Pigments offers hundreds of master-crafted preset sounds for you to explore, enjoy, and personalize.

To give you the best range of sounds to represent the awesome power of Pigments, we scoured the globe for the most adventurous, experimental, and down-right cool sound designers around. Trailer sound design masters to sample pack geniuses, highly respected recording artists to pioneering modular synthesists. They’ve all been busy making totally unique, massively exciting sounds just for you.

On this page, you can read - in their own words - what our sound designers thought about Pigments, its workflow, how they approached their sound design, and a little bit about their favorite patch.

Jeremiah SAVAGE

The mastermind behind the Kinetic Metal and Kinetic Toys Kontakt instruments, and sound designer for Absynth, Massive, FM8, and Reaktor, Savage is a highly respected, superbly talented audio artist.

While learning Pigments and experimenting with various parameters, I quickly honed in on my favorite feature: the wave table editor. I always begin my synthesis work by crafting the wave unit first and work my way out from there. With Pigments, you can quickly get the tones and harmonics you need with it’s powerful features. I love using the different noise modulators in combination with simpler wave shapes to create realistic sounding instrument timbres.

My approach usually involves deciding on a theme and building the sounds around it. On new synths I like to explore possibilities and experiment to find a certain niche. With my 32 Pigments presets, I created a broad range of challenging tonal and musical pallets, and felt Pigments did a great job of meeting those challenges.


Night Tremor was my first preset created with Pigments. It has a nice expressive attack and is very playable as a stand alone sound. As it was my first sound, I took the experimental approach in its creation and was very pleased with the result and immediately became hooked.
With Night Tremor, I carved out the tone in the Wave Table section, then used modulation with various wave table parameters. The combination of flexible modulation and deep wave table editing is not just powerful in achieving nice sounds but it’s a joy being able to get to that level, finding interesting and unique tones so quickly and easily because it means you can spend more time exploring even deeper possibilities.


Starcadian is a mysterious, independent visual and audio artist, currently based in Brooklyn, New York. He’s been making what he calls 'ear movies' since 2011, combining electronic music with fantasy soundtracks, bound together by a narrative mythology catalogued in his music videos. Every album he creates is based on a feature-length script, building off of, and tied to the previous releases. He direct the videos along with his frequent collaborators, and produces all the visual effects.

It’s funny how sound design works. You never know what the trigger will be. A “standard” way of starting out would be to try and emulate your favorite sounds build off that. With the right plug-in, you start with those intentions and veer wildly off-course. That’s when the real magic happens. Not only does that entire song structure change, but the meaning and vibe. That’s really lightning in a bottle and you can’t account for when and how that happens, other than making sure you use the right tool that lets you do that and accommodates your trip.

Pigments led me down this wonderful rabbit hole of new exciting ways of manipulating the sounds and made me rethink what I was doing. I’ve always said that music should never be fully retrospective, or never fully futuristic. The real beauty lies in the middle. No one writes a new language for their next book. You take the existing language and use it in new interesting ways that touch real people. The best way you can do that is by using the right pen, like Pigments.

Space Pad

The foundation of this whole sound comes from a single waveform. When you animate the position, it creates this gorgeous harmonic that would oscillate between the IVth and an octave. After experimenting with macros, I found it interesting how with just one knob you can turn this from a soft spacey pad to a distant black metal guitar from space. I used Pad Enabler to segue in the harmonies, while I using the Timbre with a bezier curve towards the end to intensify the finale. I peppered in little automation hills of wavefolding and phase distortion to give it some variation and intensity. Finally I use Time to alternate between a slow ambient sound to the faster arpeggio section.


Emmy-nominated composer Jörg Hüttner bought his first synth at 15, inspired by Depeche Mode and Jean-Michel Jarre. In the late 90s and 2000s he created lots of sounds for synth manufacturers, before moving to LA in 2007 to pursue a career in film music. He’s worked on “50 Shades of Grey”, “Independence Day: Resurgence” and Netflix’s “How It Ends”, and many more. A few of his latest projects include promo spots for NBC and a new trailer album for 2019.

Pigments is a very ‘visual’ synth. You immediately see what is happening with a sound and its settings thanks to its clear graphics. The easy setup of modulations makes Pigments fun to work with, and I especially like how you see modulations at work in the modulations bar. Combining Wavetables with “conventional” analog oscillators and using Arturia’s great sounding filters from various software synths makes for a powerful synth engine.

