When Arturia released the Pigments synthesizer in 2018, it already had a strong foundation for sound design. The first version of Pigments was the result of the company’s many years of experience, having developed its V Collection line for over two decades. This time, the French developer set out to create an original instrument capable of competing with modern virtual synths like Serum and Phase Plant.
Since its release, Pigments has been continuously improved — the developers roll out updates every year, and all of them are free for those who already own the instrument.
These updates vary in scale: for example, Pigments 2 introduced a new sample engine, while version 4 brought major performance optimizations and a refreshed interface. With each release, Pigments becomes more powerful and flexible, and today it is rightfully considered one of the best tools for sound design.
Version 6, released in January 2025, is one of the most significant updates to the synthesizer. It introduced an entirely new oscillator module based on physical modeling — a technology that simulates the behavior of real acoustic instruments.
In addition, Pigments 6 greatly expanded its capabilities: a vocoder was added, granular synthesis was improved, and new filters and modulation modules were introduced. All of this makes the instrument even more versatile for modern sound design.
Demo by Davide Puxeddu
What is Pigments? The heart of the Pigments synthesizer
The core concept of Pigments is its system of sound engines, which allows you to combine two independent sound generators in a single patch. Each engine can use different types of synthesis, unlocking a vast range of creative possibilities.
Available synthesis types:
Pigments supports virtual analog, wavetable, additive, and sample-based synthesis. The latter includes one-shot samples, multi-samples, and granular synthesis.
In version 6, a new Modal engine was added to this list. It is based on physical modeling — simulating real acoustic sound sources like strings or metal plates.
Additional Utility Engine
In addition to the two main engines, Pigments also includes a third one — the Utility Engine. This is an auxiliary source that consists of an extra VA oscillator (which can be used as a sub) and two noise generators. While it plays a secondary role, this engine is extremely useful, for example, when processing external audio.
Filter Processing
All these engines are routed through a dual filter section that offers a wide variety of options: from standard multimode filters to analog emulations and creative tools like comb and formant filters. This allows for precise tone shaping and the creation of unique sonic textures.
Other Key Features of Pigments
Beyond the main engines, Pigments features a powerful modulation system that allows various parameters to be assigned to controllers and LFOs. This makes the instrument highly flexible and capable of crafting complex patches with numerous moving elements.
Pigments also stands out for its advanced effects section and extremely user-friendly modulation workflow. Modulations are assigned intuitively using a simple click-and-assign method — similar to what you find in synthesizers like Massive or Serum. This significantly simplifies the sound design process.
Virtual Analog Craftsmanship
From its very first version, Pigments gained attention for its analog-style elements implemented through the Analog engine, as well as filters and effects inspired by classic hardware.
Arturia has extensive experience recreating legendary analog synthesizers virtually. This expertise is clearly reflected in Pigments: it includes Moog-style filters, Roland Juno-style choruses, and much more — all delivering a warm, rich, and nostalgic sound.
Wavetables with a Classic Touch
Pigments also includes a vast library of wavetables, some of which are inspired by the sounds of classic hardware synthesizers. Thanks to this, Pigments can serve not only as a flexible modern tool but also as a strong competitor to emulation-based synths like U-He Diva — while confidently handling the aggressive and complex tones typically associated with Massive X or Serum.
As a result, Pigments is a versatile instrument capable of emulating analog classics, delivering cutting-edge electronic timbres, and remaining accessible and easy to use.
What’s New in Version 6
The key highlight of the Pigments 6 update is the brand-new Modal Engine, based on the principles of physical modeling. This type of synthesis simulates the behavior of a resonating object in a physical space — for example, when strings are plucked or a metal plate is struck. Thanks to this, the Modal Engine is perfect for creating sounds reminiscent of plucked instruments, bells, percussions, or bowed strings.
The essence of physical modeling is that the sound is generated in two stages. First, an exciter triggers the vibration — simulating a strike, pluck, or friction. Then, a resonator processes those vibrations and resonances, shaping the overall sonic character.
