New effects include the Pitch Delay, top left, plus some Juno and Jupiter extras, too. Ramp waveform in the Virtual Analog engine (at last). Like some of the other bits here, you’ve seen it elsewhere in Arturia tools if you’ve been watching closely, but having it as part of Pigments means extra sound design options inside the synth’s deep routing and modulation architecture. Okay, I’m fairly restricted in how often I, uh, flange, but this is a great one to emulate – the legendary (and rare) Bel BF-20 stereo flanger, which Arturia being Arturia, here has extra options. A modern, digital pitch delay tool, which options up some ambience and other precise timbral effects.īL-20 Flanger.

The Jup-8 low-pass filter and the JUN-6 Chorus made their way into Pigments, which makes sense.

A third Utility engine expands the architecture, with two additional noise sample layers and an extra oscillator layer. That alone should keep you busy, but you also get: It’s an additive synthesis tool with up to 512 partials, with complete control over partials (and modulation of partials), plus morphing dual formant filters.

The big new addition (oops, unintentional pun) is the Harmonic Engine. Click to embiggen any of these images for a closer look. (No runaway skeumorphism here.) The new Harmonic engine is a rich additive-powered tool with loads of extras. The whole tool and UI continue to get more refined, for one of the deepest-but-friendliest looking plug-ins anywhere – and maybe my favorite Arturia UI, in fact. Now, I’ve just grabbed this build – I’m in a little later on this one, but that’s okay, as I look forward to spending the next weeks with the final build.īut there are some gorgeous new tools. Pigments, the monster synth plug-in, is still growing at full speed – now with a deep “harmonic” additive engine, more layers, and more tools in its palette.

Arturia pigments tutorial