Turn the volume of the noise all the way down, go to the Env section (orange), and, as with the LFO, select the second orange rectangle above the central row then click and drag on the noise volume to taste.
#Arturia pigments free generator
Let’s use the second Envelope Generator to modulate the volume of the noise. In the Utility Engine, enable the first Noise Oscillator and the Sub Oscillator, and be sure that the Filter routing knob on both is on Filter 1.Īgain a simple setup, but we can spice it up with a modulation. We will also set it to be Unipolar by clicking on the Bipolar label, active by default, so that the LFO will move the knobs in just one direction.
#Arturia pigments free free
In this case, we are chasing after random variations in the sound, and each step of the sequencer would restart it, so with Free Running, the third LFO will run continuously without being interrupted. What does that mean? An LFO produces a waveform that has a phase, and we can make the LFO play this waveform from the beginning when we play a new note, particularly useful when we want to have everything in sync. In the LFO settings, you can set your preferred waveform and speed, but it is important that you set the Reset Source to Free Running.
Let’s do the same with the Wavetable position, amount to 0.24. Set the amount to taste, in my case I have set it to 0.36. Let’s click on the LFO tab (yellow) and, in my case, on the third LFO little rectangle, then let’s go over the FREQ MOD, FM Type knob, and drag until a yellow arc appears on the knob. Let’s spice the sine wave up a bit by adding an LFO that slowly modulates the Wavetable position bringing it towards a Triangle wave and the FM amount so that our basic tones periodically add some new harmonics. In the Wavetable Engine, we will start with a Basic Waveforms wavetable, and that’s what we need. Here’s the final sound with some ambiences provided by the free pack of Articulated Sounds.
We are going to create a sequence this means that pressing a single note will trigger the whole patch.
It is not complicated and we will go through the whole process, dividing it into three steps: creating the basic sound, dealing with the sequencer and modulation, then with the FX. How is that possible? There are a lot of clever ways to achieve this in our case we will use the Random Generators as modulators for our sounds and the Random option for the notes of the sequencer. There are a lot of well-known examples of generative music in history, but my idea started from a constantly growing scene of ambient musicians and modular synthesists that love to create sequences that never repeat. Welcome back to another episode of Anatomy of a Patch! In this article, I’d love to explore the sequencer of Arturia Pigments to create a generative sequence, i.e., a sound that is driven by a sequence that is constantly evolving.
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