Inhale the infinity
With 64 new wavetables for metallic, aggressive timbres, and 4 new FX including Pitch Shift Delay and Flanger BL-20, the ground-breaking software has got everything you need for an unrestrained sonic ride.
Pigments is a good example of a very forward-thinking synthesizer and with this latest iteration, there’s pretty much every synthesis you can imagine. It’s a kind of everything all in one. It’s tab-based, so you’ve got everything in this one area if you want to open a tab. For the synthesis, we’ve got our basic envelopes here, LFOs, there’s also these functions and randomizers. It’s just very fun to play around with.
The workflow spectrum
The tab-based visual interface makes it incredibly easy to take off with the sonic foundation and jump to coloring the composition with all the wild shades of synthesis. Moving on from the Sequencer tab into the FX tab, Andy added Pitch Delay, made the track faster by adjusting the Time Division, and added an octave by editing the Pitch Shift. Lastly, he filtered up the top-end sound by using the Low Pass Frequency control. With the user-friendly design, accessing the editing parameters is smooth and quick:
The fact that you’ve got feedback on your LFOs and your envelopes is wonderful. I suppose the ears come first, but the eyes do take you in different directions.
Stumbling upon the Baroque preset, Andy discovered its ‘nice wobble’, which he then locked into different keys. Moving between Locrian, Phrygian, Dorian, Mixolydian, and Melodic Minor, he finally settled with the Lydian one. Flicking through these options, the breath of these soundscapes felt like a translation of the quantum field into the sonic grid. With the right tools that have the power to liberate creativity, pushing a vision forwards becomes more accessible than ever. Some presets, such as Motor Synth, inspire an instant reaction: ‘Wow, I feel like I’m down the club already - it’s amazing!’ The great news is you’ll be spoiled for choice with Arturia’s Sound Banks, released monthly, so your library of inspiration will never run out. Added with the sampling potential, the possibilities are endless:
If people are looking for an all-in-one, you can drag a limited amount of samples into Pigments and create your drums with them.
Tripping with circular soundscapes
Powerful sequencing is what makes looping in Pigments 3 original and satisfying. You can sequence and arpeggiate with advanced randomization, scale quantization, or polyrhythms, and get into the zone in no time:
Writing electronic music, especially when we tend to work in loops, is quite meditative really. I mean, it’s probably spiritually enriching. Just listening to something repeat over and over, subtly changing is a real joy.