Pigments 6 from Arturia
It’s a new year and Arturia have brought all current Pigments owners another New Year’s present – Pigments 6 brings several new features, including a new Modal engine, new filters and modulators, improvements to the Granular engine and, if that weren’t enough, a new Vocoder effect that can use a Pigment sound engine or an external input for the modulator signal. And for current owners, Pigments 6 is free. That’s $0.00 or €0.00. A steal for sure.
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The Old and New
Pigments 6 is a software synthesizer with three sound generator sections, two that can use a generator selected from five possible types: a sample player, virtual analogue subtractive engine, wavetable synth, harmonic sound generator, and the new modal engine. The third section provides a utility engine with a single virtual analogue oscillator along with two sample-based “Noise” sources that provide far more than common noise, and include an audio input option. Two new filters (Stacked Cluster filter and LoFi) along with an updated Multimode filter, provide a total of 13 different types with over possible 50 variations and very flexible routing. After filtering, a signal can be routed to the FX processors (19 different FX counting the new Vocoder) that can be assigned to two buses and routed in various series/parallel modes. And there is the Sequencer/Arpeggiator that enables polyrhythmic sequences and includes a MIDI output so that patterns generated by the Sequencer/Arppegiator can be sent to play on any other virtual instrument.

Pigments 6 keeps the same basic design as previous versions (see more details above in the Pigments 5 review) including the simplified Play window, the comprehensive Synth window, the FX window and Sequencer/Arpeggiator windows in the upper section, as well as views of either the Keyboard or Envelopes, LFO, Functions, Random Control and the Combinate window in the lower section of the GUI. As before, there is a lot to view and control, more than ever. But I still find Pigments logical in use even if it is very complex!

Class Time
Pigments 6 includes the now standard Arturia interactive Tutorial window that describes pretty much all the functions, and has a What’s New in Pigments 6 section devoted to the new features of version 6.



The first item described in What’s New is a brand new engine enabling Modal synthesis, a hybrid method that uses ‘collisions’ or ‘friction’ to create a range of sounds from plucked strings to resonant pads. This is major! I found some beautiful new sounds with this engine, and of course you can combine sounds from both main engines and the Utility engine to create very complex soundscapes.

The Cluster filter is described in the second What’s New tutorial page – this filter allows selecting up to 5 peaks using one of seven types (Peak, Bandpass, Lowpass and Notch with several slopes available in each – see screenshot below), controlling cut-off, resonance, pan and spread. And you can also choose a frequency modulation source from one of five LFO or Mod Oscillator choices. Of course all these parameters can be modulated in many ways, manually or automatically. I lost (well, gainfully employed!) over an hour just playing with this new filter type. The other new filter is the LoFi filter that combines filtering with downsampling for some fun sound degrading, seen on the right side below.



The new Cluster filter is shown in the left half of the composite view above while the LoFi is displayed on the right in this composite view.

The improved MultiMode filter adds polyphonic overdrive, all-pass filtering and a digital/analogue resonance selection. Below you can see the main Filter Type choices of in the left column (13 types) and for the selected “Classic” filter type the right column shows all the different “flavours” including Lowpass, Bandpass, Highpass, Notch and even All Pass with various slopes from 6 dB/octave to 36 dB/octave depending on specific type.



If that's not enough filtering choices for you, well there is still the Phaser filter, Formant filter, Surgeon filter, Comb filter, and half a dozen analogue filter types as you can see above. I count 51 total variations in the MultiMode filter function, including the new Cluster and LoFi filters. And as with almost every Pigments control, you can modulate values of parameters with any (or many) of the modulation sources – and even some controls of modulation sources can be modulated by other sources. If all that isn’t enough for you I’m not sure what you want!

The new Vocoder expands sound mangling of Pigments in new directions. It resides in the FX section and enables using many different Pigment signals for the modulator or using an external audio input, as seen kin the view below. It was not clear to me (since I don’t have a user manual yet) what the carrier signal was, but experimenting I found it is basically Engine 1 combined with the Utility Engine sound if you mix that in.



If external audio is chosen for the modulator, the external audio uses the main stereo inputs of Pigments 6, which are the L/R (usually channels 1 and 2), rather than side-chain channels (usually 3 and 4). This is the same input as used for audio input with the Utility module, so you can’t have different external audio sources for the Utility module and Vocoder, but this is not a problem since the Vocoder uses either a Pigments signal (including the Audio In from the Utility engine) or directly uses an external audio signal for the modulator, never both! I found the Vocoder able to add some unbelievable effects, some I still don’t fully understand after working with them for hours, but it is all good fun and I’ve got dozens new User presets that will come in handy when I want something way out of the ordinary.

There are also two new modulators: a Random modulator found in the Random window (oddly the Random section didn’t have a true random function until now!). This modulator can apply random control signals triggered various ways, running at a rate either synced to the DAW tempo or set to a frequency, with the output either stepped or smoothed. You can also set control signal polarity to +/- or unidirectional, add jitter to the signal and adjust strength. The new new Voice modulator, also in the Random window, can assign different settings to each voice in a polyphonic sound or sequential notes of a monophonic series, using round-robin cycling, a random sequence or a fascinating reassignment mode. It can provide from 1 to 8 steps. These new modulators are lots of fun.



And not to be left out is a new Combinate module, shown at the right above, an Envelope Follower that converts audio amplitude data into modulation control data – the audio source for the follower can be the output of Engine 1 or 2, the output of Utility 1, 2, or 3, output of Filter 1 or 2, or an external audio input. You can adjust attack and release times, as well as set the threshold level. And the resulting modulation signal can, of course, control any of the Pigments parameters that respond to modulation (pretty much all of them).

