These grains can then be rearranged, transposed or otherwise processed, creating entirely new sounds from the source material. Thanks to the sampler, Pigments also has granular synthesis, where a sample is cut into slices or ‘grains’ usually only a few milliseconds in length. Once you bring the playback modes, modulation and effects to bear, this is a great starting point for making your own sounds, whether you want to keep your samples relatively clean or smash them to a pulp. The sample engine has 6 slots – samples can be loaded into each, then tuned, mapped across the keyboard or triggered in sequence, looping or otherwise (if you want to play two samples at once you must load the sampler into both engine slots).
In synthesis terms, Pigments now gets a new sampling sound engine this brings hundreds of samples into the factory library, including straightforward pianos, cityscape field recordings and drum loops, and of course user content. There are some that sound fairly great as-is, but if you don’t create your own sounds, or at least customise the factory content, you’re not going to get anything like the best from the Pigments experience. If you don’t have a keyboard connected, you can trigger notes using the computer keyboard, which isn’t as dull as it sounds once you factor in the sequencer.Īlthough Pigments features an analogue sound engine, I’d say the bulk of the preset sounds are more digital-sounding and the analogue source is more useful as a way of warming those up. When a preset is loaded, there are four pre-configured macro knobs at the right of the screen, ready to use or map to a MIDI controller. Then to the presets, with an updated library, divided into 11 categories including filter, pad, FX, percussion and so forth, some of which reflect the possibilities afforded by new features.
On launch, it’s worth taking a minute just to appreciate what a good-looking thing Pigments is the UI is immediately captivating. Pigments was well-received at the time of launch – in fact here at Music Tech we got very excited, describing it as “brilliant” and “wonderful” and “one of the most visually appealing synths ever” – so no pressure following that up, then! However, time has passed and Pigments’ user base has been able to feedback with ideas and suggestions, and inevitably new versions have appeared, which is why we’re here to talk about Pigments 2 now. Bundle this up with an attractive and logical GUI, a polyrhythmic sequencer and arpeggiators, and what you get is a very capable instrument with an extensive library of presets. It also includes an assortment of classic and modern filters (used two at a time, in parallel or series) and audio effects including overdrive, parametric EQ and delay, with insert or send routing options. Pigments is a plug-in, or standalone, synthesizer that combines virtual analog and wavetable synthesis engines (in the first release) with three envelopes, three LFOs, and extensive modulation. I must confess, I’m new to Pigments, so I need a recap even if you don’t.
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Yes, it is actually possible to look forward and backward at the same time! Now we have a bigger, expanded version in the form of Pigments 2, which looks likely to be a fairly hefty update to the original. It’s a perfect example of a synthesizer that couldn’t really exist in hardware, and kudos to the brains at Arturia for developing it – pressing ahead into innovative new frontiers instead of looking backward via retro reproductions of the classics (though Arturia does this very well we hasten to add!).
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