ARTURIA PIGMENTS 2 CRACK MAC FREE
There’s no need to debate the value of upgrading, as it’s free for anybody who’s using Pigments 1 or 2 already.
This isn’t a situation where you choose one style or another, and for Arturia, we’d guess it’s a way of keeping users connected to them even when they want different, more modern, sounds - especially as bundle prices and discounts for current users are available.Īnd why on earth not? Pigments isn’t a token gesture - it’s a fully functioning, potentially deep, synth in its own right. Iris 2 is primarily about sample-based synthesis, but also includes oscillator-generated synthesiser waveforms and, of course, audio effects.Įver-popular Serum is a wavetable synthesiser that includes sample loading and editing within the synth without requiring external tools. The truth is we all end up with more synths than we know what to do with! Pigments has always stood apart from Arturia’s more ‘traditional’ collection of vintage synth virtual instruments, though, and we mean that in the best possible way.
ARTURIA PIGMENTS 2 CRACK MAC SOFTWARE
And let’s not forget that most DAW software includes a great synth or two, examples being Ableton Live’s Operator, Bitwig Studio’s Phase-4, and Logic Pro’s Alchemy. A list of the usual names could include Serum, Massive X, Iris 2, Hive 2, and Sylenth1. Pigments 3 is up against many other big-name synths, but really it’s not a competition, as they all have their good points. We didn’t have an MPE compatible controller available for this review, and it’s not a new addition to Pigments 3, but we just want to mention that we used Live 11’s new MPE envelopes features to control Pigments, and it worked very well with some of Sensel’s free Pigments presets. Pigments isn’t a token gesture - it’s a fully functioning, potentially deep, synth in its own right.
Each combinator can also use the other two combinators as a modulation source.įour new audio effects have been added, in the form of a rather excellent pitch shift delay, a multiband compressor, the BL-20 flanger, and Jun-6 Chorus derived from Arturia’s V Collection. As we said earlier, these give you a way of building a modulation source from others, with assignable behaviours for each, so you might take LFO 1 and LFO 2 as sources, then choose how they’ll combine (difference, multiplication, and so on). In the same way, a third combinator takes modulation into wild new areas. The oscillator presents a choice of waveforms, and each element - noises and oscillator - has its own filter mix and volume controls (two filters are shared by all engines).īeing able to stack up three of these engines leads to some profound sound design moments, the third engine enhancing what’s already an excellent sounding synth. The noises are based on a range of samples including machine noises, digital tones, and natural sounds such as forests and rain. You can even turn off the first two, and use Utility on its own, dialling up two different noise forms, and adding the oscillator and filters. The extensive preset library tells you everything you need to know about Pigments in general - excellent quality sounds, with depth and movement, more focused on blatantly being a synth rather than emulating real instruments, and many using the built-in arpeggiator and sequencer, which are always good with Arturia.Īs we’ve reviewed Pigments before, let’s focus on what’s new in version 3, starting with the Utility Engine, which is a third sound engine in its own right. From left to right, there are the preset browser, Synth, FX, and Seq tabs, a tips icon, and master volume.īelow that there are the tabs for three engines - 1, 2, and Utility - followed by a filter section, then a row of modulation controls, with more tabs, this time toggling views of an on-screen keyboard, envelopes, LFOs, functions (three complex modulation sources), randomisation, and combinators (another type of modulation source that combines two other modulation sources).įinally, at the lower right are four macro controls, and a button that enables MPE and displays some relevant options. All of Pigments’ controls are contained in one panel, but some tab-clicking is required - inconvenient but not unusual for such a full-featured synth.
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