I always start with “init” sounds with any synthesizer I get my hands on to see what it can do. I checked out Pigments’ wavetables first to see which ones I liked best. Then I started to play with different modulation sources to scan the wavetables. From there it gave me an idea what type of sound I might go for. I always focus on making sounds very useful in productions and not to “show off” features. Sounds are tools for my compositions.


I tested a Functions modulation to modulate the filter, which ended up sounding more like a sequence, which I liked. The aggressiveness comes from the wavetable’s sound though. Function 1 is the main sculpting feature of this sound. It makes the rhythm and filter movement. I combined hard parameter jumps in it with smooth and curved parameter changes.


Venus Theory is a musician, sound designer, and content creator based out of Central Tennessee. Specializing in ambient and cinematic sound design and production, they have a penchant for 'larger than life' atmospheric soundscapes, interspersed with cutting-edge sound design. Usually, they can be found between cups of coffee wandering the woods, jamming with their KeyStep Pro, and making (and recording) lots of noise anywhere they go.

Pigments not only represents a great value to producers with its extensive feature set, but is also one of few synthesizers that can grow with you on your journey in production and sound design, no matter what style or genre you're creating. The new 3.5 update brings some incredibly fun new sonic territory to Pigments and opens up a lot of possibilities that I'm excited to explore further in my sonic laboratory!

With my sound design work on this update, I wanted to explore the world of darker bass music genres with a bit of a 'neuro' twist to create some gritty, heavy sounds that are just as suited for hard-hitting modern genres as they are for cinematic trailer/game/music work. The inter-engine modulation made this a ton of fun to explore for more complex, warping modulations and the great filter and effect selection really made the sounds mix-ready!


This preset is actually an updated version of a preset from my personal collection. Being able to split and layer sounds together coupled with the deep and intuitive modulation of Pigments as well as its generative capabilities and lush effects makes for a great patching experience! With this preset, I set out to make an 'inspiration machine' and Pigments served that up in spades!


A sound designer and music producer based in the UK, Pike’s current focus is on sample pack production, instrument design, preset design, beta testing and creating wavetables for various companies including Arturia, Novation & Loopmasters. In recent years, he’s been helping to develop and run “The Jumblies Project”, an inclusive interactive arts and education project in collaboration with a local SEN college.

The feature sets of the wavetable and analog engines complement each other superbly, giving a very broad scope to the timbres that can be achieved. This, combined with the deep yet speedy modulation workflow, multiple filter models and extensive FX section really allow you to get mix-ready and expressive sounds. A personal favourite feature is the ability to quantize the OSC Engines and use modulators to create melodies and variation.

As there is so much variation possible in Pigments I had a very open approach to the sound design process. A common underpinning principle was always trying to stretch the musical idea as far as possible within each preset. This often made use of the extensive modulation routing to try and create layered voicings within the sounds and, because Pigments is not truly bi-timbral, this was always a fun challenge that often found me in new creative territory.

Glitch Releases

This was an experiment into musical uses of random modulation and how they could create a sense of call and response between the synth and player. The result massively exceeded my expectations. The feature which made this preset work so well was the quantized pitch modulation allowing me to restrict the random modulation to 5ths and Octaves, keeping the dramatic glitching harmonically safe.


Composer and sound designer, always focusing on Hybrid Music. His music describes an imaginative balance between synthetic and orchestral sounds with a Cinematic/Trailer mood. By making music since he's 4, he discovered a true passion for it. After finishing studying music at a music school as a saxophonist, he became music composer and sound designer, and since then he never looked back. His music is characterized by a creative blend of Accoustic and Electronics sounds.

Pigment is the easiest advanced synth I ever see. It's really musically inspiring by its design. The flexibility and the visualization of its modulations are what's make Pigment unique. The new sample engine is well engineered, perfectly integrated with the others features.

All of my presets were made from scratch using the "Default" one. Thanks to Pigment it's quite easy to work like this. I want my presets to be modern, wide, big and clean at the same time. Because it's what we are looking for in cinematic music branch today. For creating my presets, I've looked over recent Trailer music, and their specific sound design, to make my own sound.


