Pigments 1 1 1 – Polychrome Software Synthesizer Vst

• Pigments 1 1 1 – Polychrome Software Synthesizer Vst Plugins
• Pigments 1 1 1 – Polychrome Software Synthesizer Vst Download
• Pigments 1 1 1 – Polychrome Software Synthesizer Vst Synthesizer

Arturia Pigments 2 WIN & MacOSX. Pigments 2 – Polychrome Software Synthesizer. An immensely powerful wavetable and virtual analogue software synthesizer, 20 years in the making. This is Pigments 2, and it's going to change the way you make music forever. They call it a 'polychrome software synthesizer' and it combines wavetable, virtual analog, granular and sampling in one engaging and organically flowing machine. If Massive X is radical then Pigments is emotional — it's all about movement and engaging all of our senses in the exploration of sound and synthesis. Polychrome Software Synthesizer An immensely powerful wavetable and virtual analog software synthesizer, 20 years in the making. This is Pigments and it's going to change the way you make music. Taking that spark of imagination and transforming it into sound is the most fundamental, exhilarating part of creating music. Arturia Pigments v1.2.1.617 macOS APP/AU/VST/VST3/AAX 220 MB Polychrome Software Synthesizer. An immensely powerful wavetable and virtual analog software synthesizer, 20 years in the making. This is Pigments, and it's going to change the way you make music.

Pigments – easy to use, yet so powerful. This new Arturia virtual synth may have just what it takes for you to bring your music to the next level.

by Rob Mitchell, Mar. 2019

Arturia is a well-known music software/hardware company based in France. Some of their many software titles include CS-80 V, Mini V, Matrix-12 V, DX7 V, Buchla Easel V and Synclavier V. These can be purchased separately or in the cost-saving V Collection of music software which gives you over twenty plugins of all types to use in your own productions. Arturia also offers software effects, audio interfaces and hardware synthesizers. For this review I will be looking at the new synthesizer plugin called Pigments. It is available in Standalone, VST 2.4, VST 3, AAX, Audio Unit (64-bit DAWs only) and authorization is by way of the Arturia Software Center.

Arturia calls Pigments a Polychrome Software Synthesizer. After working with it for this review I felt one reason the word 'Polychrome' was chosen was that it features an impressive multi-colored display. It really feels alive while working with Pigments since there are many colorful and animated sections in the display to give you instant visual feedback. It is based upon a dual audio engine, either of which can use a wavetable-based or a standard virtual analog three-oscillator type. The wavetable section has unison, frequency modulation, phase distortion and wave folding. Over 100 wavetables are included and you can import your own as well. There are three ways you can use the two engines: You can have two wavetables (switch each engine to WT) in use at once, or you might want to use a six-oscillator VA type of setup (both engines set to VA). Finally, you can use VA and WT together to get the best of both worlds. Pigments has two filters with several types to choose from using serial or parallel settings. LFOs, envelopes, Random generators and Combinators let you achieve some powerful modulations in no time. Several effects are also on board and over 600 presets are included to get you started. Also, just like with the other Arturia plugins, the display can be resized to make the best fit with your monitor.

Speaking of presets, you can easily browse through them using the browser menu along the top of the display. There are many categories available such as Pad, Brass, Lead, etc. There are also several style selections to choose from as well, such as Ambient, Bizarre, Funky, etc. A number of template presets are included to help get you started in a certain direction. In the upper-left is a search function to find a preset by its name. You can elect to view your browser results by Type, Designer or Bank, and presets can be marked favorites as well. Presets and banks can be loaded or saved from here and Playlists of presets (First Set, Second Set, Encore, etc.) can also be created.

Start Your Engines

I mentioned the two choices for the synth engines, which we'll now cover here in more detail. You can switch between the two sets of controls for either engine by clicking their tabs labeled Engine 1 and Engine 2. The way I loaded an initialized preset was to go to the Template category and I used the one named Default. It starts out with just Engine 1 enabled and it is set to the Wavetable type. Engine 2 is set to Analog and it is disabled when you first load the Default preset. The majority of the Wavetable display is taken up with a graphical view of the wavetable itself. This can switched between a 2D or 3D view. A menu at the upper-left of that display lets you select from the many other wavetables that are available. You may also load your own wavetables or use a WAV file and Pigments will convert the WAV into a wavetable for you. There is a maximum of 256 positions and 2,048 samples for each single cycle waveform/position. The wavetables can cycle smoothly (interpolate) between each waveform position or jump from one to the next by enabling/disabling the Morph button at the top of the display. To adjust the position in the wavetable there is a knob called Position over to the right, and you can change the output level from there as well.

