Wavetable synthesis began as a digital method with more harmonic possibilities
than subtractive synthesis.
A wave table is a group or list of single-cycle waveforms, meaning each does one positive phase,
one negative phase, then loops. (This conserved memory back when it was a lot more expensive.)
Whichever wave the synth is momentarily “pointing” to is sounding.
Moving that pointer using a clock or modulation source produces rich and changing timbres.
than subtractive synthesis.
A wave table is a group or list of single-cycle waveforms, meaning each does one positive phase,
one negative phase, then loops. (This conserved memory back when it was a lot more expensive.)
Whichever wave the synth is momentarily “pointing” to is sounding.
Moving that pointer using a clock or modulation source produces rich and changing timbres.
Think of a wavetable like a cartoon flipbook for your ears.
Each wave is one drawing on one page and each page is a position or frame.
But you don’t just look at one frame at a time.
The point is to flip through them and create a moving animation.
Each wave is one drawing on one page and each page is a position or frame.
But you don’t just look at one frame at a time.
The point is to flip through them and create a moving animation.
The PPG Wave series from the 1980s is the most famous,
and was used extensively by such artists as Depeche Mode, Tangerine Dream, and Thomas Dolby.
The Waldorf Wave and MicroWave are its direct ’90s descendants.
and was used extensively by such artists as Depeche Mode, Tangerine Dream, and Thomas Dolby.
The Waldorf Wave and MicroWave are its direct ’90s descendants.
Pigments offers dozens of wavetables, chosen from the browser built into the Wavetable Engine.
Each wavetable contains up to 256 positions, each hosting a wave 2,048 samples in length.
In addition, a dedicated folder contains 81 new wavetables added for Pigments 3.
Each wavetable contains up to 256 positions, each hosting a wave 2,048 samples in length.
In addition, a dedicated folder contains 81 new wavetables added for Pigments 3.
In 3D mode , the display shows you the entire wavetable in perspective view.
The blue line indicates the current position on the wavetable,
i.e. which exact waveform Pigments is pointing at.
Here’s one with just four positions: sine, triangle, saw, and square.
The blue line indicates the current position on the wavetable,
i.e. which exact waveform Pigments is pointing at.
Here’s one with just four positions: sine, triangle, saw, and square.
Switch to 2D view, and you’ll see a conventional waveform display of exactly what you’re getting in that moment.
When Morph is OFF, transitions between wave positions are abrupt. On the contrary, when Morph is ON, these transitions are smoothed out (as shown below).
Note
Morphing really makes a difference when your wavetable has few positions, and that each of them is really different. For complex wavetables with dozens upon dozens of positions, the difference Morph might make is negligeable.
The Position parameter can be a target of any of the modulation sources in Pigments.
The Modulator is an oscillator built into the Wavetable Engine,
meant to modulate the current wave/position directly, and in the audio range.
It also has its own volume knob so you can use it as a “regular” oscillator
alongside the wavetables if desired.
meant to modulate the current wave/position directly, and in the audio range.
It also has its own volume knob so you can use it as a “regular” oscillator
alongside the wavetables if desired.
It acts as the source for four different modulation methods.
These methods work a bit differently, but all of them add more harmonic content.
Here’s an illustration of the effect of each on a basic triangle wave.
Freq Mod: Basic two-operator FM.
These methods work a bit differently, but all of them add more harmonic content.
Here’s an illustration of the effect of each on a basic triangle wave.
Freq Mod: Basic two-operator FM.
Phase Mod: Changes the phase of the carrier wave based on the amplitude of the modulator wave.
Phase Distortion: Warps the carrier wave based on the shape of the modulator wave.
Wavefolding: Folds and multiplies the “peaks and valleys” of the carrier wave.
Remember that the final result will look and sound different based on the Modulator’s waveform and tuning settings.
The Modulator affects the “position of the moment”, all the time.
If that Position is itself changing, then the raw materials the Modulator has to work on change,
and so the sound changes.
So, with Position, the Modulator, and related parameters being modulated by various sources,
the harmonic possibilities are virtually infinite.
The above image shows the changing waveform when just three parameters are modulated by LFOs.
If that Position is itself changing, then the raw materials the Modulator has to work on change,
and so the sound changes.
So, with Position, the Modulator, and related parameters being modulated by various sources,
the harmonic possibilities are virtually infinite.
The above image shows the changing waveform when just three parameters are modulated by LFOs.
Yes, they’re just like the ones for the Analog Engine: classic Unison, Chord, and Super modes.
If you have any further questions, feel free to contact us.