This Preset is the result of an experimental approach, what happens if we use the Granual Engine to play multiple samples, from the same source, but with differents octave played ? The granular engine was used to make this sound, by using the "Time" knob, which allow me to use it like an Arp/Seq. Many of the Pigment's Granular fonctions are really good for that kind of sound.

Ksenija LADIĆ

Ksenija Ladić is a sound artist, music producer and vocalist holding an MA in Sound Studies at UDK Berlin. She explores the modes of musical production used in experimental and popular music, collaborating with artists from dance and visual fields. She is often combining textures presented from recordings of her surroundings, creating sound design by using her voice, playing with analog and digital sound sources. She created sound design for several Native Instruments synths, as well giving her voice to vocal-based granular synth Pharlight. Lately she is into sound bowls and their heal-ing vibrations.

I find the instrument to be very intuitive and visually beautiful to work with. All the new features and sounds are just amazing. I mostly got hooked on the noise engines as the colors of the noises were so soothing to me and sounding organic and natural. Sub oscillator is a welcoming add, it has a routing choice too. I also loved to play with the formant section of the harmonic oscillator engines, it lets you mould the spectrum. Jup-8 filter adds class, the multi-band compressor performs amazing and the pitch shift delay adds an extra kick in the SFX territory. The attack is faster than the blink of an eye. Combining the three engines you really get a powerful sonic tool!

As this was the first time creating sound design with Pigments, I just dug in and learned all the features exploring their possibilities. I aimed to create sounds that were given in the brief and also go for my favorite styles. My sounds turned out as classic sounding evolving leads, lo-fi and retro leads, as well as cutting edge basses and sequences. My method was to include the new features, other than that I fully went with my creativity.

Fine Time

It is hard to say what is my favorite preset, their styles vary so much! Most fun when making sounds to me is to think about a movie scene or a concrete situation where I would use a particular sound, and then I just shape it until I get the feeling it would be perfect for the scene or the mood. This experimental sound could accompany a cartoon character from the future or a motion graphic design. I named it after a past fav radio show - 'Fine Time'.
I wanted to make a combination of the new featured Harmonic oscillator and the noise engines, checking the filter routing split option. I couldn't have imagined this versatile sound in the beginning, so it was an experimental approach.
Fine Time preset is based on the new Pigments 3 features - two new Harmonic oscillator engines and two noise engines. One harmonic engine gives the warm melodic base, the second engine adds the bass sound, whilst the noise engines put in the rawness and the gritty texture, you can play with all the layers using macros, try out the mod wheel too. What is also cool with this sound is that it is versatile due to the arpeggio styles and speeds. All rounded up with a sliding cutoff touch of the new Jup-8 filter. Takes me to a sonic phantasy world!

Empty Vessel

New Zealand-based emptyvessel’s work is an obsession with imperfection, texture and detail. With creative use of tape, vintage samplers, field recordings and software tools, he introduces dust & artifacts, breathing life and decay into the carefully curated sounds that define his sonic signature. Programming synths since the 80s he now creates presets & content for Arturia, Novation, Kilohearts, Unfiltered Audio, Rhizomatic, Tritik, Xils & TAL as well as his own packs.

Pigments’ main strengths are the great range of possibilities combined with an intuitive interface, timbral scope with accessibility. I found the sound quality of the various engines and fx immediately compelling and find Pigments a very enjoyable and rich sonic experimentation playground.

The various engines in Pigments offered scope for exploring a range of ideas, from re-imagining some field recordings using the granular engine to importing audio to create wavetables. I set out also to explore the new Harmonic engine, moving through cold glassy soundscapes to inharmonic metallic clangs and on to dusty lofi organs and electric pianos. The new Noise sources in the Utility section were very helpful for adding that “dusty attic” vibe I love.


I set out to use the Granular engine to explore a recording of stirring a mug of Miso soup. From there informed experimentation takes over to layer and fine tune to create the finished playable patch. Heavy use of various randomising options & modulation give timbral variation. 3 samples in engine 2 are randomly selected each note plus vinyl noise and a transient from the Utility section.


Richard Veenstra is a sound designer and composer currently based in Madrid. His blend of analog synthesizers and drum machines, vintage tape machines, digital production techniques, and foley recording, lead to a signature sound. Richard creates sounds and music for leading software and hardware musical instrument companies like Arturia, Elektron, Toontrack, Splice, Native Instruments, Soniccouture, Loopmasters, UVI, and Applied Acoustics Systems. He is co-founder of Feature Music and part of sound design agency The Solos.