Coarse/fine tuning and unison settings are over on the left side. One of the tuning features is called Mod Quantize. If Quantize is enabled for tuning (click Q to the left of the coarse tuning control), you can change which notes you want to be played using a mini-keyboard display. For example, if you modulate the tuning with the LFO, normally the pitch would cycle smoothly (when using a sine wave) up and down in pitch. With the Mod Quantize on, it will jump from one note to another according to those you've selected.

For Unison, there are two main settings to choose from: Classic and Chord. The classic unison is much like other synths you've probably used before. It can use up to eight voices, and includes detune and stereo spread controls. The Chord mode will adjust the unison voices so they are tuned in your choice of twelve different chord settings. Some of those included are Octave, Minor 7, Major, Major 7, Sus2, Sus4, and there are several others.

Below the wavetable display are frequency and phase modulation controls, as well as phase distortion and wavefolding settings. Their main source for modulation is a modulator located at the lower-right section of the wavetable display area. It has ten different waveform selections to choose from, tuning and fine tuning controls are also available here. The FM has a choice of linear or exponential modulation and a modulator amount control. The PM has a sync source setting which lets you select from a few different ways to reset the wavetable phase: Key (each key played will reset it), Self (tuning settings define the reset rate), Mod Osc (when the mod osc resets to 0) and Random (random phase for each note played). Just like the FM section, the PM has a modulator amount control as well. There is a phase distortion target setting in the PD section with several selections to choose from: Skew, Round, Tri/Pulse, Octave Plus, Pseudo PW and Fractalize. There are descriptions for all of those types in the manual, but in short, you can achieve a very large range of sounds combining different waveform types from the modulator with the target settings and the large amount of wavetables in Pigments. The last section here is for wavefolding which basically folds the selected shape on to the wavetable you've selected. Three shapes are provided, and changing the modulator's waveform and tuning will affect it in countless ways.

The Analog engine in Pigments is a much simpler type to describe since there are simply not as many controls/settings. It is not much different from a classic analog synth that you may be accustomed to. It has three oscillators, each with a choice of sine, triangle, saw and pulse waveforms. The first oscillator has coarse tuning, width (for the triangle and pulse) and volume. Oscillator 2 can also be synced to the first oscillator using the Sync button. The second and third oscillators are identical to each other and also include the ability to enable key tracking and they have a fine tuning control. On the right side is a Noise generator with red, white and blue noise. In case you're wondering about those color codes: the red is low filtered, blue is high filtered and white is not filtered at all. The noise generator can also be adjusted anywhere in-between the three types. Using the Modulation knob on the right side you can use oscillator 3 to modulate the first two oscillators. You're also able to crossfade from oscillator 3 to noise as the source for the modulation.

Along the left side are the tuning controls much like the Wavetable engine, but there is no unison available here. It does however include an adjustable Drift control which will give it a detuned/analog character for each note played. I was wondering why there was no unison for the analog engine, as I would like to have a drift-type of sound but with a bit of unison added. Perhaps in a future update – can we hope? For now, you can get a thick sound from Pigments (with drift included) by setting both engines to the Analog type as that will give you up to six oscillators. A little fine tuning on those oscillators and it can sound very good indeed.

In the upper-right is a section devoted to routing either engine type to the two filters. Each engine can be routed to the first or second filter, or a mixture of both. Next to that is the control for the engine's output.

Filters, Amp Mod, FX Send

Let us now move on to the filters. There are a large number of filter types to choose from: Multimode (including several LP, HP, BP and Notch types), SEM, Matrix 12, Mini, Surgeon, Comb, Phaser and Formant. You may know of some of these types from Arturia's other synth plugins and the hardware they were modeled from. The filter type named Surgeon might not be quite as familiar. It has a very steep slope of 64 dB/octave and includes LP, BP, Notch and HP modes.

The usual filter controls are here, such as cutoff and resonance. However, some of the other controls change depending on the filter type you select. For instance, several types (Multimode, SEM, Matrix 12 and Mini) have the option to use FM modulation and so they also include a menu to select the source of modulation. Another example is the Mini filter which has a Drive control (simulates the Minimoog's output signal routed into the external input), but the other types do not. Filter routing is possible and the two filters can be set to run in series or parallel, or anywhere in between those two states. Each filter also has a volume and pan control.

