Arturia Pigments 6

Pigments 6 is bigger, better and free to existing users!

The latest version of Arturia’s flagship Pigments 6 software synthesizer has a smattering of new features and functions that build on what is already a rather delicious platform. But does it serve up anything innovative to this smorgasbord of sound‑generating engines, or is it just another layer of cream on top of an impressive and colourful pie? Let’s dig in.

The first thing you notice is that there’s very little to notice. Arturia mention something about a refreshed layout, but with version 5 sitting right next to it, I really can’t see any difference bar a few swapped knobs. Arturia did darken the knobs in Light Mode for a bit more contrast, which is welcome, but on the whole it’s unchanged.

A more notable change in the UI is the way it handles modulation. The system is already very slick; you can drag any modulator from the central section onto any modulatable parameter, and it becomes assigned. When you drop it, a little display comes up with a coloured knob that you can use to change the amount of modulation being applied, and you can add as many modulators as you want. However, now you can drop another modulator onto the little modulator amount knob in order to modulate the modulator amount. A smaller knob appears underneath where you can set the amount of modulator modulation. This creates a whole other level of nuance that deepens the sound design experience, although I imagine most users wouldn’t necessarily dig that far down. Sadly, it won’t currently let us modulate the amount that the modulator is modulating the modulator, but we shall see what version 7 brings.

Modal Engine

The biggest new feature of version 6 is found in the strings and beams of the Modal Engine. It’s a physical modelling synthesizer that could easily be an instrument in its own right. You have a choice of two resonators in the rasping of strings or the striking of beams. On either side, you have two exciters, one setting the stage through the initial striking of the resonator and the other providing the bowing through the application of friction.

The new Modal Engine brings the sound of hitting things to Pigments.

You can experiment with different variations of excitement, like enforcing a collision or applying transient sample shaping all the way through to extracting granular occurrences, sniffing around noise maps and messing with friction density. At both ends you can use an audio input to provide the energy for the beam or string model. You have control over the number of partials being used, and you can warp in more harmonics, shape the timbre, push the stereo field, and fiddle with the decay.

The harmonic warping gets really...