Pigments is amazing, it’s such a versatile synth and everything you would want to do regarding sound design is possible. The new Harmonic engine is a great addition and the internal effects sound great. The visualization of all modulations is a great help when you want to see how a patch is constructed.

I tried to make use of a lot of the new features including the Harmonic engine, the new wavetables and the new samples. All sounds feature aftertouch, velocity and mod wheel assignments. Combined with the four macros, the user can drastically alter the original patch.

Drum Biscuit

I had some sequenced drum patches in mind and wanted to try out how far I could stretch the engine of Pigments 3. The basis consists of 6 samples which are all randomly picked by a turing machine. With the four macros, aftertouch and the mod wheel you can shape the sound and even change the rhythmical structure of the patch.


Klaus Baetz is an audio engineer, sound designer and author for the german Sound & Recording magazine. Since he got a Telefunken cassette recorder as a child in the 80s he’s been hooked on recording all kinds of weird noises, and found his synth-inspiration through the Techno and Dance scenes of the 90s. Nowadays he creates instruments and libraries for different platforms and companies, like Arturia, Native Instruments, Sample Logic, Galaxy Instruments, Bechstein and UJam.

I was super-surprised and happy about all the different ways that Pigments lets you shape and “destroy” a sound. Having all these parameters right at you fingertips is fantastic if you want to create sounds that really remind you of a plasma chainsaw on fire. The great thing is that the Arturia team also put in some of the most famous filters in synth history so that you have the chance to tame all the madness that you just created. It’s a great mixture.

As Pigments isn’t modelled after something else, I started the sound design process completely unbiased. At first, I created sounds that focused mainly on just one of the many strengths of the synthesizer like just the wavetable section or only the powerful modulators. But after a while everything kind of grew together and I constantly went back to what gave me the most fun and that was the different shaping possibilities.

Glass Guitar

My idea was to create a sound that somehow resembles a guitar and while starting pretty simplistic and soft, can be turned into an overdriven lead sound that has a strong 80s vibe with a synthetic attitude. Did I mentioned that I love Pigments’ distortion capabilities? Well, this is exactly what this sound is based on – putting two of the softer wavetable sounds through different distortion units.


Clément Bastiat is a musician and mastering engineer. Starting out on violin at age 5, Clément became heavily involved in electronic music. He creates new and unusual sounds for his dark psytrance project Cubic Spline, and applies his golden ears and sonic vision at Storm Mastering.

Pigments is quite flexible, and quite frankly I'm really fond of the possibilities of the wavetable engine: exponential FM, linear FM, the multiple phase modulation modes, same for phase distortion and wavefolding. Combined with the countless modulation capabilities with the LFO, envelopes, functions and so on, it's perfect for what I like! I love the "Highlight" feature: it's perfect for beginners to see which parameters will have the biggest impact on the sound, but also when I design patches for a track, I add tips and reminders for myself… ‘remember to tweak that when you'll be arranging the track’. That way, a few weeks later, when you do the arrangement, you can still remember what you had in mind when designing the track.

While I had some specific sounds in mind when creating my Pigments presets, I also let myself "float and follow" when discovering the wavetable engine, and sometimes it was more about finding a nice preset around a particular, unique feature.


I had an idea of a creepy cathedral organ sound by discovering the unison chord feature. I made it change during the chord, starting as a power fifth and going into a minor chord. Then I told myself that a sad creepy layer in the high could be great and that's when I experimented with the wavetable engine and its FM to get that sound. After that, it was just a question of putting the right modulations in place to make is as creepy as possible.


Solidtrax is a producer and sound design duo from The Netherlands, formed by Bastiaan Barth and Menno Hoomans. Their passion for synthesizers and computer music dates back to the early 90's. In 2014 they landed their first big sound design project for u-he, followed by assignments for other companies like Roland, Propellerheads, Bitwig, Cableguys, Kilohearts and Arturia. Since 2017, sound design has become a full time profession for Solidtrax.

We really enjoy Pigments because it combines a very easy workflow with lots of tweakability and a fantastic sound. Version 2.0 introduces even more features that synthesizer freaks like us really love! The sample engine with granular capabilities make it even more versatile than before and the addition of FM and unison to the analog engine is very welcome too, as is the undo/redo feature (thank you!) And did you hear the tape delay already? Wow!