Artlantis studio 6 5 2 14 download free. Below the filter routing control is the Amp Mod control. You have a choice of over twenty sources of modulation for the amp level such as velocity, envelopes, LFOs, aftertouch, mod wheel and many others. The Voice Pan will set the position of your preset in the stereo field. The Send Level control sets the amount of the signal going to the effect bus (more on the effects later).

Modulation, Arp/Sequencer and Effects

Pigments includes three envelopes and three LFOs for modulation. The first envelope is for the amplifier, but it can be used for other types of modulation as well. The three envelopes are of the ADSR (attack/sustain/decay/release) type, but they can be switched to ADR (attack/decay/release) if you'd like. The attack and decay stage's slopes can be smoothly adjusted between exponential, linear and logarithmic curve settings. The Link mode will tie the decay stage to the release stage. When this is enabled and you adjust the decay control, it will also change the release setting the same way. Envelopes two and three also have a Gate Source that lets you choose from several different sources that will trigger/retrigger the envelopes. Some of the sources you can select from are the LFOs, Mono/Legato/Poly keyboard settings, as well as the Function and Random sections (more on those two later) of the synth.

The three LFOs in Pigments have a choice of sine, triangle, square and sample & hold waveform types. It is also possible to dial in a blend between those types. The Symmetry control adjusts the width of the waveform, like pulse width, but it works with every waveform. The LFO's Rate control can be cranked all the way up to 200 Hz, or it can be synced to the host in three different ways: Sync Binary, Triplets or Dotted. The LFOs can be triggered/retriggered in much the same way as the envelopes. Fotomagico 4 6 5. Key tracking, Phase, and Fade-in controls are available here as well as bipolar functionality.

Pigments also includes several other modulation sources: Functions, Random generators, Combinate features and Macros. Functions (there are three you can configure) are basically like MSEGs that can use up to 64 points. You can specify your own envelope shape using various tools. The Gate sources for the three Functions include basically the same sources as the LFOs and envelopes mentioned earlier. The rate can be changed just like the LFOs (but with a max. speed of 20 Hz) and they have a Play mode which can be set to play once, several times, or all the time. Some presets are included and you can save your own creations.

The Random section of Pigments includes three different types of random generators. These can modulate other targets within the synth plugin. These work very well for when you don't want a basic/repeating kind of pattern and you're wishing for something more … well, random! Actually, there is a way to loop the values that are created so they will repeat indefinitely, but that's optional. The three types you can use are Turing, Sample & Hold, and Binary. The manual has a good amount of detail on how the calculations for those work, so I won't go into all that information here.

The Combinate settings will let you combine (hence the name) one or two of the modulation sources. These use mathematical formulas to get various types of results. The menus are for Source, Mod and Type. When you choose a different type it will show the formula it uses in the display. Like many other parts of Pigments, the Source and Mod choices include such options as velocity, aftertouch, envelopes, LFOs, Random and Function sources, mod wheel, and many more. The many Types you can choose from are Sum, Difference, Multiply, Divide, Crossfade, Lag, Threshold and Offset.

Pigments 1 1 1 – Polychrome Software Synthesizer Vst Plugins

Each of the four Macros can be assigned to multiple targets. Miniclip 3 2 – universal clipboard box. To add a target to a Macro, click on the name in the modulation overview window (the wide strip with the twenty-plus items in it). For instance, M1 is for the first macro. If you click M1, and then use the mouse to move the ring around the outside of a target control you'd like, you can then dial in the amount of modulation.

After you've done that, it will show whatever you've added as a target and the amount you set it to. The other way is to click the plussign that's next to nearly any control, then go to the modulation area to move one of the 23 sliders up or down to add an amount of modulation. It will then show the assignment you've selected. Another way you can modulate various targets is to have one target modulate yet another target. This is very easy to set up in Pigments. Here's an example: The Binary Random generator could be set to modulate the Length control in the Turing generator, which in turn could modulate the Filter Mix setting.

For nearly any modulation you add, you can also use a Sidechain setting which may use one of the several choices mentioned earlier (velocity, aftertouch, envelopes, LFOs, Random and Function sources, mod wheel, and several others). The possibilities in this synth seem nearly endless! Pigments makes it all very easy to use and the visual feedback is always helpful.

