How is it going?
My name’s Chizzy Stephens here at Dolby Atmos Henszey Sound studios.
I am a producer, songwriter, creative entrepreneur. I’ve worked with Chris Brown,
Jennifer Lopez, Justin Bieber, DJ Snake, The Dream, and more…
I’ve worked with a number of artists that range from R&B, Pop, a little bit all over the board but
for Jennifer Lopez, I worked on her album A.K.A. I produced “Same Girl” and “Tens”,
for Chris Brown I worked on “Heartbreak” on “Full Moon” and on Indigo I worked
on “You like that”, “Cheetah” and “Part of the plan”. Also worked on DJ Snake’s album.
I did the song of “Paris” featuring Gashi and I worked on The-Dream’s 3 Part mixtape
or album that he put out called “Sex tape menage a trois”
and I did the song called “I like” on there.
Pigments is a really user-friendly interface to use. I got into and I
started messing around with it and kind of started getting to know it like
pretty quickly like I was able to find the effects, the filters, easily using the
different cut-offs and so that’s been fun, and then kind of going into the
macros and playing with the different sounds, it’s been like a really cool
experience to do.
I’ve been playing music pretty much all my life I started
playing the trumpet in band and then from there I ended up getting into a rap
group, and then in this rap group we needed somebody to make the beats
because we obviously didn’t have any money to pay for him, so basically I
taught myself how to start making beats. So I made the beats for the rap
group and then from there on, one of the Eminem’s engineers actually heard one of
my tracks have reached out to me and kinda at that moment I was like “Hey, if
I’m catching this guy’s attention I must be doing something right,
and then from that point on I started taking music seriously, you know.
I never looked back.
Cool, so the very thing I started with on this is the melody.
I used pigments for that, so let’s pull that up.
So here, the reason why I chose the sound
for one is I was looking for something that kind of had like a sensual kind of
emotional vibe and I just loved the kind of reverse thing that’s happening at the
end, but I also want it to dirty up the sound a little bit so I went into my
effects here, and I added this overdrive. Then I’m just kind of go there turn
that up a little bit and then I just use this to crank it up just to make it a
little bit dirtier and then from there I added a little chorus effect and I think
this EQ is already on there.
And that was essentially it for that part, then I
went into my filter here, turned up the cutoff a little bit just
to change the texture a little bit now it kind of has a little bit of an edge to it.
So then from there, I took that same sound and actually converted it to audio
and then pitched it up and the reason why I turned it into audio and then
pitched it up is that when you pitch audio up, it kind of adds like this this
weird kind of inconsistency to the sound, but it kind of sounds cool so you can
hear that here.
This one is just a MIDI.
That’s pitched up and this is the audio that’s pitched up
So that’s it for the melody. From there I added this pad just
to kind of build up the track a little bit, so let’s pull that up.
I use this organ bell and here’s the pad here.
And then later on in the song, I actually
start to automate the cutoff on it.
So it starts low, and it kind of starts to build up and kind of open up and as you
can see the filter here is rising.
And the reason why I did that is that this is at the end of the song, this is
where the final hook comes in, you have all these ad-libs, these backgrounds and
I just kind of wanted to feel big so…
And so then that just rides out and then you have this outtro and I have the filter go back down.
Then it phases-out. So that’s the pad and that pad which is just to add some extra
emotion to the track and really kind of give it that fill in there.
Next I have added some guitars, so with these guitars with this whole vibe going where
it kind of feels like sensual and emotional I felt like this guitar was to
kind of drive it a little bit, add a little bit of edge to it, so let’s pull that up.
I use the Mystic plug.
So I have a couple different things going on in here.
Let me actually take everything off.
So that was the original sound,
and then I added my effects under FXB I added my overdrive and I just
cranked it all the way up.
So if I take it off, it’s very soft. And this was with it.
Then from there I just EQed it, added a couple more effects just to kind of
get that dirty sound and there we have it!
And it just kind of sits in the background, accenting the vocals and then
on the low-end, I have this guitar here.
So I have a couple of effects going on here
so let me take all of that off so. It’s just that mystic pluck sound and then I
added my distortion, and I added this M12 filter. I found this really cool preset
called “Fat puncher” and it kind of gives like a sidechain in effect, and the
reason why I did that was that I have the kick and the 808 going on.
I just added a cool little rhythm to the bounce.
That’s my guitar down there.
For the bridge, I wanted to do something that was unexpected
so what I did was I actually bounced out this
musical section here and turns it into audio.
So I took all of that, turned it into audio
and then I added this m12 onto it.
In here I use this preset “Ratchet Club”.I thought it was cool it added like this cool bounce,
it’s something that was unexpected like the majority of the songs you’re kind of
floating and then you have this bridge section comes in, it’s got kind of
like this bounce going on, so I thought that was cool and unexpected.
Let’s check that out.
I also have my pad going on in there just to soften the section up a
little bit. I’m going to actually mute that for a second.
From there it rises out, and it goes back into our hood.
Towards the end I actually have that part come back in just as now
you’ve heard is it’s not as unexpected but cool
that’s it and then attack just rise out from there here our guitars our pads and
the main melody and that’s it
We caught up with Chizzy – who made his name producing and writing for the likes of Chris Brown, Jennifer Lopez, Justin Bieber, Isac Elliot, and K?d – to chat about his creative process, how he uses Pigments in his latest work, and to share a few tips and tricks of using Arturia software. ? | Learn more Full Story: Pigments: ? | Join the Community Facebook: Instagram: Twitter: SoundCloud: ? | More

