This method uses sliders to accomplish two purposes at the same time: they can adjust the levels of existing mod routes and also create new mod routes by simply moving a slider. This allows you to try multiple combinations of mod sources and quickly assess how their combined influences affect a single parameter.
TIPS
- Remove all routings at once: Right click on a knob's plus sign (+), then select Remove All from the pop-up menu.
- SC 101: Visible only after some modulation amount has been added, the modulator sidechain (SC) allows for a modulation amount to be modulated by another modulation source. Learn more about it at the end of this chapter.
- Switch back to Modulation Overview: Click on an empty area to switch back to the Modulation Overview.
This method allows greater precision over the impact a single modulation source will have on multiple destinations.
While in Mod Target view, the center strip will show all modulation routings for the selected modulation source, also providing the following functions and settings: Modulation destination, Modulation amount, On-off, Remove, Side Chain.
TIPS
- Useful functions: Click on the white arrow right to the modulator's name at the beginning of the center strip to find useful functions that will affect all the modulation routings for the current modulator. Individual routings can be copied or resigned using the carat drop down menu.
- Modulator Sidechain 101: The modulator sidechain allows for a modulation amount to be modulated by another modulation source. Learn more about it at the end of this chapter.
- Invert a modulator: Modulation is bipolar, just set a negative modulation amount to invert a modulator's shape.
- Automatic cleaning: Modulation routings with no modulation amount (0.00) will be removed once you leave Mod Target view.
- Switch back to Modulation Overview: Press the Esc key or click on an empty area to switch back to the Modulation Overview.
As of version 4, Pigments supports simple drag-and drop creation of modulation routings.
As of Pigments 4, Modulation Quick Edit makes adjusting modulation amounts for an already-assigned destination much easier, mainly because you do not have to go into the Modulation Source or Target views to do so. Under certain conditions, mini knobs or “pie charts” as we call them, appear underneath a control.
Up to three envelope generators can be used to modulate Pigments parameters. Find these envelopes at the Envelopes tab (orange) in Pigments' lower section.
Control how envelopes are triggered by changing their Gate Source.
TIPS
- Legato 101: To play “legato” means that you will play a new key before releasing the last one. Some features on Pigments recognize notes played legato and behave accordingly.
- Automatic: Trigger the envelopes with periodic sources like an LFO or the Sample engine's grain triggers for unique results.
- Poly not allowed: Avoid polyphonic envelopes when modulating non-voice parameters such as those in the effects.
- Hardwired: The Gate Source for the first envelope (Env VCA) is hardwired to the keyboard. You can select Mono Legato or Poly modes at the polyphony mode located in the Play Settings
Three Low Frequency Oscillators (LFOs), featuring Waveform and Symmetry controls for continuous waveshape morphing, can be used as modulation and trigger sources. Find the LFOs at the LFO (yellow) tab in Pigments' lower section.
TIPS
- Be Creative: Use the LFO beyond vibrato, creating motion for dynamic sounds to captivate the listener.
- Rhythmic Gate: Set Rate Type to Sync Binary and use the LFO's square waveform to modulate the VCF.
- Wobbling Sounds: Set the Filter to a band-pass mode and modulate it with an LFO. Using high levels of resonance, tweak the LFO Frequency.
- Complex Oscillations: Achieve unique LFO waveforms by modulating an LFO with a second LFO or even by itself. Try It!
- Trigger source: The LFOs can be used to trigger other modulators.
The LFO can be restarted by changing its Reset Source.
TIPS
- Legato 101: To play "legato" means that you will play a new key before releasing the last one. Some features on Pigments recognize it and behave accordingly.
- Phased Pads: Set Free Running as the Restart Source on a slow-speed LFO. Then use it to modulate Analog engine oscillators' pulse width or a Phaser filter cutoff frequency for super-warm phased sounds.
- Polyphonic spreader: Use Poly KBD as the Reset Source. Enable KeyTrack for multiple speed LFOs and use Velocity to modulate the LFO's Phase parameter. Set a slow rate (inHertz) and use the LFO to modulate pitch, pan stereo position, or the filter.
Define up to three complex functions to be used as custom-shape LFOs or Multi-Segment Envelopes Generators. Find the Functions at the Functions tab (green) in Pigments' lower section.
TIPS
- The Right Function: Be sure that the right Function is selected before you start tweaking things.
- Polyrhythmic: Use Functions to create rhythmic patterns. Set LFO mode with multiple Rate Types. Functions will overlap at different positions each time they restart, creating polymetric figures. Too crazy? Use the longest Function as Gate Source for the others.
- Functions vs. Envelopes: While Functions allows for really complex shapes, parameter modulation in Functions is limited to Rate and Scale. On the other hand, the Envelope's parameters can be modulated. So if you want to create detailed modulation curves, go forthe Functions. If you want real-time control with serious modulation features, go for the Envelopes.
Functions can contain up to 64 points, each one with its own value and curve type.
TIPS
- Initialize: Load the Init preset from the Functions' Preset drop-down menu.
- Regen 101: To randomize the selected Function's points, click and drag on the Regen dice. You won't regret it. And if you do, there is always the undo Function.
- Automate the Scale param: Modulate it with a bipolar modulator for unique effects.
Three random generator modules can be used to add everything from subtle unpredictable changes to completely chaotic behaviors. Any combination of the random modules can be set using the three random slots located at the Random tab (violet) in Pigments' lower section.
TIPS
- Surprise factor: The surprise factor is priceless. Use the random modulators to surpriseyour audience and even yourself.
