New Arturia Pigments 6: An In-Depth Review of the Definitive Software Synthesizer

New Arturia Pigments 6 ntroduction: The Evolution of a Synthesis Giant

Arturia Pigments 6 is the focus of a detailed analysis, positioning it as a standout software synthesizer in the market. The original article, updated on June 10, 2025, primarily aims to explore why Pigments, especially with the significant additions in its version 6, is considered a high-value and relevant synthesizer software in 2025.¹

This virtual instrument is categorized as a “power synth” in its entirety, recognized as one of the most effective and versatile music creation tools available. Its capabilities range from recreating the sonic characteristics of classic analog polysynths to the lo-fi textures of old digital synth wavetables, and even East Coast synthesis techniques like low-pass gates and wavefolding oscillators.¹ A notable strategic observation is that Pigments is becoming so robust that, according to the review’s author, it “risks making Arturia’s V Collection obsolete”.¹ This statement points to a possible evolution in Arturia’s product strategy. If a single native software synthesizer like Pigments can offer the versatility and depth that previously required multiple specialized instruments (many of which are emulated in the V Collection), it suggests a concentration of value for the consumer. For the user, this could mean exceptional value in a single product, potentially reducing the need to acquire the full V Collection bundle for certain sound design needs. This underlying trend indicates that hybrid and multifunctional synthesizers, such as Pigments, may become the preferred choice for sound designers seeking flexibility and innovation, potentially surpassing the need for a collection of more specific plugins.

Initially launched in 2018, Pigments was built on a solid foundation, integrating elements of wavetable and virtual analog synthesis. Since its release, its capabilities have been significantly expanded through annual updates offered free to existing users.¹ Version 6, released in January 2025, is highlighted as one of the most substantial updates to date. It introduces a new oscillator engine based on physical modeling synthesis, a vocoder, enhanced granular capabilities, and an expanded range of filter and modulator options.¹ The model of “free and substantial annual updates for existing users” ¹ is not just a benefit, but a smart product strategy that fosters customer loyalty and increases the perceived value of the software over time. This model differs from many software companies that charge for major version upgrades or require continuous subscriptions for access to new features. Users do not face additional costs to keep their software updated with the latest innovations and improvements, ensuring a continuous return on their initial investment. For Arturia, this approach builds a loyal and engaged customer base, encouraging new purchases and generating positive word-of-mouth. The perception of continuous value is a powerful differentiator in a competitive market, positioning Arturia as a company that prioritizes long-term customer value.

The Heart of Sound: Detailed Synthesis Engines

New Arturia Pigments 6 the essence of Pigments lies in its “engine” system, which allows users to combine and blend two multi-oscillator sound engines. Each engine employs a distinct approach to sound synthesis, giving Pigments remarkable sonic versatility.¹ The ability to “mix and match two multi-oscillator sound engines, each using a different approach to synthesis” ¹ is the cornerstone of Pigments’ profound versatility. This enables the creation of complex hybrid sounds that would be unattainable with a single type of synthesis, such as fusing a wavetable with a virtual analog timbre or a physically modeled sound. This architecture opens up a vast “sandbox” for sound design, allowing for the creation of rich, evolving, and innovative sonic textures. However, this creative freedom also implies a learning curve to fully explore its potential, as mastering the interactions and synergies between different synthesis types requires experimentation and a deep understanding of each engine’s principles. This feature reinforces that Pigments is “ideal for those looking to design sounds from scratch, offering a true creative ‘sandbox'” ¹, but also underlines the importance of the visual interface and preset library to make the instrument accessible to users who prefer a less technical approach.

The synthesis engines available in New Arturia Pigments 6 include:

• Virtual Analog (VA): This engine, present in the “Analog” module, faithfully simulates the behavior and warmth of classic analog synthesizers.¹
• Wavetable: Allows for wavetable-based synthesis, generating rich and constantly evolving sounds by sweeping complex wave tables.¹
• Additive: This engine enables additive synthesis, where sounds are built from the combination of individual harmonics, offering precise control over timbre.¹
• Sample-Based: Includes the ability to use one-shot and multi-sampled instruments, as well as advanced granular synthesis functionalities. The sample engine was an addition introduced in Pigments version 2.¹
• Modal Engine (New in v6): This is one of the most significant additions in version 6. The Modal Engine incorporates physical modeling, replicating the behavior of an object resonating in a physical space.¹ It is exceptionally well-suited for emulating acoustic instrument sounds, such as plucked strings or percussive mallet sounds.¹ It consists of two exciter elements – the Collision Exciter and the Friction Exciter – and a flexible resonator section offering two resonant object styles: “beam” and “string”.¹ The introduction of the Modal Engine in v6 transcends the mere addition of a new feature; it represents a fundamental expansion in Pigments’ ability to generate organic, realistic, and physically modeled sounds, filling a gap that other software synthesizers rarely address with the same depth and flexibility. While the VA, Wavetable, Additive, and Sample engines are extremely effective for creating electronic, synthetic, or sample-based sounds, the Modal Engine adds a dimension of “organicity,” “realism,” and “tactile texture” that was less prominent in Pigments. This opens up new and exciting avenues for sound designers, allowing for the creation of textures that sound like real-world objects, but with the malleability and flexibility of digital synthesis. This is particularly valuable for sound design for games, soundtracks, experimental music, or any production requiring non-electronic sounds or those with acoustic qualities. Few software synthesizers manage to combine such a wide and deep range of synthesis (VA, Wavetable, Additive, Sample, Granular) with advanced physical modeling in a single instrument, positioning Pigments as an undisputed leader in versatility and innovation in the market.
• Utility Engine: This engine acts as an auxiliary component, functioning as an additional VA oscillator (which can be used as a sub-oscillator for bass reinforcement) and providing two noise sources.¹ Although designed for a supporting role, its importance can be crucial, for example, in external audio processing.¹ The Utility Engine, despite being described as a “support” component, is fundamental to Pigments’ flexibility and depth, especially in bass design and external audio integration, revealing a capability that goes beyond simple main sound generation. The “sub” is an essential element for creating powerful, deep, and defined basses, crucial in many electronic music genres. The inclusion of noise sources is equally vital for creating synthetic percussion, sound effects (risers, sweeps), and for adding texture and “grit” to any sound. The mention that it “can be important, for example, in external audio processing” ¹ is a key point, suggesting that Pigments can function not only as a sound generator but also as an effects processor or a vocoder (given the addition of the vocoder in v6) for external audio signals. This capability expands its role from a mere synthesizer to a more comprehensive and integrated music production tool, connecting directly with the effects section and the overall versatility of Pigments.

For a clearer understanding of each engine’s capabilities, Table 1 provides a detailed comparison:

Table 1: Comparison of Arturia Pigments 6 Synthesis Engines

Engine Name	Synthesis Type	Key Features	Typical Applications	Notes
Virtual Analog	Subtractive	Classic oscillators, analog warmth	Pads, Leads, Basses, Classic sounds	Original engine
Wavetable	Wavetable-Based	Sweeping complex wave tables, morphing	Evolving textures, Modern digital sounds	Original engine
Additive	Harmonic	Building sounds from individual harmonics	Metallic timbres, Bell, Complex sounds	Added in update
Sample-Based	Granular / Sample Playback	One-shot and multi-sampled, granular synthesis	Sampled instruments, Granular textures, FX	Added in v2
Modal	Physical Modeling	Resonance of physical objects (beam, string), exciters	Organic sounds, Percussion, Plucked strings	New in v6
Utility	Auxiliary	Additional VA oscillator (sub), two noise sources	Bass reinforcement, Synthetic percussion, External audio processing	Crucial support role

