, and now if the character is running around the screen and goes interact with something and gets more chaotic, then you have to have another layer that then kicks in and like it’s your basic layer playing with the them and then, you know, the chaos. So, you might have something that’s like [VOCALIZING A CHAOTIC VIDEO GAME SCORE] on top of your basic., you know, your basic little thing here so yeah. So yeah, this is the Oberheim [LAUGHING]
Mic technique
Hi, why don't you use some clip on mics when doing interviews instead of relying on your shite mic techinique i.e waving it around trying in vain to capture everything.
P.S
I do like your pieces
pretty easy to explain
we have 2 wireless sennheiser lavs, but only one XLR input on the sony HD cameras. If there were three of us there, I would have recommended using a field mixer, but it was pretty difficult as we were running as a skeleton crew of two people (camera and presenter). Believe me, I know that this situation was less than ideal, but we were under very tight time constraints that day.
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