Arturia Pigments 7 review - For a few more colors

When Pigments arrived a few years ago, it was first and foremost a software synthesizer focused on wavetable synthesis, with an advanced wavetable engine and a formidably efficient visual modulation system. From the outset, Arturia had laid the foundations for a modern, flexible and remarkably clear-cut instrument. But it was with each successive version, thanks to the addition of new engines, extra filters, elaborate effects and an ever more inspiring sequencer, that it became a veritable Swiss Army Knife of synthesis. Pigments has become one of the few synths capable of combining power, versatility and user-friendliness, without ever falling into gratuitous complexity.

With version 7, Arturia continues this evolution, but in a more timid way than in the past. We’re not talking about a revolution here, or even essential new possibilities, but rather a series of additions and improvements that reinforce the instrument’s already enormous potential. Admittedly, while the list of new features may seem a little light, Pigments 6 had reached such a level of power and maturity that it becomes difficult to imagine what decisive additions Arturia could really make.

So, for once, let’s start by mentioning the few things that are lacking. A new FM-based generator, perhaps? Pigments already boasts powerful frequency modulation capabilities, but the addition of an engine dedicated to this synthesis with more control would make sense. Also regrettable is the persistent absence of preset saving by section, a function that would be invaluable given the depth of the instrument and would greatly facilitate the rapid creation of new sounds. Finally, unlike Serum 2 or Dune 3, Pigments still doesn’t offer the option of creating your own wavetables directly in the interface. That’s all there is to it, and it still leaves a little room for improvement for future versions. On the whole, however, it would be unkind of us to criticize this software, which is already so complete, pleasant to use and, what’s more, offers its updates free of charge.

Let’s turn now to the new features themselves.

A new, modernized-and-performance-oriented play view

The redesign of the Play view is undoubtedly one of the most visible changes for anyone discovering Pigments 7 for the first time. Arturia has chosen to modernize this interface, taking inspiration from what we’re already familiar with in Analog Lab, while adding a dynamic visual. The window is now largely occupied by an animated visualization: each sound category has its own visualization that reacts to the audio signal’s shapes and colors. Macros, more prominently displayed than in the past, are superimposed on this animation, while editing commands are grouped together at the bottom of the screen. The overall effect is clear, efficient and visually stunning.

However, it’s not without its nuances. While this new Play view is undeniably more modern and perfectly suited to real-time gaming, it also shows certain limitations when it comes to quick sound editing. Nearly all the previous controls remain, but direct access is less immediate and more tab-based.

That said, this choice ultimately proves pertinent. The old Play view was a bit rickety, a kind of lite version of the Synth page whose usefulness wasn’t always obvious. Originally conceived as a simpler alternative for programming without going through the sometimes intimidating full interface, it struggled to find its place. This new version lives up to its name and is clearly refocused on gaming and performance.

This repositioning transforms the Play view into a real space dedicated to playing. For sound designers wishing to explore synthesis engines in depth, it obviously doesn’t replace access to detailed pages, but it does offer a more immersive experience for improvising or adjusting essential parameters in real time, notably via macros.

P7 08 – Amorphic Overtone

00:0000:27

Link

Code

• P7 08 – Amorphic Overtone00:27
• P7 09 – Arp Bad karma00:21
• P7 10 – Arp Da Rave00:18
• P7 11 – Arp Square00:19
• P7 12 – Arp SF00:18
• P7 13 – Digipunch01:54
• P7 14 – Dirty Flute01:01

Filters and an effect that add significant character

Pigments 7 expands the sonic palette with three distinct new filters and one new effect. The existing range of filters is already wide, but these additions bring new color and personality.

The Rage filter gives a saturation capability that wasn’t really there before. It combines elements of resonance and multiple distortion, with several types available (Diode, Distortion, Soft Clip, Tape and Transistor), enabling soft or aggressive colorations. On bass or leads, this filter brings a distinctive energy that will particularly appeal to modern electronic music.

The new Ripple filter, with its three types (Subtle, Medium, and Hard), enables you to explore phase- and frequency-shifting phenomena, offering oscillating timbres that are not simply cutoff variations. This highly original filter can vibrate or pulsate in very interesting ways and is positioned more like a textural sound design tool than a classic filter designed to “carve into the material.”

The Reverb Filter is even more atypical. You need to experiment with it to really understand how it works. It produces resonant textures that effectively resemble reverberation. Its field of action is both vast and varied. It can be useful in a wide range of situations, but it’s particularly handy for sound design and for noisy or experimental textures. No doubt, talented programmers will be able to extract many original timbres from it.

Finally, Pigments 7 adds the Corroder to its arsenal of effects. Reading the list of new features, one might quickly think that the addition of a new effect designed to dirty the sound or add distortion is nothing fundamental. And yet, in use, Corroder quickly proves convincing. It is presented as a tool exploring controlled degradation treatments, ranging from the most subtle to the most destructive, depending on the settings. And this is indeed the case. The addition of noise to the process is a real plus, bringing lovely textures and an extra dimension to the processing.

Above all, a modulation source can be chosen from the standard waveforms (sine, square, saw), but also — and this is where the effect gets really interesting — from generators, filters, the FX input or the Audio Input. As we’ve already seen with Pigments 6, this possibility opens the door to many fantasies, but applied here to an effect dedicated to sound degradation, it takes on a whole new dimension.
Your voice, or even the sound of your washing machine, can be used as a modulator for Corroder. You’ve got to admit, that’s pretty cool. Alongside these additions, the “Classics” filters now benefit from FM modulation, opening up even more complex interactions between oscillators and filters. This greatly enriches Pigments’ ability to go for metallic or unpredictable textures.

P7 01 – Filters Rage Diode + Ripple

00:0001:17

Link

Code

• P7 01 – Filters Rage Diode + Ripple01:17
• P7 02 – Filters Rage tape + Reverb01:53
• P7 03 – Filters Ripple + Rage tape00:21
• P7 04 – Filters Ripple + Reverb00:36
• P7 05 – FX Corroder – Amazing Machine01:55
• P7 06 – FX Corroder – Iron Tremor pad01:37
• P7 07 – FX Corroder Mars02:16

Sharper envelopes, better CPU management, new presets and wavetables

The sonic core of Pigments also benefits from a series of more subtle, but nonetheless significant improvements. Among them, amplitude envelope optimization reduces unwanted clicks and improves attack sharpness. The result is more precise percussive sounds and more “slamming” bass. Although discreet on paper, this type of fine-tuning is quickly noticeable in use. It should be noted, however, that these changes may affect certain sounds programmed with earlier versions of Pigments.

Arturia has also optimized overall performance and CPU consumption. And the gain is real. Pigments 7 is less greedy than its predecessors in complex contexts, which proves particularly comfortable in busy sessions or on less powerful machines.

The content delivered with Pigments 7 has also been enhanced. This version features 150 new presets, accompanied by 50 wavetables, 30 samples, and 20 noise sources, as well as integrated tutorials that guide users through concrete sound design scenarios.