Arturia Pigments 5 Explained
Join synthesizer guru Tyler Coffin for an in-depth look at Pigments 5, the latest version of Arturia's own virtual synthesizer that packs a serious punch. You'll get the lay of the land, including the numerous synth engines (Wavetable, Analog, Sample, Harmonic, etc.) and their parameters, along with a deep look into the usual suspects (filter, sequencer, effects, etc.), complete with numerous audio demonstrations throughout. By the end of this Pigments 5 tutorial, you'll be ready to start using Pigments 5 in your very next track. These Pigments 5 videos are for new Pigments 5 users.
Videos
• Introduction & Overview (03:00) - First, we get a brief look at the broad aspects and nature of Arturia's original software synthesizer, Pigments. With Version 5, Pigments has and continues to add a ton of possibilities for extensive and enjoyable sound design!
• User Interface & Basic Operation (07:34) - To start digging into Pigments, we take a broad tour to get an initial understanding of the basics so that we can then elaborate and expand into detail on each part later.
• Play View (05:01) - Introduced in Version 4, the Play View gives a simplified version of Pigments for surface-level editing. Here, we get a look at these abbreviated sections.
• Analog Engine (07:05) - Now jumping into the full synthesis engines, the Analog Engine is composed of a three-oscillator analog emulation. We'll dig into it in this video.
• Wavetable Engine (08:59) - Wavetable synthesis is more common among modern software synthesizers. This engine is capable of synthesizing and modulating all kinds of sounds through its workflow.
• Sample Engine (10:37) - The Sample Engine allows for use of recorded samples as well as granular synthesis with them. Here, we examine this engine and its parameters.
• Harmonic Engine (09:20) - The Harmonic Engine employs additive synthesis for a wholly different approach to sound generation.
• Utility Engine (04:08) - The Utility Engine allows for some extra flexibility by means of noise generators, an audio input, and an additional oscillator. Here, we see how it can help add some extra character to our other engines.
• Filters (06:54) - With many different filters of excellent sound quality, the Filter section gives us flexibility to shape our sound in a classic subtractive manner.
• Modulations & Routing (15:37) - In this video, we detail the extensive amount of possible modulation from all kinds of sources including MIDI, envelopes, LFOs, and more.
• Sequencer (08:46) - In the Sequencer and Arpeggiator, we see how we can program rhythmic movement to the sound with triggers for notes and parameter changes.
• Effects (10:33) - Here, we check out our options for adding finishing touches after the sound is synthesized with effects and routings for multiple chains.
• Preset Management & Browser (04:29) - Here, we take a closer look through Arturia's Browser, an efficient organization tool for presets in Pigments and beyond.
• Sound Design Example: Bass (05:02) - With Pigments, we can make a massive variety of bass sounds. Here, we start with a relatively simple bass and then experiment a bit further on it.
• Sound Design Example: Lead (07:58) - In this video, we create a lead sound that uses multiple engines and modulations for vibrato and more.
• Sound Design Example: Pad (09:26) - To make a pad, we experiment with many different aspects of Pigments, resulting in an ambient and evolving soundscape.
• Conclusion & Review (04:19) - To finish things up, we review what we've learned, and Tyler adds a few closing remarks on this powerhouse synthesizer.