New Arturia Pigments 6 Architecture and Signal Flow: Design Flexibility

Pigments’ main sound engines feed into a highly flexible dual filter section. This section is capable of employing a wide variety of filter designs, ranging from straightforward and efficient multimode filters to meticulously analog-modeled designs, and creative tools like comb and formant filters.¹ The dual filter section, with its “wide variety of designs” ¹, including analog modeling and creative filters like comb and formant, is as crucial as the synthesis engines for Pigments’ tonal shaping and expressive capabilities. Filters are essential components for sculpting the timbre of any sound. The presence of dual filters allows for complex routings (in series or parallel) and the application of different filtering characteristics simultaneously, opening doors to more complex and evolving sounds. The inclusion of analog-modeled filters adds warmth, saturation, and an organic character that is highly valued in music production. On the other hand, comb and formant filters open pathways to more experimental, vocal (like vowel simulation), or resonant sounds, expanding the sonic palette beyond what is possible with traditional low-pass/high-pass filters. The true power and dynamism of the filters are unleashed when combined with Pigments’ advanced modulation system, allowing filter parameters (such as cutoff frequency, resonance) to evolve dynamically over time, transforming a static sound into something living, pulsating, and expressive.

New Arturia Pigments 6 Advanced Features and Creative Capabilities

Pigments stands out for its advanced modulation system, which features an intuitive color-coded workflow, drag-and-drop parameter assignment, and quick adjustment by hovering over controls. Additionally, it offers modulation side-chain capabilities.¹ The system includes a wide range of modulation sources, such as envelopes, morphing LFOs (which can change shape), function generators, random generators, and combiners, which allow for the creation of complex modulations from multiple sources.¹

A notable addition in version 6 is the Voice Modulator, integrated into the random modulation section. This modulator generates a different output value for each new incoming MIDI note, and can be set to cycle through a value between 1 and 8 notes.¹ Its functionality can introduce subtle analog variations, similar to the behavior of a real analog synthesizer, or act like the round robin voice cycling found in instruments like the Korg Mono/Poly.¹ The Voice Modulator in v6 is a subtle but profoundly significant feature for humanizing and adding expressiveness to patches. It elevates Pigments beyond a mere static synthesizer to a more organic, reactive instrument with an authenticity that harks back to analog hardware. By generating a different output value for each new MIDI note, it introduces an inherent and subtle variability to each note played, avoiding the sterile perfection sometimes associated with purely digital synthesizers. The explicit comparison to the “Korg Mono/Poly’s round robin voice cycling” ¹ is crucial, as analog synthesizers, due to minor imperfections and variations in their electronic components, produce slightly different nuances in each voice or note they trigger. The Voice Modulator digitally emulates this “organic imperfection,” imparting a sense of “life” and “warmth” to the sound. Instead of a perfectly identical sound on every note, the Voice Modulator adds subtle nuances and variations, making chords richer, melodic lines more expressive and less predictable, and pads more enveloping. It is vital for the feeling of “life” and “movement” in a patch, and can be used for subtle modulation of pitch, filter, volume, or any other parameter, creating a more natural “unison” effect or timbre variations that resemble an ensemble of slightly different instruments.

Pigments’ effects section is robust and flexible, including 2 insert buses, 1 send bus, and the ability to apply 3 effects per bus, totaling 19 distinct effect algorithms.¹ Notable algorithms include Shimmer Reverb (pitch-shifting reverb), MultiBand Compressor, Distortion, and, as an important addition, the Vocoder.¹ A new vocoder was introduced in version 6, offering multiple tonality modes – vintage, modern, and dirty – and detailed control over parameters such as bandwidth, output frequency, and formants.¹ The inclusion of an advanced vocoder in v6, with multiple modes and detailed control, transforms Pigments from a mere synthesizer into a more complete and self-sufficient vocal production and sound design tool. Vocoders are specialized tools for processing voice (or other audio signals) using a “carrier” signal (the synthesizer) to modulate a “modulator” signal (usually a voice). Its inclusion in Pigments means users don’t need a separate vocoder plugin, consolidating functionalities. The different modes and controls offer a wide range of sonic possibilities, from classic robotic and sci-fi vocal effects to complex rhythmic textures and voice-based pad sounds. Integrating the vocoder directly into Pigments simplifies the workflow, allowing users to experiment with vocoding within the same sound design environment, without the need to switch between different plugins or complex routings in the DAW. This accelerates creativity and experimentation. Furthermore, the Utility Engine, with its external audio processing capability ¹, becomes a natural and powerful partner for the vocoder, allowing Pigments to use input audio (such as a recorded voice) as the vocoder’s “modulator” signal, further expanding creative possibilities.