Pigments 1 1 1 – Polychrome Software Synthesizer Vst Download

Next up is the Arpeggiator/Sequencer. It can use up to sixteen steps and it includes a Polyrhythm mode where each track can have its own length. The Rate and Swing controls are on the left, and there are several lanes for various settings that can affect the pattern in different ways. For instance when it is set to the Sequencer mode, the top row is for the sequence of notes. Several types of scales can be selected, including Major, Harmonic Minor, Locrian, Dorian, etc. This feature will tailor the notes to the boundaries of that particular scale. Other tracks let you control the octave, velocity, gate length and slide settings per step. The Trigger Probability track will determine odds that the step will be triggered, e.g.: a 33% chance that it may play the step. A randomize feature is also available on each track. The Randomize Regen feature will work along with the randomize column's settings to create an overall randomization each time you click on the Regen button. If the track's individual random setting is set to 0% then it won't be affected by the Random Regen feature. The Arpeggiator features six different play modes.

Pigments 1 1 1 – Polychrome Software Synthesizer Vst Plugins

Each of the four Macros can be assigned to multiple targets. Miniclip 3 2 – universal clipboard box. To add a target to a Macro, click on the name in the modulation overview window (the wide strip with the twenty-plus items in it). For instance, M1 is for the first macro. If you click M1, and then use the mouse to move the ring around the outside of a target control you'd like, you can then dial in the amount of modulation.

After you've done that, it will show whatever you've added as a target and the amount you set it to. The other way is to click the plussign that's next to nearly any control, then go to the modulation area to move one of the 23 sliders up or down to add an amount of modulation. It will then show the assignment you've selected. Another way you can modulate various targets is to have one target modulate yet another target. This is very easy to set up in Pigments. Here's an example: The Binary Random generator could be set to modulate the Length control in the Turing generator, which in turn could modulate the Filter Mix setting.

For nearly any modulation you add, you can also use a Sidechain setting which may use one of the several choices mentioned earlier (velocity, aftertouch, envelopes, LFOs, Random and Function sources, mod wheel, and several others). The possibilities in this synth seem nearly endless! Pigments makes it all very easy to use and the visual feedback is always helpful.

Pigments 1 1 1 – Polychrome Software Synthesizer Vst Download

Next up is the Arpeggiator/Sequencer. It can use up to sixteen steps and it includes a Polyrhythm mode where each track can have its own length. The Rate and Swing controls are on the left, and there are several lanes for various settings that can affect the pattern in different ways. For instance when it is set to the Sequencer mode, the top row is for the sequence of notes. Several types of scales can be selected, including Major, Harmonic Minor, Locrian, Dorian, etc. This feature will tailor the notes to the boundaries of that particular scale. Other tracks let you control the octave, velocity, gate length and slide settings per step. The Trigger Probability track will determine odds that the step will be triggered, e.g.: a 33% chance that it may play the step. A randomize feature is also available on each track. The Randomize Regen feature will work along with the randomize column's settings to create an overall randomization each time you click on the Regen button. If the track's individual random setting is set to 0% then it won't be affected by the Random Regen feature. The Arpeggiator features six different play modes.

The effects in Pigments include multi-filter, parametric EQ, compression, distortion, chorus, reverb and many others. They can be used within three buses: Bus A, Bus B and a Send Bus. Bus A and B can be configured in series, reverse series, or parallel. Each bus can have up to three effects in any order, and they can be re-ordered with a simple drag and drop. Every effect has some presets included and you can store your own as well. Here are a couple of ways you can use the effects: Series (A to B) or reverse series (B to A) and you may also have the Send effects running in parallel to those A/B effects. Another way to configure them is to have all three in parallel to each other, and then they will be mixed together in the last stage. One final note I'd like to make is that many of the effect parameters can be modulated.

Conclusion

Arturia has been on a roll lately with many great plugins being created over the past few years. I have been a fan ever since the Matrix-12 V was released, and I really like the Synclavier V and DX7 V as well. Pigments is yet another winner in their lineup of synth plugins. I really can't think of anything I'd like added to it. I normally run into an issue or some feature I'd like for a developer to add, but that is not the case this time around. It's not that it is a do-it-all kind of synth, but it works very well with the features it does have. It is very easy to use, the layout of controls in the display seem well thought out, and best of all it just sounds great. The MIDI learn is easy to use and (for me) that is always a welcome feature. It can definitely stand up to the competition, and in several ways it surpasses many plugins that are currently on the market.

Pigments 1 1 1 – Polychrome Software Synthesizer Vst Synthesizer

Pigments is available for $199 USD. It is not part of the V Collection so it must be purchased separately. You can get more info and a demo version from their website here: