Its not??? That was one of the key features of the original DX 7, they really missed on that?Artie Fichelle wrote: ↑Sat Jun 15, 2019 11:46 am I wish Arturia will soon make all of its synths micro tuneable; especially the DX7 V would greatly profit, and I could put FM8 to grave.
Pigment 1.2 released...
- KVRAF
- 8823 posts since 6 Jan, 2017 from Outer Space
- KVRAF
- 3053 posts since 25 Apr, 2011
They replied;AdvancedFollower wrote: ↑Fri Jun 14, 2019 10:19 amMaybe I'll try dropping them a message too.exmatproton wrote: ↑Fri Jun 14, 2019 10:03 amyeah, i did. After the initial release AND after this update.AdvancedFollower wrote: ↑Fri Jun 14, 2019 10:00 amI see, that makes sense. Have you tried contacting Arturia about it?exmatproton wrote: ↑Fri Jun 14, 2019 9:35 amWhen you choose 2 (or more) polyphony, and you play 1 note (long release for instance), this note will be killed when you play the same note a second time. With "real", i mean something similar to Round-Robin. For instance; 12 voices uses 12 voices, no matter what notes are being played.AdvancedFollower wrote: ↑Fri Jun 14, 2019 9:30 amWhat do you mean with "real" polyphony? You can select between Mono, Legato, and 2 - 32 voices under Play Settings.exmatproton wrote: ↑Fri Jun 14, 2019 8:56 am Great update, but still no "real" polyphony option. The notes are still being killed by by themselves. Which is a shame. Other then that; great update!
Still waiting for a reply
I just checked, and their Prophet 5 actually has those options.
"Circ" is round-robin, Reset works like Pigments does currently. Weird that Pigments doesn't also have those options.
" (Arturia Support)
Jun 14, 22:27 CEST
Hello,
Yes you are right, but is more like it needs a play mode, like Reset, Circle, etc.
I will pass your comment to the DevTeam as a feature request for future firmware updates.
Please feel free to contact us if you need more assistance."
- KVRAF
- 8823 posts since 6 Jan, 2017 from Outer Space
If they are at it they could add a MPE play mode...
- KVRist
- 405 posts since 26 Oct, 2004 from U.K.
There also seems to be a new free sound bank called Percussive Drive in the store section of Pigments. It's got some neat stuff on it
'and when we got bored, we'd have a world war...'
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- KVRist
- 469 posts since 21 May, 2016
Im really quite conflicted on this synth. For all that it does right or excels at, theres usually a corresponding omission or oversight that seems so necessary and obvious
The layout and workflow are great. It really is an easy synth to get flowing with. The oscillators and wt interpolation sound great. Filters are pretty good. But its missing the most basic stuff.
Unison on the wavetable osc but not the analog one. Three analog oscs per engine, but no way to pan them apart from each other. No way to even pan one engine away from the other, without dedicating both filters to the task. Special "super" unison mode but no way to stereo spread it.
Two fx busses but no way to route an oscillator or filter to them individually.
Randomizable arp/seq that even snaps to scale but no way to record its midi output so you can capture the moments when something cool comes up spontaneously.
I dont think im being unreasonable. If it were a simple analog emulation i would understand the limitations, but it seems to be touted as a workhorse synth- and would be an excellent one- but it consistently falls just a little short in simple, bread and butter things like panning and several different types of routing.
I dont want to sound critical or negative. Its a very good synth and i like it a lot. I just think it would take only very simple things to make it an absolutely exceptional synth, and yet it doesnt seem there has been much focus on remedying things that are obvious bottlenecks to its flexibility and utility
The layout and workflow are great. It really is an easy synth to get flowing with. The oscillators and wt interpolation sound great. Filters are pretty good. But its missing the most basic stuff.
Unison on the wavetable osc but not the analog one. Three analog oscs per engine, but no way to pan them apart from each other. No way to even pan one engine away from the other, without dedicating both filters to the task. Special "super" unison mode but no way to stereo spread it.
