Arturia Pigments 5 – still one of the best soft synths for sound design€199 (option to spread payment across two, three or four monthly payments), free update from Pigments 4, arturia.com
Arturia’s growth over the last couple of decades — from small-scale software developer to music technology behemoth has been remarkable — and has given us a host of hardware and software music-making tools that many producers find essential. A prime example of this, for us, is Pigments, arguably one of the most versatile and powerful software synthesizers ever created.

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Pigments 5 grabs the attention as soon as you play any of the presets from its impressively vast collection. Whether basses, leads, pads, sound effects, or any other flavour of sound, Pigments comes packed with stunning, inspirational patches that thunder, scream, sing and dance their way into your ears.
Such remarkable creative breadth and depth would be impossible were it not for Pigments’ adaptable synthesis engine. This is immediately familiar and welcoming, following a tried-and-tested subtractive synthesis architecture and layout, the synth’s flexibility emerging from the modular nature of each stage.
Arturia Pigments 5 Sequencer
Pigments 5’s sound engines
The oscillator stage is made up of three Engines. One of these, the Utility Engine, is fixed and always provides a pair of flexible noise generators with an array of noise patterns, a basic analogue-style oscillator, and an audio input that can replace the second noise generator, letting you feed external signals into the instrument.
The remaining pair of Engines are where the real action is at. In these, you can load any of four oscillator models, each offering a different character, thanks to their methods of waveform generation.
The first oscillator model, Analogue, provides a classic three-oscillator setup with more than a hint of Minimoog about it (although, unlike a Minimoog, Pigments can operate polyphonically). There’s a standard set of analogue waveforms, hard-syncing between the first two oscillators, and a noise generator with variable colour. Noise can be mixed with the engine’s output, as expected, but can also be blended with Oscillator 3 and used as a frequency modulation source for the first two oscillators. The model’s convincing analogue sound can even be enhanced by dialling in some analogue-style tuning drift.

The Wavetable model comes with a large collection of wavetables and lets you import custom ones. The model can traverse, warp and reshape your chosen wavetable in all sorts of ways, providing a near-limitless palette of waveforms and noises.
Pigments’ Sample model hosts up to six samples simultaneously, taken from the large internal library or imported from your own. Samples can be assigned to key and/or velocity maps, chosen randomly, cycled in a round-robin pattern, or chosen via a modulator or controller. Better still, alongside traditional sample triggering and looping, the model also includes a granular mode, turning any sample into an endlessly mineable source of unique timbres.
The final model, Harmonic, generates sound using additive synthesis principles but, unlike an actual additive synthesizer, it operates in a way that’s manageable and controllable. That’s not to say it’s straightforward — Harmonic is Pigments’ most complicated model — but its mysteries do yield to exploration and experimentation, and allow the creation of a wide range of timbres that are markedly different to those produced by the synth’s other oscillator models.
Arturia Pigments 5 Harmonic Model
The flexible filters and effects of Pigments 5
Each oscillator engine can mix and balance its output between two filter slots, and these slots can load any one of eleven filter models. There’s a standard multimode affair, and a clutch of more specialised filters such as comb, low-pass gate and formant. Alongside these are a range of filters modelled on iconic filter circuits such from the likes of Moog (Minimoog), Korg (MS-20) and Roland (Jupiter 8).
Rather than give a binary choice on whether the filters are connected in series or parallel, Pigments allows you to blend between these two methods. Alternatively, the filters can be split entirely, with each routing its output to the subsequent effects section as a discrete signal. This all makes for tremendous versatility in how raw waveforms are shaped.
The modular ethos continues into the effects section, which provides two insert chains that receive the output from the filters, and a third auxiliary chain that operates as a send/return loop following the insert chains. Each chain is made up of three slots with a choice of 18 high-quality effects, many taken from other Arturia plugins. As with everything else in Pigments, the routing of the effects chains is very flexible, maximising the creative options available.
Topping things off is Pigments’ advanced arpeggiator/sequencer, which has had a couple of tweaks in this new version. The sequencer is better than many standalone pattern sequencers — ideal for generative music thanks to its polyrhythms, probability, and intelligent pitch quantisation and harmonisation, all of which can be triggered and transposed by the notes you play.
As well as driving Pigments, the sequencer’s MIDI output can be routed to other synths, making it a seriously powerful production tool.
Arturia Pigments 5 FX
Is Pigments 5 the best soft synth?
Bringing life to Pigments’ sound is a large collection of modulators – three each of envelope, LFO, function curve, and random generator, blends of which can be created using the three combinators. There’s extensive real-time control too, with the usual suspects of velocity, mod wheel, aftertouch and key tracking joined by MPE and pitch/slide support, and four macro controllers that can themselves be controlled by other modulators.
Managing this stack of modulation sources is a breeze, with each having a panel that visualises its activity and from where you can drag-and-drop the source onto any destination parameter, including effects and sequencer parameters.
This elegance exemplifies much of Pigments’ design, as despite its ludicrous adaptability the instrument is easy to navigate and operate for anybody familiar with subtractive synthesis. Controls are laid out logically and sensibly, visualisations are intuitive and clear, and interactions are obvious and consistent. And, let’s face it, the instrument looks good, inviting you to dive in and start playing.
All of this synthesis power comes at the cost of CPU power, but this does depend on how many of the various synth and processor slots are in use, and has been improved in this latest edition. The other updates in this new version are welcome too. Minor though they are, they’re more than enough to keep Pigments firmly pegged as one of our absolute favourite synths.
Arturia Pigments 5 Wavetable Model
Key features

