Pigments - Analog Engine

Sine, triangle, sawtooth, ramp, and square.

The triangle and square waves feature adjustable pulse width.

Absolutely.

A blend of oscillator 3 and the noise generator can perform FM on oscillators 1 and 2 simultaneously.

Yes.

Oscillator 1 has a Sync button which locks Oscillator 2’s frequency in.

This gets that sound reminiscent of The Cars, and many other interesting timbres.

White noise is totally unfiltered.

Move the knob towards Red, and the noise is more aggressively low-pass filtered.

Towards Blue, it’s high-pass filtered.

This is so you can finely adjust the noise profile without tying up one of the main filters to do so.

In fact, it has three unison modes.

There’s classic unison detuning around a center note.

Chord mode lets you add voices to one of 12 selectable chord shapes
(octaves, fifths, major, minor, etc.).

Super mode emulates the classic “JP supersaw” method of waveform stacking.

Pigments lets you quantize how the coarse pitch tuning of the Engine responds
to any modulation source.

In effect, modulation can “play” runs and scales.

The pencil icon brings up a mini-keyboard where you decide which pitches notes
will quantize to when modulated.

You could set up the major scale only, for example, or a blues scale.

Note that the modulation amount coming from the source has to be enough
to “clear all the hurdles”, so to speak.

The Analog, Sample, Wavetable, and Harmonic Engines all feature Mod Quantize.

Either or both.

The Filter Mix knob in the Output section balances the Engine output between Filters 1 and 2.

The adjacent Volume knob controls the overall level output for the Engine.

This feature is common to all Engines in Pigments.

If you don’t want to use one of the Analog Engine’s oscillators as a sub-osc, that’s what the Utility Engine is for!