The Wavetable engine, filters, sequencer and modulation stand out as headline features, but the whole thing impresses from end to end.Īs the epic preset library ably demonstrates, there’s no area of synth sound design in which it doesn’t excel phat basses, tearing leads, amorphous pads, kinetic sequences, ear-catching FX. The colour of soundĪmbitious, expansive and oozing quality from every pixel, Pigments easily earns a place at the top table of synthesis.
Arturia pigments sequencer series#
Busses A and B are ‘inserts’, reorderable in series or parallel, while Bus B is a send/return, and the processors themselves sound great.įinally, the Sequencer/Arpeggiator is all kinds of awesome, featuring scale snapping, a Trigger Probability lane, a powerful cyclically regenerating randomisation engine, and the best implementation of polyrhythmic sequencing we’ve seen in any synth to date. With modulation covered in Colour me rad, we’ll head straight to the FX section, which houses three busses of three effects each, selected from a roster of 13 largely workaday essentials - Reverb, Delay, Compressor, Distortion, EQ, Flanger, Wavefolder, etc. Between them these serve up a rich variety of modes and sonic styles, and we very much appreciate being able to select and apply an FM source directly from the filter panel. Eight filter types are onboard: SEM, Matrix 12 and Minimoog emulations, the 64dB/octave Surgeon, Comb, Phaser, Formant, and the supremely versatile MultiMode. The two engines feed into a pair of independently pan-able filters, routed in any blend of series and parallel via a continuous knob. Import of external WAVs into the engine is permitted, but alas, there’s no wavetable editor. The Wavetable engine can also stack up to eight unison voices, detuned freely or snapped to chords - we’re puzzled as to why the Analog engine can’t do the same. The controls for the modulators themselves sit in the tabbed bottom window, and every signal is beautifully visualised there, in the Overview strip and in the collar around each knob. Each pairing can have a Sidechain source assigned, too, for depth modulation. Alternatively, clicking the + button next to a knob switches the Overview strip to a bank of depth sliders: set the sliders to modulate the knob. The three Functions generators are 64-point envelopes/step sequencers, while the Turing, Sample & Hold and Binary Random sources each output their own brand of chaos, and the two Combinate modules merge pairs of sources using various mathematical processes.Īssignments are made by selecting a modulator in the Overview strip, then dragging the collars around each target parameter knob to set the depth.
As well as the expected LFOs and envelopes (three of each, with selectable Reset and Gate triggers), Macro knobs (four) and MIDI sources (Velocity, Modwheel, etc), Pigments includes the more imaginative Functions, Random and Combinate modulators. With the exception of certain FX parameters, every knob in Pigments can be modulated, from the Wavetable engine’s Phase Distortion amount to the Sequencer’s Rate.
Phase Distortion and Wavefolding functions open up some serious destructive waveshaping possibilities, and both - along with Phase and Frequency - can be conveniently modulated by an ancillary (and, optionally, audible) analogue/ noise oscillator. Each one of them consists of up to 256 waveforms, and the Position knob can be set to jump from one wave to the next, or to interpolate through them more smoothly. The Wavetable engine draws upon more than 100 categorised wavetables (Natural, Processed, Synthesizers, etc).
The Drift control introduces random pitch fluctuations for a touch of analogue authenticity, should you want it. Osc 2 can sync to Osc 1 Oscs 2 and 3 can have keytracking disabled and Oscs 1 and 2 can be frequency modulated by any mix of Osc 3 and Noise.
Arturia pigments sequencer generator#
The Analog engine comprises three oscillators, each outputting a sine, saw, triangle or square wave (the last two featuring PWM), and a noise generator that sweeps from Red through White to Blue noise. Each of Pigments’ two engines can be switched between Analog and Wavetable modes.
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