This is a nice addition, providing the focus you need when performing with what is a very deep synth. There’s also a new Play view that provides an entire overview of the synth, with all engines, filters and effects visible within a single view, albeit with only the most important controls available.
Pigments 4 retains the same overall appearance of previous versions, but there’s now a choice of two themes: the original dark theme and a new light theme.
This arrangement has not changed since we looked at Pigments 3, but Arturia has made some important enhancements nonetheless. (There’s also a third Utility engine that provides a pair of noise generators and a sub-oscillator, regardless of which models are loaded into the other two engine slots). This chameleon-like ability starts with Pigments’ pair of flexible sound engines, each of which can load any one of four different models – Analog, Wavetable, Sample and Harmonic – each encompassing a different approach to generating source tones for the synth. “multi-coloured”) synthesizer is in reference to the instrument’s hugely varied and variable sonic palette. Arturia’s description of Pigments as a “Polychrome” (lit.
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