That Granulizer is something to get into. And the presets are amazing. I got the waves upgrade as well.
It would be consistent with Arturiaās black friday pricing that they give you better deals if you own their products. During BF, Pigments was on sale for $99, but I had a Keystep 37 and the pricing (after I logged in) was $69. Iām guessing that having the V Collection is what probably knocks it down to $49.
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thanks, iāve figured that owning more products is the reason, maybe next year Iāll get it, iām done with software this year 
Confirmed, I own a Keystep and some other plugins got for free during the last months and Pigments in sale is 69ā¬ when logged in.
I think if I could start over again with my Arturia approach, I wouldnāt buy V Collection and would just have Pigments.
I understand why Arturia take this approach because they think V Collection is the one everyone wantsā¦ but Iām personally starting to see the collection as pollution, Iād rather have the one synth, that I know well, that does everything I want.
Point being, for people considering a purchasing pathway to āgetā Pigments, just look at your net spend. $99 for it is clean and might be all you need.
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Similar situation here - I got Pigments for $69 because I grabbed Tape Mello-Fi when it was free last year 
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I fired Pigments up last night for the first time (w/ a decent computer) and just went thru a handful of the presets and each one had me going, 'whoa!"
I plan on going thru the tutorials this weekend. It has a nice clean interface, that is for sure.
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Btw Is someone here using the arturia minilab3?
I would be especially interested together with bitwig as small and simple controller.
I still couldnā t decide if or what to get ( akai fire maxbe?) , a small nektar was full of bugs, my only goal doesnt work.
Mostly i just would like to change tracks and use 8 knobs for 8 or 16 assigned or default remote controls. I saw short videos, butā¦, also one customer says something is strange with the endless encoders in ableton?
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But what about the Buchla? It makes me happyš„°
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Iāve thought about this a bit in the past, and I think itās only magnified with a super-synth as versatile as Pigments 4: when you have an instrument that could probably cover like 90% of the sound of all synthesizers ever made, whatās the point of using anything else?
As you say, the Buchla makes you happy. And dialing in a lead on the Juno puts a smile on my face. I think thatās the value of the V Collection, and what makes it a complement to Pigments: it puts up some rails and makes you think about sound design a little differently, through the lenses of some of historyās greatest synth designs.
Pigments is about limitless possibilities. V Collection is all about the journey.
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Well said.
Iāve encountered a similar issue with music programming languages, modular environments (Reaktor / MaxMSP / PureData / SuperCollider / etc.). Everything is possible, so where to start? An even more extreme version is that I am a software engineer, so why not start with a C compiler and build everything up from scratch? And while Iāve long since hung up my sysadmin badge and gun Iām still quite capable of building a Linux system from the ground up (and the computer it runs on, and theoretically the chips it is made of).
I have a Mac because it is a sufficiently good approximation of the computer I really want that I can get stuff done instead of fiddling with the hardware, OS and programs. I can do any of those things for fun, but I donāt need to do 10,000 hours of work just to browse a music forum.
I have pigments because itās really great and really cheap (on sale). Iāve also got a Monomachine because it was really great and really cheap (closeout sale!).
If you think of music tools in terms of their internal complexity, a C compiler is near the bottom (assembly or machine code is below it, digital logic below that), above that are specialized music languages like PureData, then visual modular systems like Reaktor, VCV or Reason. Finally there are specialized synths and then synths that are really a stack of synth engines like Pigments.
Depending on how technologically innovative you want your music to be, you can move up and down the stack. Something missing from this intentional oversimplification is UX: what it is like to interact with the instrument and thus sound.
In addition to Pigments and a MnM, Iāve got a Syntrx and an SE-02 and a Minibrute 2s, and Iām not eager to sell any of them. From a capabilities perspective, Pigments and a reasonably capable DAW can crush all of the other synths, particularly in terms of cost. But the reason I keep everything around is that the interaction with each is different, and the different interactions encourage different kinds of sound manipulation.
Iāve also got V Collection because Iām trying to push myself off of my hardware high horse. It seems like a good way to gain some of the experience of working with a lot of both exotic and popular hardware. I might use them in music, but I see V Collection as more of an interactive museum. If I consider travel cost, V Collection is a tiny fraction of the cost of visiting the Louvre, the Cairo Museum or the Miyazake museum, and Iāve been to all of them. I still donāt love patching on a screen, though. 
Syntrx is also a vastly better Synthi for me than any of the more sonically accurate virtual VCSes.
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