When we created presets for Pigments, most of the time we let the synthesizer guide us. It showed us all his strengths and unique features and we build a sound around that. We do often create sounds for a specific genre, but for Pigments we decided to make all kinds of usable sounds that fit much more than just one type of genre.

Grimmers Lake

We knew we wanted to make a lush lead sound with a subtle edge, but we did experiment a bit with the different synthesizer engines before we ended up with this particular sound.
With Grimmers Lake, we used a basic wavetable sound and we added frequency and phase modulation, phase distortion and wavefolding. The tape delay and reverb gives it a lovely spacious feeling.


A legendary producer, engineer and studio musician, Robert has spent the last 20 years designing and composing music and sound effects for film, TV, radio, and top artists. He is the author of several popular sample libraries and instruments, including Damage, Symphobia, R.A.I.D., Trynity HDFX, and Cinema Sound Tools. His sound design can be heard in trailers for practically every hit film of the last decade: The Gift, Mission Impossible, EQ2, Ready Player One, Thor, Black Panther, Spider-Man: Homecoming, Mad Max Fury Road, Deadpool, BumbleBee and many more.

I directly clicked with Pigments, and while playing around with it I was able to make sounds that will fit perfectly into my work for movie trailers. The powerful sound engine, the clean interface, and the powerful tools, which are available to transform your own waveforms, are great. I’m able to import my own waveforms, and turn Pigments into my own instrument, allowing me to create my own unique sounds.

My goal was to create individual sounds with a strong identity that would work for many different genres. At the same time I still wanted them to have my personality, they should be sounds that I would want to use in my own projects. For example when I design organ sounds, then I want to give it the body of an organ, and have that warm cathedral-like ambiance. But I want it to sound slightly off, this way it stands out, and will make people wonder “what is that?”. It almost forces them to pay super close attention when they’re playing the patch.

I don’t have a specific way of doing my sound design, to me it’s all a journey. I let my imagination run free, and let the natural flow take over.


Victor Morello is an electronic music producer, sound designer and computer enthusiast. He has worked for 5 years as a in-house sound designer for Arturia, while also testing and helping define both the sound and ergonomics of products like MatrixBrute, Pigments and PolyBrute. He creates experimental music as Zero Crossing Point, aiming to explore emotions through timbre. In his spare time, he creates video games and experiments with 3D graphics.

For me Pigments' main strength is the advanced level of feedback you get from the interface when designing a sound. Everything that is happening in the sound also has its visual counterpart, which tremendously help when experimenting or trying to understand a specific patch. The granular engine, and the way it can sync to tempo division is also a very powerful tool to generate musical ideas from existing stems.

I have been involved in Pigments since the very first prototype, so it is hard to pinpoint a specific kind of sound of technique. For me every release means becoming more familiar with the specific tools that are added. My workflow is pretty much always to focus on a specific and simple idea, then refine it until it's as playable as possible for the end user.

Acoustic Drops

This one makes extensive use of the granular engine, to generate complex interlaced chords that sound organic and different on each key press. I use generative music techniques a lot when I am composing and this preset is an example of it. What really works well is to play repetitive motives, record the output and resample the audio. Then maybe use it as a source for the granular engine again?

Thomas KOOT

Thomas Koot is an electronic musician from the Netherlands. He spends half of his time as a professional DJ playing with live musicians, the other half as an acoustic fingerstyle aficionado. He is a former sound design teacher at the ArtEZ University of the Arts, and created sound for Native Instruments, Fabfilter and Arturia’s own heavyweight Origin synthesizer.

Pigments has a wonderful combination digital synthesis methods and analog-style filtering. Using only digital synthesis like FM en Phase distortion can sound cold or harsh. By running the sound through the Moog filter for example, you can obtain textures that have an incredible real-world quality. The combination of digital synthesis and analog filtering can yield a wild variety of sounds since the sonic possibilities of the wavetable synthesizer are virtually endless.

I also like the straight-forwardness of Pigments. For me, sound design is really something that happens in dialogue with the synthesizer. If I were to improvise on a piano or on a guitar, the result would be different because the physical and sonic particularities of the instrument will send me in a certain direction. The same happens with synthesizers; the particular sound, lay-out and functionality of a synthesizer invite you to use it in a certain way. So I start out with a more or less clear idea of what I want to make, and then synthesizer nudges me in a certain direction. The result will be some sort of compromise between my original idea and the influence of the synthesizer.