Pigments incorporates an advanced generative sequencer and arpeggiator, which allow for the creation of complex, evolving, and polymetric sequences and arpeggios.¹ These modules include an advanced random sequence generator and a “sequencer lock” function, which allows freezing a randomly generated pattern.¹ The sophistication of the generative sequencer and arpeggiator, particularly with the inclusion of advanced randomness and lock functionalities, positions Pigments not only as a sound design tool but also as a source of inspiration and a valuable aid for musical composition. This goes far beyond a basic arpeggiator. The ability to randomly generate patterns and “lock” these sequences allows users to discover unexpected melodic, rhythmic, or harmonic patterns and musical ideas they might not have conceived manually. Pigments transcends its function as a synthesizer; it can act as a composition tool, generating bass lines, melodies, or rhythmic patterns that serve as starting points or inspiration for new songs and arrangements. This functionality can significantly reduce creative block and accelerate the experimentation process, allowing producers to quickly test variations of a theme or explore new musical directions with ease.

New Arturia Pigments 6 Interface and User Experience

Pigments’ interface is visually appealing, interactive, and animated, being fully resizable for 4K monitors.¹ It offers aesthetic flexibility with the option of dark or light themes.¹

Introduced in version 4, the simplified “Play” view offers direct access to surface sound shaping, eliminating the need to unravel the more complex elements of a patch to make quick and intuitive adjustments.¹ The “Play” mode is a brilliant example of how Pigments manages to balance its deep complexity with remarkable accessibility, making it appealing to a wider range of users, from beginners to experienced sound designers. This functionality solves the problem of Pigments being “potentially excessive for simpler synthesizer patches”.¹ It allows users who prefer to work with presets and macros to still enjoy the sound quality and vast library without delving into the complexities of synthesis. This ensures that less technical users or those seeking quick results can benefit from Pigments’ quality and versatility, while experienced sound designers can dive into the deeper layers of control. It demonstrates a user interface (UI) and user experience (UX) design philosophy that prioritizes both depth and control for experts and ease of use and intuition for casual users, thereby maximizing the product’s reach and usability.

Pigments comes with an extensive library, containing over 1600 high-quality presets.¹ It offers broad compatibility with industry standards, including MPE (MIDI Polyphonic Expression), NKS (Native Kontrol Standard) controllers, and MTS-ESP microtuning.¹ The extensive preset library and comprehensive compatibility with industry standards (MPE, NKS, MTS-ESP) ¹ are clear indicators that Pigments is a mature and professional instrument, designed to integrate fluidly into modern and demanding studio workflows. Such a vast preset library is not just a convenience; it demonstrates the synthesizer’s sonic breadth and provides valuable starting points for sound creation, as well as being an educational resource for understanding the instrument’s capabilities. MPE compatibility allows for expressive per-note control (pitch bend, vibrato, timbre), crucial for nuanced performances and detailed sound design, bringing it closer to the expressiveness of acoustic instruments. NKS ensures deep integration with Native Instruments hardware and software, facilitating preset browsing, automatic control mapping, and a more cohesive user experience. MTS-ESP offers support for microtuning and alternative scales, which is vital for non-Western music genres, experimental music, or for sound designers seeking more complex and expressive tunings. Collectively, these compatibilities and the vast library elevate Pigments from a “simple” plugin to a professional-grade tool, ready for any production environment, from home studios to large-scale productions, ensuring that the user’s investment is compatible with industry demands.