Two fx busses but no way to route an oscillator or filter to them individually.
Randomizable arp/seq that even snaps to scale but no way to record its midi output so you can capture the moments when something cool comes up spontaneously.
I dont think im being unreasonable. If it were a simple analog emulation i would understand the limitations, but it seems to be touted as a workhorse synth- and would be an excellent one- but it consistently falls just a little short in simple, bread and butter things like panning and several different types of routing.
I dont want to sound critical or negative. Its a very good synth and i like it a lot. I just think it would take only very simple things to make it an absolutely exceptional synth, and yet it doesnt seem there has been much focus on remedying things that are obvious bottlenecks to its flexibility and utility
- KVRian
- 813 posts since 11 Mar, 2010
I agree, it's hard to understand the absence of things like panning and VA unison on Pigments.Razzia wrote: ↑Sat Jun 15, 2019 6:56 pm Im really quite conflicted on this synth. For all that it does right or excels at, theres usually a corresponding omission or oversight that seems so necessary and obvious
The layout and workflow are great. It really is an easy synth to get flowing with. The oscillators and wt interpolation sound great. Filters are pretty good. But its missing the most basic stuff.
Unison on the wavetable osc but not the analog one. Three analog oscs per engine, but no way to pan them apart from each other. No way to even pan one engine away from the other, without dedicating both filters to the task. Special "super" unison mode but no way to stereo spread it.
Two fx busses but no way to route an oscillator or filter to them individually.
Randomizable arp/seq that even snaps to scale but no way to record its midi output so you can capture the moments when something cool comes up spontaneously.
I dont think im being unreasonable. If it were a simple analog emulation i would understand the limitations, but it seems to be touted as a workhorse synth- and would be an excellent one- but it consistently falls just a little short in simple, bread and butter things like panning and several different types of routing.
I dont want to sound critical or negative. Its a very good synth and i like it a lot. I just think it would take only very simple things to make it an absolutely exceptional synth, and yet it doesnt seem there has been much focus on remedying things that are obvious bottlenecks to its flexibility and utility
- KVRian
- Topic Starter
- 955 posts since 18 Apr, 2006
Excellent points, Razzia. I love that synth, but I can't disagree with anything you said. I'm encouraged that they have updated it. Hopefully they will continue.
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- KVRian
- 712 posts since 26 Jul, 2018 from Germany
I liked it, it sounds like a piano.exmatproton wrote: ↑Fri Jun 14, 2019 9:35 amWhen you choose 2 (or more) polyphony, and you play 1 note (long release for instance), this note will be killed when you play the same note a second time. With "real", i mean something similar to Round-Robin. For instance; 12 voices uses 12 voices, no matter what notes are being played.
The other option (rotating voice assignment) would result in little phasing. Maybe one reason, why chords with Pigments sound so clean.
Choosing the assignment mode would be the best solution.
- KVRAF
- 3053 posts since 25 Apr, 2011
For a lot of patches i made, i really was hoping for a cycle, or round-robin option.Rastkovic wrote: ↑Sun Jun 16, 2019 5:06 amI liked it, it sounds like a piano.exmatproton wrote: ↑Fri Jun 14, 2019 9:35 amWhen you choose 2 (or more) polyphony, and you play 1 note (long release for instance), this note will be killed when you play the same note a second time. With "real", i mean something similar to Round-Robin. For instance; 12 voices uses 12 voices, no matter what notes are being played.
The other option (rotating voice assignment) would result in little phasing. Maybe one reason, why chords with Pigments sound so clean.
Choosing the assignment mode would be the best solution.
So, it should be an option.
- KVRAF
- 35268 posts since 14 Sep, 2002 from In teh net
Good that official NKS support is here but why make the mapping template so minimalistic? It leaves out too much imho (Synapse did the same with their Dune 2 template).