The Chizzy | Building hip-hop tracks with Pigments video was embedded from Youtube channel “”. Video source

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FAQ Arturia

  1. Connect your MicroFreak to your computer via the USB connection. …
  2. Launch the MIDI Control Center.
  3. If it is not immediately displayed, select the MicroFreak in the “Device” drop-down list in the top-left corner.
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  • Software: The Arturia KeyStep doesn’t ship with any free synths or VSTs (which is fine since most serious musicians already have their own VSTs). It does ship with the Arturia MIDI Control Center. This little tool lets you control every Arturia controller, from the BeatStep to The Laboratory.

    Update your firmware and get access to the newest functional improvements

    1. Launch the MIDI Control Center application.
    2. Connect your KeyStep to your computer.
    3. Turn the unit on, then select KeyStep from the DEVICE list in the top left corner.
    4. Make sure you are connected to the Internet.

    How do I install Arturia V collection on an external hard drive?Just create an Arturia folder on your external HD and then put a symbolic link to it into your Library folder, installing the plug-ins, everything will go into the external disc.

    They can also process external signals like the MicroBrute does. You won’t be able to use its knobs or sliders, they don’t send MIDI. If you want an analog mono synth that can also act as a basic MIDI controller you need a digitally controlled one.

    Minilab and latest GaragebandThe Analog Lab software standalone, outside garagebandworks perfectly, also with the older garageband. Other than that, the Minilab hardware works great on garageband 10.0. 2, and any other audio unit plugin i have works fine.

    Arturia KeyLab Issues with Firmware Update. If you’ve recently updated the firmware for your Arturia KeyLab, you may be experiencing an issue where the unit no longer boots in Performance mode. To fix this, simply do a factory reset by holding the + and – buttons while turning on the unit.

    How to update my DrumBrute Impact firmware?

    1. Connect your DrumBrute Impact to your computer via the USB connection. …
    2. Launch the MIDI Control Center.
    3. If it is not immediately displayed, select the DrumBrute Impact in the “Device” drop-down list in the top-left corner.

    Firmware Update

    1. Connect your device to your computer.
    2. Start the Midi Control Center.
    3. Go to Device/Firmware Upgrade or click on your device’s firmware revision.
    4. Then carefully follow the firmware upgrade steps.


    1. Connect KeyStep to your computer using USB.
    2. Open the Arturia MIDI Control Center software (download it for free at
    3. Select KeyStep from the dropdown menu.
    4. Select Firmware Revision, and Update.

    Thomas@ArturiaOn MacOSX, programs are stored in /Library/Preferences/Prophet-V2/save. On Windows Vista and Seven, programs are stored in %ProgramData%\Arturia\Prophet-V2\save. By default, %ProgramData% is C:\ProgramData. Creating a backup of these files is a good approach

    Connect your MicroBrute to your computer via the USB connection. Make sure not to use a USB hub. Launch the MIDI Control Center.