New Arturia Pigments 6 Critical Assessment

Strengths (Pros)

Pigments’ dual, multifunctional synthesizer engines offer remarkable sonic versatility.¹ Its modulation and filter tools are comprehensive, allowing for the creation of sounds ranging from basic and fundamental timbres to abstract and experimental creativity.¹ Arturia stands out for providing substantial annual updates, which are offered free to existing users.¹ These points are not just isolated features, but the pillars that define Pigments as a “power synth” and make it a superior choice for many professionals. The versatility of generating such a vast range of sounds from a single plugin saves time, money, and resources for the producer, eliminating the need for multiple specialized plugins. The depth allows users to grow with the instrument, exploring layers of complexity and refinement as their sound design skills evolve, ensuring longevity of the investment. Free updates ensure that the initial investment continues to yield dividends with the continuous addition of new features, engines, and performance improvements, without hidden costs or the need to repurchase the software with each new major version. Collectively, these strengths create a virtuous cycle of innovation, continuous value, and customer satisfaction, solidifying Pigments’ position as a long-term investment for any producer or sound designer.

New Arturia Pigments 6 Points to Consider (Cons)

Pigments can be potentially excessive or complex for creating simpler, more straightforward synthesizer patches.¹ An instrument with such depth, flexibility, and a vast array of engines and modulators will inevitably have a more complex interface than a single-purpose or limited synthesizer. Complexity is a byproduct of power. However, the existence of the “Play” mode ¹, which simplifies the interface for quick surface adjustments, and the vast preset library ¹, which offers ready-to-use starting points, significantly mitigate this aspect. The user can choose not to delve into the more complex layers if their goal is a simple and quick sound. For users who only seek a quick and simple sound, Pigments might initially seem intimidating. However, Arturia has provided clear and intuitive ways to bypass this perceived complexity, making it accessible to a wider audience than just the most advanced sound designers. This point is more an observation about the nature of a “powerhouse” synthesizer that offers unlimited options, rather than a fundamental criticism of its usability. Arturia has demonstrated an intelligent understanding of its audience, offering both depth and accessibility.

New Arturia Pigments 6 Verdict and Conclusion

After six iterations since its launch, Pigments stands out for offering versatility and depth beyond any other synthesizer currently available on the market, according to MusicRadar’s verdict.¹ The article concludes that Pigments, in its current form, is a true “power synth” in every sense of the word and one of the best pieces of music creation software available.¹ Its capabilities extend to recreating analog polysynth timbres, lo-fi wavetables from old digital synthesizers, and even applying East Coast synthesis techniques like low-pass gates and wavefolding oscillators.¹ These are very strong statements, which not only attest to Pigments’ quality but also elevate it to a reference status in the software synthesizer industry. It is not just good, but exceptional. The ability to encompass such a vast and diverse range of synthesis (analog, wavetable, additive, sample, granular, physical modeling, vocoder) within a single instrument suggests that the trend towards “super-hybrid” and multifunctional synthesizers is the future of sound design and music production. With Pigments, Arturia is not just following market trends, but setting them, solidifying its reputation as a company that prioritizes continuous innovation and delivering exceptional value to its users.

The article’s author suggests that Pigments is becoming so powerful and comprehensive that it risks making Arturia’s V Collection — its own suite of classic synthesizer emulations — obsolete.¹ This suggestion presents a fascinating strategic dilemma for Arturia itself, but it can also be interpreted as portfolio synergy. It is more likely that Arturia sees Pigments as a complementary product that attracts a different type of user – the sound designer seeking innovation, maximum flexibility, and a “sandbox” approach to sound creation. The V Collection, on the other hand, appeals to classic synthesizer enthusiasts, producers seeking authentic historical timbres, and those who value the faithful recreation of iconic instruments. Instead of obsolescence, there may be a synergy where Pigments acts as the vanguard of innovation, while the V Collection maintains its nostalgic and educational appeal. Pigments’ success may even influence future developments in the V Collection, perhaps leading to greater integration between products or new approaches to emulation. The consumer benefits from having a clear and powerful choice: a package of historical emulations with authentic character (V Collection) or an innovative, multifunctional synthesizer with unlimited sonic possibilities (Pigments), or both for maximum flexibility and a complete arsenal of synthesis tools.

