Except that I have made no attempt to do that, have I? The oscillator issue is definitely a bug and if the Matrix 12 filter isn't meant to sound like that, then that's a bug, too. But that all they are, they have nothing at all to do with sound quality, as you were suggesting, and 99.9% of professional users probably won't ever encounter either of them.
Assuming they knew. But it has just occurred to me, this instant, that I have Analog Lab, which I'm sure includes loads of presets from Matrix 12, so I might be able to see if the problem exists there, too.Did you read what I said, btw? If that was an intended behaviour, the Arturia woud said that a few months ago.
I suggest you read my text carefully, as I never made any definitive statements, simply listed possibilities. That it's taken several bouts of back & forth for you to confirm that it is a bug is really quite annoying. But it will still be interesting to see if it's a bug in the V Collection Matrix 12, too, that just got copied and pasted across into Pigments. Because if it is, it means nobody has noticed (or maybe just not cared) for many years.Please read my text carefully, so you don't start writing same things twice.
No but I'd suggest that the area of overlap for most synths is more than 50%, especially synths as similar as Pigments and Hive. And with the new granular engine, I have to start thinking stupid things like "should I use Straylight or Pigments?"
Absolutely, especially as it will ultimately allow you to do a better job of exploiting the instrument fully. That's my frustration with DUNE - it sounds better than anything else I have but getting what I want out of it can be a chore so I just don't bother most of the time. If I can get something that is 99% as good in half the time, then that's what I am going to do. Every time.The bigger question is whether you can and will use the synth, if the sounds it does well are useful to you. Personally before I even heard it I was sold, good UX counts, and Pigments is laid out so well I'm going to work with it, if everything in it was just mediocre it would still be useful. Being able to access everything quickly and fluently counts.
Abso-freakin'-lutely! Through my best, most productive years as a solo artist I mostly just had a workstation - M1, followed by an O1/W, then a Trinity - and a sampler - DSS-1, then an ASR-10.I worked through the 80's and 90's with just one or two synths and a sampler, I see no reason to go back to that.
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That's because you've probably never spent even a minute thinking about it. Urs hangs around here, he knows what a bunch of sad losers you lot are, how you all jump on whatever the current trend is, so he tailors his products accordingly. OTOH, Arturia deal with real, professional musicians and producers, so that's the people they target with their products."They are just catering to a different market". What this suppose to mean? Lol. This sounds meangless to me.
And if that was the sum total of what makes a synth feel polished, I'd agree with you but it's just one aspect of it. When it comes to workflow, Hive 2 has become far too compromised. In their effort to squeeze more and more into it, they have sacrificed usability. Meanwhile, Arturia have managed to squeeze in just as much without it having the tiniest effect on workflow.Also, I said above that Uhe synths are so polished quality wise - i cannot spot any ugly click, zipper noise, problem with the envelopes and so on. They are without those overlooked/bug sound artifacts.
Then there are the presets and Pigments' presets are amazing and really different, Hive's are just what you hear everywhere. I used to use Hive 1.2 quite a bit but since the upgrade to v2, I've barely touched it. OTOH, when Pigments was at v1, it kind of interested me, although not enough to buy it, but the upgrade to v2 has made it better, without compromising on what made it good in the first place. It only took me an hour with the new demo to know that I wanted it, that it would provide me with all the kinds of sounds we use in our songs (the ones we put into albums and people buy with their actual, hard-earned money).