150 Cinematic Presets for Pigments Worth $40?

Eclipse is the most focused cinematic preset pack for Pigments in this price range, and if you already own Pigments 4, it's worth serious consideration. At $40, LP24 Audio and game composer Jens S. Kiilstofte are selling 150 presets built to score TV, film, trailers, and games, covering everything from subsonic booms to fragile atmospheric textures. It's not a replacement for a full orchestral library. But for what it actually is, it's clever.

Quick Verdict

Score: 4.1/5. At $40, Eclipse is a smart buy for anyone already inside the Pigments ecosystem who needs cinematic material fast. The collaboration with Jens S. Kiilstofte gives it real production credibility. The hard limit is the Pigments 4 requirement. No Pigments, no Eclipse. That's the one question you need to answer before you spend anything.

What You're Actually Getting

150 presets. 60MB. Requires Arturia Pigments 4. That's the whole package in one line.

Inside, you get braahms, drones, subsonic booms, backing rhythms, keyboards, synth pitch-downers, rumbling basses, textural atmospheres, arpeggios, and hybrid acoustic-synthetic sounds. LP24 describe the range as "bombastic to subtle, pristine to gritty, luminous to shadowy, airy to deep."

Every preset pulls from Pigments' multi-sample engines, granular techniques, and advanced wavetable synthesis together. That's not a typical approach for a preset pack. Most packs lean on one engine. Eclipse threads all of them.

Each preset ships with all 4 macros assigned, plus mod-wheel control. You're not browsing static sounds. You're getting performance-ready material from the first load.

LP24 Audio built this alongside Jens S. Kiilstofte, a composer with credits at major game studios and a previous working relationship with the LP24 team. The developer says the goal was to let composers build extraordinary expressive sounds without reaching for expensive sampler libraries.

The Good

The range is satisfying. You don't get a pack that lives entirely in one emotional register. Braahms for tension. Fluid arpeggios for momentum. Subsonic booms when you need the room to shake. Atmospheric textures for the space between those moments. That's a scoring workflow covered across a single 60MB install.

The macro assignments are where this earns its price. Load a drone preset and you've got four controls ready to push the sound somewhere new. Reviewers confirm this: one described every patch as "detailed and evolving, with endless possibilities to develop each sound to fit your style." That's not filler praise. A preset that grows under your hands is genuinely more useful than one that sounds impressive on first play and then locks you out.

The tape-processing angle is interesting. The developer says sounds were recorded through tape machines and programmed to carry classic tuning warbles, tape noise, dynamic saturation, and lo-fi electronic bit depth. That kind of harmonic roughness is hard to fake in software and frustrating to add convincingly after the fact. Having it baked in is a real workflow advantage.

LP24 Audio's two decades of synthesis and sampling experience shows in the structural approach. Using granular, wavetable, and multi-sample engines simultaneously inside Pigments is technically demanding work. The presets that result from that combination tend to move and breathe rather than sit still.

The Not-So-Good

The Pigments 4 wall is real. If you don't own it, Eclipse does nothing for you. That's a legitimate barrier, especially if you're scoring on a tight budget and weighing this against expanding your sampler library instead.

Independent critical coverage is almost non-existent right now. One reviewed score of 9/10 from a single reviewer is not enough data. No independent test shows how these presets hold up across a full trailer session, or how the braahms layer with real brass. So you're trusting LP24's reputation and the Pigments engine quality, not a broad user consensus.

60MB is lean. For a cinematic pack leaning on multi-sample engines, that's either impressive compression or a sign that the sample content underneath is limited. The developer doesn't clarify. Check the tail on the longer atmospheric pads before you commit. Try this: load a texture preset, push the macro toward maximum decay, and see how it holds at your tempo. That'll tell you more than any description will.

There's also no trial listed. No demo, no preview project file. You're buying on sound clips and a strong marketing claim. That's annoying in 2026.

