I manage to get by with turning off the Studio One "Native Low Latency" feature when I'm using Pigments, but it would be nice if it behaved like my other synth plugins, as turning off this feature means I'll also have to change my audio interface block size to keep getting low latency which is a PITA in the middle of a session. This works fine with most other plugins, but Pigments in particular makes the CPU meter jump around and spikes all the time with this setting enabled, causing crackles and pops. This gives Pigments its own process with a 1024k block-size, and I'm using 44.1kHz and some times 48kHz sampling with 24 bit-depth, 64bit processing on a modern MacBook Pro (Intel i7). S1 has this functionality that it gives plugins a separate process with separate block-size settings for instruments and audio while still managing to keep the latency low. Especially when we're talking about the sort of crisp digital sounds of a wavetable synth or even the harmonic engine.I also have some annoyingly high CPU usage numbers when using Pigments in Studio One 4.5 Professional. Those aren't the kinds features that inspire fawning headlines, but they can add a lot of depth and nuance to your sounds. This new third layer to a sound is specifically for adding noise and sub bass. Personally I think the most exciting addition is the utility engine.
It also has dual morphing formant filters that can sand off some of the harsh edges, allowing you to get vowel like sounds.
A little bit of detune and reverb can go a long way here. I'm especially a fan when it comes to low bassy growls and drones. The results are often reedy or organ-like.
The TL DR version is that it uses a combination of sinewaves at different frequencies to generate harmonic overtones. Harmonic additive synthesis is not a particular common method for sound generation, but it can be quite fun and unique. That harmonic engine is probably the headlining feature of Pigments 3.
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