The Rustophon preset was really a combination of an initial idea for a brass-type patch, and Pigments guiding me in the direction of the final preset. For the attack of the brass sound, I initially wanted to use noise to emulate the breath. I then tried FM synthesis with a non-integer carrier/modulator ratio to create something noise-like for the attack. This gave the sound a really nice attack, and made the patch almost feel ‘real’, its decaying envelope made the sound more playable to my ears. The patch has such a nice raw texture!


Classically trained musician and music producer turned sound designer, working with Arturia since 2017 she strive to create emotionally touching and heartfelt music through live recordings of the instruments that she plays, her voice, and Arturia VST’s of course. You can catch her playing at Ocritudes and Hadra festivals, both in France in the summertime.

Pigments feels like a painter’s colour palette to me. Don’t get me wrong, the other VST’s are fantastic, but Pigments is a game changer. I absolutely adore the trio of analog/wavetable/granular synths, doubled over! You just can’t ever get bored. I can actually vizualise the layered textures at my fingertips before even starting my preset. Extra kudos to the GUI team for highlighting the automations, when hovering over the parameters.

I followed my sound design team’s general direction for the themes. We had a Youtube playlist of juicy beats, colourful pop songs and modern ambient soundscapes that resonated with me, and I took it from there. My approach is to grow on a tangent: so if I want to make a rich, wah-wah elastic string ensemble, I will take a basic violin preset and ask myself “How can I grow from here?”

Ancient Relics

My favorite is Ancient Relics because it is timeless. You can use it as a pad layer or as a breakthrough moment in your electronic track. Whatever the context, it will raise some ears thanks to the rich, authentic granular effects on both samples!
I layered 2 samples and applied the granular effect. I reversed the direction to create a new instrument rather than aiming for a particular timbre. My goal is to be organic, not robotic.


Mord Fustang is a musician, producer, and video game maniac. Seriously engaged with music since the age of 8 having started with classical piano lessons. Today, he plays around with all kinds of synths, guitars, and other instruments. He has just released his third album, and is currently working on sound design for some unannounced video game related projects.

The main strength of Pigments is the ease of mapping modulation sources to destinations. As a person who tends to be fairly lazy at times, Pigments has helped me get used to producing again regularly due to its user-friendliness. Getting started a new sound from scratch is just super easy. I also find the layout simple yet intuitive.

As far as my approach to my sound design work goes, sometimes I have a specific type of sound in mind I want to go for, be it an iconic sound from a 80s hit song, or a sound effect from a popular video game; other times I just go nuts on every knob I can until it sounds good to my ears.

Tomorrow Never Comes

I wanted to make something calm and melancholic, not sure if foreseen, but this simple sound is what I ended up with. The sound is based on a sine wave, with a teeny-tiny bit of vibrato and basic wavefolding on the sound, plus just that slight portamento along with a nice reverb make this sound very effective, I feel.


An intrepid audio explorer, Maxime has been collaborating with Arturia, designing sounds, and releasing music for over a decade. One of his most recent, and most ambitious projects was to create a sonic experience intended to be played on a spatial, 24.4HP multi-speaker system. It tells the story of a trip to the sea, it's the beginning of a close collaboration with researchers from the CNRS Brest, who study the impact of sound on the seabed and the melting of the sea ice in Antarctica. A first residence in their premises is planned in December.

For me, Pigments takes all my favorite Arturia features like Functions, filters, modulations, and macros, and puts them all in one place. It is a huge modular system, because all parameters are assignable to any modulator. In addition, it is very easy to learn, use, and master because the interface is very logical and well thought out.

When creating sounds for Pigments, I did not have a single mode of approach. For me, it's like I'm in front of my Eurorack setup. I always started with a very simple sound, and then explored my particular desire at the time. Sometimes I started with the sequencer, sometimes with the assignment of LFOs, or sometimes with a search in wavetables.


I had the idea of ​​having something that resembles what can be achieved with granular synthesis, with some clues to its jerky randomness. I started by modulating the volume of Engine 1 by an LFO, and then I created complexity by modulating the parameters of the LFOs between them. Each LFO has an influence on the other, and that's what creates the controllable instability that I like in this preset.