Compared to the Alternatives

If you want to stay in the Pigments world, the main comparison is other Pigments preset packs from developers like Cymatics or Plugin Boutique's own labels. Those packs tend to focus on electronic production or hybrid genres rather than pure cinematic scoring. Eclipse is more focused on the film and trailer space, which narrows its competition.

Outside Pigments entirely, you're looking at dedicated cinematic sample libraries. Products like Spitfire Audio's smaller LABS releases or Output's Portal cover some of the same sonic territory with dedicated engines. Those options give you standalone access without needing a specific synth installed, which matters if Pigments isn't already in your setup.

For pure value in the Pigments ecosystem, Eclipse is hard to argue against at $40. The combination of macro assignments, tape processing, and multi-engine design makes it a stronger compositional tool than most genre packs at this level. See our best Pigments preset packs roundup for the full comparison.

Who Should Buy This

• ✅ Buy if you already own Pigments 4 and score for TV, film, or games regularly.
• ✅ Buy if you want performative cinematic material with macro control built in, not static sounds you tweak manually.
• ✅ Buy if you want an alternative to expensive sampler libraries and you're already comfortable with the Pigments workflow.
• ❌ Skip if you don't own Pigments 4. This pack does nothing without it.
• ❌ Skip if you need a standalone cinematic instrument with its own playback engine. Eclipse isn't that.
• ❌ Skip if you need broad user community support before committing. The independent reviews are thin right now.

Specs & Technical Details

Developer	LP24 Audio
Price	$40
Plugin Format	Arturia Pigments Preset Pack (not a standalone plugin)
OS Support	Mac / Windows (via Arturia Pigments 4)
Activation	N/A (preset file install via Pigments)
CPU Usage	N/A (dependent on Pigments and your system)
Trial Available	No
Version Reviewed	N/A
Preset Count	150
Install Size	60MB
Requirements	Arturia Pigments 4

Score Breakdown

Category	Score	Notes
Sound Quality	4.5/5	Multi-engine design and tape processing give the presets real depth and movement
Value for Money	4.0/5	150 performative presets at this price is strong, but no trial is frustrating
Ease of Use	4.0/5	All macros and mod wheel assigned out of the box; you're performing, not programming
Features	4.0/5	Broad cinematic range across braahms, drones, textures, and arpeggios; no standalone format limits flexibility
CPU Efficiency	4.0/5	Dependent on Pigments and preset complexity; 60MB footprint is lean
Overall	4.1/5	A credible cinematic toolkit for Pigments users who score film, TV, and games

Alternatives to Consider

If you want to stay in the Arturia ecosystem but need sounds with a more electronic lean, check our best Arturia preset packs guide. There are packs there that cover hybrid and synthwave territory Eclipse doesn't touch.

If cinematic scoring is your world but you want something with its own engine and no synth dependency, Spitfire Audio's LABS range is worth looking at. Individual LABS instruments are free or low cost, and they cover orchestral and textural material Eclipse can't replicate.

For trailer-specific sound design inside a synth framework, Output's Portal and Arcade both deserve comparison. They're more expensive and more feature-heavy, but they don't require a specific third-party synth to run. See our cinematic synth plugins guide for the full breakdown.

Final Call

Eclipse is a love-it-or-ignore-it proposition. If you're already in Pigments 4 and you score for picture, this is one of the most practical preset packs at this price point. The macro assignments mean you're playing it, not just auditioning it. The tape-processing character gives it a texture most synth presets don't bother with.

But if you're not a Pigments user, don't buy this hoping it'll change your mind. It won't. And given the lack of a trial, we'd say load a few of the developer's preview audio examples carefully before you commit. Listen for whether those textures hold up in a busy mix, or whether they're masking in the midrange at anything other than solo volume.

At $40, the ask is reasonable. The Pigments 4 gate is the one real obstacle. If that's already open, Eclipse earns its place in the signal chain.