![]() ![]() ![]() Pigments on the other hand feels a little more like its trying to be a creative extension of what you do. Serum is designed to at every step move and sound exactly how you expect it to which makes for an effortless sound design experience. This is how the pulse we’re going to create sounds like. In my opinion the key difference is that Serum is precise and effective and pigments is more creative. FX can play a huge role here, especially distortions, bitcrushers for the bite, compressors for the punch, and reverb for a bit of atmosphere.Īs usual, we will divide the process into steps where we will set up the Engines, then Filters and Modulations, and lastly FX. Using more than one Engine can be a key to creating interest in the sound, using one for the foundation and another one for the texture or the character. ![]() While there are plenty of buttons and knobs to tweak, you can break down Pigment’s main controls into three sections: the synth engine, the filter, and the modulation bar. What i have done instead is wait for Arturia to do the real. Movement can be created with cyclical modulations synced to tempo, such as LFOs or, even better, Function Generators, modulators that allow us to freely draw a shape for our modulation. Arturia Pigments is a very powerful synth virtual instrument with many settings to play with, which means you can get creative in no time Navigating Pigments is very easy, too. This isnt perfect, and it isnt cheap either, but it goes some ways towards the Pigments Synth. This will be a dark bass ostinato pattern that can set a mood or provide a solid bed for our composition with the press of a single key. In this article, we’ll continue to explore cinematic sounds in Arturia Pigments, creating a second Pulse sound (the first one was covered in a previous issue here). Welcome back to another episode of Anatomy of a Patch. ![]()
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