Pigments - Effects

Choose between the busses with the “sideways” tabs.

Select different FX types by clicking the FX name.

You can also drag FX from one slot to another in the bus overview on the left side of the screen.

If a slot is already occupied, the two FX switch places.

FX busses A and B can be routed in series or in parallel.

The options are:

• A > B: The filters’ output hits A first, A feeds B, and both then go to the Aux bus.
• B > A: The filters’ output hits B first, B feeds A, and both then go to the Aux bus.
• A // B: The filters’ output hits busses A and B together, with both then feeding the Aux bus.

These options are only available if Filter Routing on the Synth page is set to Pre-FX Sum.

If it is set to Split, the only option above will be A // B (parallel).

Also keep in mind that the Send level knob (which is duplicated on the Synth page below the Filter Output section) brings the filters’ output directly into the Aux bus,

without going through FX bus A or B first.

A total of 18, organized into five categories: Filter/EQ, Dynamics, Distortion, Time Based, and Modulation.

The Pitch-Shifting Delay, Jun-6 Chorus, Multiband Compressor, and BL-20 Flanger, which is an emulation of a very rare piece of hardware, the Bel BF-20.

It’s both a compressor and an expander.

Drag the top bars up and down to set the compression threshold, and the bottom bars to set the expansion threshold.

Drag inside of a bar to set the ratio.

Higher ratios make the horizontal lines more dense until the bar turns blue.

You can also turn bands on and off and set the crossover point for each.

Choose Above Only mode to disable the expansion function and use the Multiband just as a compressor.

Absolutely.

Any effect that has a Rate parameter syncs to your project tempo according to the usual rhythmic subdivisions,

with support for binary, dotted, or triplet values.

There’s also an unsynced Hertz option.