The Pigments Modal Engine includes two types of exciters: the Collision Exciter, which simulates a short impact or pluck (as with a guitar string or drum hit), and the Friction Exciter, which emulates continuous friction, like a bow gliding across a violin string. These elements allow for the creation of more realistic, dynamic, and organic sounds — something previously lacking in digital synthesis.
Both types of exciters in the Modal Engine can operate simultaneously, and each can be configured in multiple modes. The Collision Exciter can use a synthesized impulse, a pre-recorded sample with a sharp attack, or even external audio. The Friction Exciter, on the other hand, works with random impulses, noise samples, granular synthesis, or external audio as well.
Resonators
The resonator section in this engine is also highly flexible. It offers two types of resonating objects — a beam and a string — each with six different timbral variations, allowing for a wide range of sonic diversity. The sound can then be further shaped using Stereo Spread, Warp, and Shaper controls, which utilize additive synthesis to provide even greater control over the tone.
Of course, more complex and in-depth physical modeling can be found in dedicated plugins like Chromaphone. However, within its streamlined interface, the Modal Engine in Pigments offers impressive functionality and can produce a wide variety of sounds — even when used on its own, without any additional modules.
However, the full potential of the Modal Engine is revealed when it’s combined with Pigments' other engines and features. After seven years of development, the synthesizer has truly become a versatile and well-balanced synthesis toolkit.
New Filters
There are now 13 different types of filters available — ranging from basic and functional to creative and retro emulations. Version 6 introduced several new models: an updated multimode filter, a multi-peak (cluster) filter, and a new lo-fi filter with a rough, gritty character that fits perfectly in saturated, old-school dance music.
Vocoder
Another welcome addition is the new vocoder in the effects section. It features three sound modes — vintage, modern, and “dirty” — along with extensive control over parameters such as band width, output frequency, and formants. The vocoder is great for classic robotic voices, but it sounds even more interesting when paired with Pigments' internal synths or external audio — especially when applied to percussive and rhythmic sounds.
Voice Modulator
A new Voice Modulator has been added to the random modulation section. This modulator generates different values for each new MIDI note, and the repetition cycle can be set from 1 to 8 notes.
When used subtly, it adds slight variations in tuning and tone, mimicking analog warmth. When pushed harder, it becomes reminiscent of the round-robin voice cycling in the classic Korg Mono/Poly, where each new note triggers a separate voice with its own tuning and waveform settings.
This feature opens up new possibilities for organic and dynamic sound design in Pigments.
Performance
Given all these features, Pigments can confidently be called one of the best virtual synthesizers on the market.
Of course, synths like Xfer Serum (especially its updated version 2) and Kilohearts Phase Plant are also top-tier instruments in the same category. However, Serum is more focused on wavetable and sample-based synthesis, while its overall flexibility and multi-functionality are slightly behind Pigments.
Phase Plant, on the other hand, emphasizes modular flexibility, offering extensive signal-building capabilities, but it sacrifices some ease of use and accessibility — areas where Pigments excels.
Therefore, it’s this unique balance of versatility, flexibility, and user-friendliness that makes Pigments so distinctive and popular among musicians and sound designers.
Another strong point of Pigments is its accessibility to users. Despite the continuous expansion of features and complexity, the instrument remains clear and easy to use since its launch.
On the contrary, over time it has become even more user-friendly, especially thanks to the simplified Play interface introduced in Pigments 4. This mode allows working with basic sound parameters without delving into the deep settings of complex modules and patches.
The Play interface perfectly complements Pigments' large and well-organized preset library, as well as the macro control system, making the synthesizer a source of diverse, ready-to-use sounds. This is especially useful for those who don’t want to spend time on detailed sound design.
Conclusion
For those who want to create sounds from scratch, Arturia’s Pigments is a true playground for experimentation. It can reproduce classic analog polyphonic synthesizers, grainy wavetables of early digital instruments, and much more.
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