- Glitch's secret weapon: Most of the complex editing work you listen to in IDM, hyper-pop, or other glitch-based music, are achieved with random modulators. Get to know them!
- Humanize: Refresh static sounds with subtle random bits blurring the line between the man and the machine.
The Turing module generates random sequences that can evolve on demand.
TIPS
- Flip 101: Turing sequences are created by a specific sequential process where each new value depends on the previous one. The Flip parameter controls the probability for one of those values to flip generating a new sequence. Flipping that value back will return to the previous sequence.
- Be creative!: Modulate the Turing parameters with an LFO or other random modulators for truly unique results. Set a slow periodic modulator with an odd-rate type as the ResetSource.
- Hands to the knobs: Spice your live performance modulating Turing's parameters live with your MIDI controller.
- Bipolar?: While the Turing module only produces positive modulation, you can use the Combinate Remap mode to convert it to bipolar. Find more about the Remap function at the end of this chapter.
The Sample & Hold outputs values sampled from a given source at specific moments.
TIPS
- Quantized modulation: While sampling an LFO, use a 1/8 Clock as the trigger source for unique stepped modulation.
- Pseudo-Random: The Utility engine Noise 1 & 2 can be used as a source for alternativepseudo-random noises. Low-level samples could produce no modulation.
- Polyphonic spreader 2: Use the Sample & Hold to modulate the pitch, pan stereo position, or the filter. Use Poly KBD as the Trigger Source, so each voice will have a unique value.
- Modulate It!: Modulate the Rise and Fall parameters with a couple of LFOs for interesting results.
The Binary module generates random ones and zeroes at a given rate.
TIPS
- Best usage examples: Producing only ones and zeroes, Binary is really useful as a Side Chain source and as a modulator for the Combinate modules.
- Perfect random trigger: It produces a trigger only when its value flips from 0 to 1. Try it on the Envelopes, Functions, and LFOs.
- Be creative!: Modulate the Binary parameters with an LFO or other random modulators for truly unique results.
- Bipolar?: While the Binary module only produces positive modulation, you can use the Combinate Remap mode to convert it to bipolar.
Up to three Combinate modules featuring nine operation modes can be used to reshape modulation data. Find the Combinate modules at the Combinate tab (purple) in Pigments' lower section.
TIPS
- Check the visualizer!: Besides the resulting waveform, the exact formula used for theselected operation is also shown on Combinate module's visualizer. Check it!
- Bipolar to Unipolar: Using the Offset type, set Amount to 0.5 to convert a bipolar modulation into a unipolar one.
- Double modulation sidechain: By using Combinate's sidechain and Combinate's Multiply mode, two modulation sources can be used to sidechain a single modulation routing.
Combinate module's Remap type uses a custom response curve to transform a modulation source's data.
TIPS
- Curves 101: If you don't understand how curves work, watch the curve and pick a single pixel. That pixel has X / Y coordinates. X represents the input value, and Y the output one. In other words, an X input value will be transformed into an Y output value.
- Polarity: Function curves are bipolar. The graph's left side represents the negative phase for the input signal, and the lower half the negative phase for the output signal.
- Swiss Army Knife: The Remap can rectify, invert, quantize, create non-linear curves and whatever you'll have in mind.
- Discrete values on Macro controls: By creating stepped function curves, you can limit aMacro to discrete values, even to just 0 and 1.
- Velo, AT, & KBD: Find dedicated response curves for Velo, AT, & KBD modulation sources at the Keyboard tab (pink) in Pigments' lower section. Learn more about this in the Other Hardware Panel Function chapter.
Four Macro knobs allow controlling multiple parameters simultaneously. Find the Macro knobs in Pigments lower section's right side.
TIPS
- Remote control: Once programmed, Macros can be automated on your DAW or adjusted remotely from your MIDI controller.
- Build that drop: Take all those parameters you would tweak on your song's drop and assign them to a Macro for instant live performance satisfaction. Use Combinate Remap when linear modulation doesn't fit your needs.
- Abstractions: In Pigments' factory sounds, Macros 1, 2, and 4 are usually labeled Timbre, Time, and FX. While their controlled parameters may differ from sound to sound, these Macros' abstract functions (in ARTURIA's factory sounds) are supposed to be the same. This really simplifies live performance mechanics' learning process. Now you know. Use ARTURIA's suggested abstractions or create your own.
Incoming MIDI data can be used for modulation purposes.
TIPS
- Filters Key Tracking: Set a filter's FM source to KBD (if available) and FM Amount to 1, so the filter cutoff frequency will follow the keyboard. For filters that don't support FM, keyboard tracking can be achieved by modulating the Cutoff parameter directly.
- Playing With Expression: Use Velocity and Pressure to control loudness and timbre forpatches that react to the player's touch..
- Wobbling Live: Create an LFO based wobbling sound, then use the ModWheel to control the LFO Speed on the fly.
- Custom response: Velo, AT, and KBD's responses can be shaped using function curves located in the Keyboard tab (pink). Learn more about the Keyboard tab in the next chapter.
- Using the center strip: Learn more about the center strip on the Modulation Sources - Introduction chapter.
A virtual Keyboard located at the Keyboard tab (pink) in Pigments' lower section can be used to play the instrument without a dedicated MIDI controller. Dedicated settings allow defining the pitch bend's range.
TIPS
- Velocity: The virtual keys can produce different MIDI velocities depending on where you click them. Click them at the bottom to produce the highest MIDI velocities.
- Transposing the computer keyboard: Use keys X & Z to transpose the computer keyboard.
- Tape Stop effect: Set Bend Range Down to 36 for a huge pitch-bend that will resemble a tape's stop effect.