Better Functionality
The three Function curve editors have been revamped to aid in creating curves. A Scale control has been added (see below, lower left) to adjust the strength and polarity of the function signal for all of its destinations – you can still separately adjust scale at each destination as before, but this control will apply strength variation to all destinations with a single control. There is also a Smooth control (centre of lower toolbar) that puzzled me at first since it does not affect the graphic of the function being edited, but it does smooth the actual control signal sent to destinations. I found this very helpful when a function curve had an “instant” step that was causing some destinations to click or otherwise glitch. In fact, it is very flexible since it is a continuous control able to adjust a click from sharp through soft to inaudible. Some controls have been moved around, but all the previous adjustments are also available.



At this point I can’t think of any modulation possibility I want that Pigments doesn’t have. Although I’m sure Arturia will come up with more in a future release. But there is no need to wait for more since you could spend months (years?) trying different modulation combinations already present, and never get through all of them.

Granular Fun
Not to be ignored, the Pigments granular sound generator has some welcome improvements including the ability to scan through samples during playback for time-stretching effects, the option to randomize grain playback for each note, and to continuously adjust grain size for fluid, evolving sounds. More icing on the cake, as they say!



Sequential Events and More
While the built-in Sequencer/Apeggiator has not changed from version 5, it still has the extremely comprehensive set of functions including full sequence lock control, Sequencer Preset window that enables saving and recalling sequences independently of the main preset, six data control tracks for Pitch, Octave, Velocity, Trigger Probability, Gate Length, and Slide time that can interact with the sequencer randomizer to produce an incredible range of musical riffs.

Other useful features are the Sound Design Tips accessed by the lightbulb icon in the upper right of the GUI – this has two active modes: Show Tips and Advanced Edit Tips with the former showing a gold light bulb by any control the sound designer found critical and Advanced adding light bulbs in the sound engine tab, filter area, FX and/or Sequencer tabs to help you find any suggested controls and settings. Even with Sound Design Tips off, hovering over any control will show a short description in the very lower left of the GUI. In the lower right of the GUI there is Redo/Undo, Play Mode (Mono, Legato, and Poly 2 to Poly 32), a CPU load estimate that doubles as a Panic button (I can’t recall ever needing it), and a History access button.

And there are one hundred new Presets provided with version 6 as well as 53 new wavetables in the Wavetable engine and 97 new samples for the Sample engine. All sounds good to me!

Conclusion
I’ve written before that Pigments could be my ‘desert island’ virtual instrument, and this is more true now than ever. It has about every kind of sampler and synth mode anyone needs along with extensive modulation routing, excellent filters and FX, and a very capable sequencer/arpeggiator to boot. All in the most user-friendly design I’ve ever seen for such a complex set of features. If you already have any version of Pigments, getting the free version 6 update is an obvious choice. If you don’t own Pigments already and haven’t read the previous reviews (of versions 3, 3.5, 4 and 5), take a look for a lot more information. And head to the Arturia site for more info and examples of Pigments performances.

Technical
Supported in 64-bit systems only: Win 10+, 4 GB RAM, 4 cores CPU, 3.4 GHz, 3 GB free hard disk space with an OpenGL 2.0 compatible GPU. Apple requires Mac OS 11.0+, 4 GB RAM,3 GB free hard disk space, 4 cores CPU, 3.4 GHz (4.0 GHz Turbo-boost) or Apple Silicon CPU and OpenGL 2.0 compatible GPU. Includes a Standalone mode, and VST, AAX, Audio Unit, NKS plug-in formats.

I tested Pigments 6 standalone and as a VST in REAPER 7.24 in a PC Audio Labs Rok Box PC (64 Bit Windows, 4-Core Intel i7-4770K, 3.5 GHz, and 16 GB RAM). CPU usage, depending on number of notes, sound choice and functions operating, varied from under 1% to 4% or thereabouts and latency is a constant 1 msec (48 samples at 48 kHz and 96 samples at 96 kHz). RAM use was measured at about 1 GB for the first instance, and somewhat less (~875 MB) for each additional instance, not that you need very many instances!

Pros
New Modal sound generation engine provides excellent plucked sounds, metallic mallet sounds, rich pads and about everything between.

New Vocoder is a barrel of fun and can use Pigments generated audio or external audio input for the modulator signal.

Comprehensive Sequencer with Generative Scales for fast one-click melodic sequence generation.

Sequencer Preset window to save and recall sequences independently of the main preset.

Multicore Processing to expand capability with modern computers..

Two Filter sections each with thirteen possible filter types and very flexible routing and modulation capability.

Nineteen FX are available with up to three of these FX in each of three sections: A, B and an AUX FX send (which can be routed pre or post the insert effects) – so that up to nine effects can be applied at once.

Vast modulation capabilities with easier control than earlier versions.

Pitch bend and transpose have +/- 36 semitone range.

Powerful step sequencer and arpeggiator that can not only control the Pigments sounds, but can send MIDI signals on to other sound instruments in your DAW either to layer with Pigments sounds or run separately.

NKS controller compatible and MTS-ESP microtuning compatibility.

Excellent browser that can find sounds by type, style, name, bank and designer.

Very informative Tutorials mode to help quickly understand any function and ToolTips can be activated to show a short summary of any control when the mouse hovers over it.

Finally: Free for all current Pigment owners and half price until February 18, 2025 for new buyers, and if you own other Arturia products, check your account for a possible personal deal.

Cons:
As with Pigments 5 I found no functional or operational issues to complain about, but still found a problem with a suggestion in the user manual that states in the Precautions to Take During Use section, “Rest for at least 10 to 15 minutes per hour of use” – Impossible!!! Pigments is too addictive! You have been warned a second time.

See the introduction news release at
https://www.arturia.com/products/sof...ments/overview

and Lena demonstrating many of the new features at
https://www.arturia.com/products/sof...igments/update