    Alongside these, you’ll find a conventional five-pin MIDI input and a bi-directional MIDI/USB port that allows you to use the MicroBrute as a tiny remote keyboard. Remarkably, it’s both polyphonic and velocity-sensitive when used in this fashion, and also sends pitch-bend, mod wheel, and octave information.

    How to Get Started

    1. Go to the Account Creation page. …
    2. Check your e-mail to confirm your account, then go to Register a new Product.
    3. Select Analog Lab Lite, and enter your serial and unlock code.
    4. Download and Launch the Installation. …
    5. Launch the Arturia Software Center and enter your Login informations.

    It’s a free version of synth plugin Analog Lab Lite!Analog Lab gives you streamlined access to 550 of the hottest presets from Arturia’s award-winning V Collection. Featuring sounds from all 21 faithfully modeled vintage keyboards, combining awe-inspiring sound with exceptional ease of use and awesome features.

    Analog Lab is clearly a bargain even with 40 presets less and also great for finding sounds if you have the V Collection. But it adds latency compared to the full instruments (about 0.7 ms tested and measured)… not that it’s obvious but it is a wrapper and probably meant more as a demo

    Adding Arturia plugins into FL Studio. Once signed into Arturia Software Center, you must “activate” the Arturia plugin. To do so click on the “Activate” button. Sync button on Arturia Software Center will retrieve any updated license info from your Arturia account.

    To import previously exported Presets / Banks, please follow these steps:

    1. Open the concerned plugin.
    2. Click on the picture / plugin name on the top left.
    3. Click the Import button.
    4. Select your previously imported file.
    5. The preset/Bank is now available in your preset browser.

    Analog Lab is a marvel of software design, combining every synth and keyboard audio engine from the instruments of V Collection in one place. You wouldn’t know it by just looking, though. We’ve kept things simple and intuitive. … Simple, effective, intuitive, and ready to help you make music.

    Arturia MiniLab w/Analog Lab VST. The MiniLab seems to work great in FL as a generic controller. However, it’s a bit of a pain to get it to play nicely with Analog Lab VST…it *doeswork, it just isn’t as convenient as it ought to be and setting up the VST isn’t all that intuitive.

    Getting started with the KeyLab Essential is simple and straightforward, but Arturia are always here to help. In this video, Guy Perchard gives a quick overview of the controller, and guides you through its setup.

    Synthopedia. This is the real deal. 800 red hot, cutting edge sounds that take 12 of our software synths to exciting new places. Included for free with V Collection 7, and available as an add-on for users of Analog Lab 3 or 4, Synthopedia lets you play the sound of tomorrow’s hits, today.

    The company designs and manufactures electronic musical instruments, including software synthesizers, drum machines, analog synthesizers, MIDI controllers, sequencers, and mobile apps.

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    About Arturia

    Focusing on innovation, Arturia strives to integrate the latest advances in computer music research and technology into its products. This involves working closely with partner research institutions, such as IRCAM France, in the development of cutting-edge musical instruments and software, which have gone on to be used in making many hit records and Hollywood soundtracks.   Founded in Grenoble, France, in 1999, Arturia specializes in the development of music software and hardware for professional and amateur musicians. We are a team of passionate people dedicated to musicians. We dare to create original and different instruments, imagine new experiences and reinvent products.
    Operating in 55 countries, we have offices in France, in the USA, and since 2014 in Mexico.  

    Arturia’s Mission

    We aim at providing musicians with a unique means of creation for unforgettable performances. Focusing on innovation, we strive to integrate the latest advances in computer music research and technology into our products. This involves working closely with partner research institutions, in the development of cutting-edge musical instruments and software. Our instruments have gone on to be used in making many hit records and soundtracks.  

    Arturia’s values

    We concentrate all our know-how on the customer experience and the simplification of uses. This translates into intuitive instruments, and close relationships with musicians. Innovation is at the center of our concerns. Our pleasure is to extend the technological boundaries to offer extraordinary musical experience, with a great attention to design. We dare to create unique and different instruments We dare to imagine new experiences We dare to reinvent products that have been confiscated by giants of the market. Being demanding with ourselves every day allows us to reach excellence. Our easy-to-use and innovative products, good sounding and powerful instruments are the results of intense work.