So for me this does not replace the unofficial Pigments template I made when it first came out which is a much more comprehensive mapping - and therefore will still remain available as an alternative, sound designer's mapping, with factory patches and previews in the NKS user library (link in my sig)
- KVRAF
- 4590 posts since 7 Jun, 2012 from Warsaw
New feature list shows they know what they're doing, Pigments is a serious contender!
Blog ------------- YouTube channel
Tricky-Loops wrote: (...)someone like Armin van Buuren who claims to make a track in half an hour and all his songs sound somewhat boring(...)
Tricky-Loops wrote: (...)someone like Armin van Buuren who claims to make a track in half an hour and all his songs sound somewhat boring(...)
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- KVRist
- 121 posts since 11 Mar, 2015
+10 - it's the reason I stopped using any Arturia software. Now I'll certainly be looking in to Pigments, hope they extend it to their other plugins.Artie Fichelle wrote: ↑Sat Jun 15, 2019 11:46 am It's the micro tuning! It's a must have these days, hope not only for me.
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- KVRAF
- 2641 posts since 23 Jun, 2006 from Hungary
I wonder when will they implement saving/loading sequencer settings separately...
Also some kind of "Locking" method will be awsome (lock the sequencer, lock filter, Lock Engine1 etc.)
Also some kind of "Locking" method will be awsome (lock the sequencer, lock filter, Lock Engine1 etc.)
Youtube channel: https://youtube.com/@SoftSynthPortal
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- KVRist
- 163 posts since 10 Aug, 2006
I keep forgetting to talk about Pigments; new update just out. Arturia continues to make substantial advances with it.
It’s really a monster of a synth, right up there with Massive X. Those who are frustrated by the current state of MX’s interface would enjoy the one in Pigments.
It has the ability to use FM, phase modulation and wave shaping on any wavetable, separately or all at once.
Arturia’s default soundsets are mostly on the conventional/beautiful side, but Pigments is by no means limited to that! The included patches are really subtle and sophisticated in design.
I hope people are digging into this, along with all the other amazing wavetable synths out now. There’s as big a sea of them now as there were analogue monosynths not long ago. Pigments, MX, Wavetable (Ableton 10.1) in software; Quantum of course in hardware.
I am reminded that wavetable synthesis is ultimately really my favorite kind, but it really takes effort to master it, as easy as the current generation of interfaces and architectures make it to use immediately.
Further thought: we may be at the edge of a Next Big Thing, pioneered currently on the Quantum: wavetable/granular hybrids (it’s even more than that, but for starters).
Wavetable really lends itself to round tones, and granular to biting ones. Combine the two and you expand the musical palette of what you can do even more.
I still feel we’re a ways from really playing to the strengths of granular, or even knowing what they are; that’s a big step that needs taking.
But it feels to me like granular and wavetable are natural partners, as types of synthesis.
It’s really a monster of a synth, right up there with Massive X. Those who are frustrated by the current state of MX’s interface would enjoy the one in Pigments.
It has the ability to use FM, phase modulation and wave shaping on any wavetable, separately or all at once.
Arturia’s default soundsets are mostly on the conventional/beautiful side, but Pigments is by no means limited to that! The included patches are really subtle and sophisticated in design.
I hope people are digging into this, along with all the other amazing wavetable synths out now. There’s as big a sea of them now as there were analogue monosynths not long ago. Pigments, MX, Wavetable (Ableton 10.1) in software; Quantum of course in hardware.
I am reminded that wavetable synthesis is ultimately really my favorite kind, but it really takes effort to master it, as easy as the current generation of interfaces and architectures make it to use immediately.
Further thought: we may be at the edge of a Next Big Thing, pioneered currently on the Quantum: wavetable/granular hybrids (it’s even more than that, but for starters).
Wavetable really lends itself to round tones, and granular to biting ones. Combine the two and you expand the musical palette of what you can do even more.
I still feel we’re a ways from really playing to the strengths of granular, or even knowing what they are; that’s a big step that needs taking.
But it feels to me like granular and wavetable are natural partners, as types of synthesis.