Plugin and standalone instrument for Windows and macOS
Monophonic or up to 32-voice polyphonic
MPE (MIDI Polyphonic Expression) support
Accessibility features
Micro tuning
Integrated tutorial system
Oscillator models: Analogue; Wavetable; Sampler; Harmonic
Filter models: MultiMode; MS-20; SEM; Matrix 12; Jup-8; Mini; Surgeon; Comb; Phaser; Formant; Low Pass Gate
Effects: Delay; Tape Echo; PS Delay; Reverb; Shimmer; Compressor; Multiband Dynamics; Multi Filter; Parametric EQ; Distortion; Bit Crusher; Super Unison; Chorus; Chorus JUN-6; Flanger; BL-20 Flanger; Phaser; Stereo Pan

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H.E.R debuts customized red Stratocaster guitar at surprise Big Game halftime performanceIf you saw the surprise guest performance at this weekend’s big game, you saw the ultimate reveal of H.E.R.’s customized red Stratocaster guitar. 

The guitar was made specifically for H.E.R.'s surprise halftime show performance at the big game with Usher and was designed with her style inspiration and performance needs in mind. The body and matching headstock include never-been-done before transparent paint with finish that replicates her chrome aesthetic.

“I imagined a chrome red, I love a good texture,” said H.E.R. “We also made the neck a little slimmer to make it easier for my solos, I wanted it to be effortless.”

In addition to the unique finish, the design behind the customized Stratocaster guitar also includes:

Chrome Glow H.E.R. Signature Strat body with transparent red paint over it, and matching headstock 

Anodized aluminum black pickguard 

Black Noiseless pickups with matching black knobs

Modern D shaped neck with satin finish 

Rosewood fretboard 

Modern vintage tuners

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Despite the higher prices, costs are actually lower than expected compared to proposals originally put forward in 2023. The rise in application costs will commence on 1 April 2024.

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Back in January of 2023, the US Department of Homeland Security (DHS) announced plans to raise touring visa fees for international artists by more than 250 per cent.
This would have meant that applications for a P visa, which is temporary and for artists attending a specific event, would’ve increased from a rate of $460 to $1,615. The longer-term O work visa, which provides artists with a three-year stay, would’ve jumped from $460 to $1,655. Later that July, the decision was delayed following backlash from musicians.
Now, as RA reports, the longer-term O visa will jump from $460 to $1,055, an increase of 129 percent. The P visa will move from $460 to $1,015, a 121 percent jump.  This price hike is the first time artist visa costs have increased since 2016. The US Citizenship and Immigration Services (UCIS) says these higher fees are needed “to cover the cost of doing business and avoid the accumulation of future backlogs.”
A 2022 study from Help Musicians showed that more than eight in ten professional musicians are worried about meeting mortgage or rent costs, nine in ten also say that their career is being impacted by poor mental health amid the cost of living crisis and financial barriers within the industry.
The Chemical Brothers also recently cited rising costs as the reason why they could not play shows in the US. “The costs have gone up so much,” Ed Simons said in September last year. “It’s just not really viable at the moment… I’m apologetic to the people who do want to see us that it is increasingly difficult for us to get to America, because we have had the times of our lives playing there.”
The DHS and the UCIS have opened a comment period until 6 March which allows citizens of the USA to send public feedback. Visit the UCIS website for further information on visa applications. You can also get mental health and career support via Help Musicians.
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