New Arturia Pigments 6 Essential Information

Target Audience

Pigments is ideally designed for those looking to design sounds from scratch, offering a true creative “sandbox” where experimentation is encouraged.¹ However, it also proves extremely useful for users who prefer to work with presets and macros, thanks to its well-organized sound library and an intuitive macro control system that facilitates quick adjustments.¹ Pigments effectively serves two distinct but equally important target audiences: the experienced sound designer seeking total control and the user who prefers the convenience of presets. This duality significantly broadens its market appeal and demonstrates inclusive product design. Arturia designed Pigments with a layered interface (such as the simplified “Play” mode ¹) and a vast preset library to ensure that the synthesizer’s depth and complexity do not become a barrier for less technical users or those who need quick results. This design approach maximizes sales potential by attracting a wider customer base, from the curious novice to the demanding professional.

New Arturia Pigments 6 Price and Availability

The acquisition price for Arturia Pigments is €199.¹ It is available for immediate purchase at this price, with an additional “rent-to-own” option starting from $9.99 per month, offering payment flexibility.¹ The “rent-to-own” option is a smart business strategy that offers a lower financial barrier to entry, making Pigments accessible to a wider audience and potentially increasing the user base and conversion rate. The initial cost of €199 can be an obstacle for some producers or students with limited budgets. The rent-to-own option allows these users to experience the software extensively and acquire it gradually, without a large upfront outlay. This reduces the financial risk of purchase and allows users to test the software in their own projects and workflows before committing to the full purchase, ensuring that the investment is suitable for their needs.

New Arturia Pigments 6 System Requirements

Pigments is compatible with PC (Windows) and Mac operating systems.¹ It functions both as a Standalone application and as a plugin in VST, AAX, and Audio Unit (AU) formats, and also offers NKS (Native Kontrol Standard) compatibility, being optimized for 64-bit DAWs.¹ Pigments’ broad compatibility with major operating systems and plugin formats ensures that it integrates fluidly into virtually any professional music production workflow, minimizing technical barriers for the user. This compatibility list covers the vast majority of professional and home studio environments and DAWs (Digital Audio Workstations) currently in use. There is no need to worry about compatibility issues between the software and your existing production environment, allowing for seamless installation and use. The Standalone version is particularly useful for live performances, quick sound design without loading a full DAW, or for users who prefer a more focused approach. NKS compatibility, in particular, indicates that Pigments is a mature and well-supported product, designed for the professional market that uses integrated hardware/software ecosystems.

New Arturia Pigments 6 Update/Version History

Arturia Pigments was initially launched in 2018.¹ Arturia has maintained a schedule of regular and substantial annual updates, all offered free to existing users.¹ Pigments version 2 added a sample engine, significantly expanding the instrument’s synthesis capabilities.¹ Pigments version 4 brought CPU and user interface (UI) performance improvements, as well as the addition of the simplified “Play” view, which optimizes the user experience.¹ Pigments version 6, released in January 2025, is the latest and one of the most significant updates, introducing the new Modal engine (based on physical modeling), a vocoder, enhanced granular capabilities, and an expanded range of filter and modulator options.¹

To visualize the progression and cumulative impact of improvements over time, Table 2 presents a clear history of key Arturia Pigments updates. This table allows the reader to quickly see Arturia’s continuous commitment to Pigments’ development and the accumulated value that existing users receive through free updates. This reinforces the idea that Pigments is a long-term investment, validating the purchase decision for new users and loyalty for existing ones, showing a proven history of improvements.

New Arturia Pigments 6 Table 2: Key Arturia Pigments Update History

Version	Release/Update Year	Main Additions/Improvements
Original Launch	2018	VA/Wavetable base, modulation system, effects
Pigments 2	(Not specified)	Addition of Sample Engine
Pigments 4	(Not specified)	CPU and UI optimization, addition of “Play” mode
Pigments 6	January 2025	New Modal Engine (physical modeling), Vocoder, enhanced granular capabilities, new filter and modulator options

New Arturia Pigments 6

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