USER MANUAL
Special Thanks DIRECTION Frederic Brun Philippe Cavenel ENGINEERING Bruno Pillet Marc Antigny Lionel Ferragut Valentin Lepetit Thierry Chatelain Alexandre Adam Nadine Lantheaume Benjamin Reynier Thomas Aubert Loris De Marco Nicolas Dubois Vivien Henry Osée Rajaiah Kevin Molcard Jérôme Blanc Olivier Delhomme Timothée Behety Aurore Baud Camille Dalemans Are Leistad Thierry Chatelain Sébastien Rochard Frédéric Brun Bruno Pillet DesignBox MANUAL Randy Lee (Author) DESIGN SOUND DESIG
Thank you for purchasing the Arturia PolyBrute! This manual covers the features and operation of Arturia’s PolyBrute. In this package you will find: • One PolyBrute analog synthesizer • One Quick Start Guide • The product safety manual. Please read this before using the PolyBrute. • One IEC AC power cord. Be sure to register your PolyBrute as soon as possible! There is a sticker on the bottom panel that contains the serial number of your unit. This is required during the online registration process.
Special Message Section Specifications Subject to Change: The information contained in this manual is believed to be correct at the time of printing. However, Arturia reserves the right to change or modify any of the specifications without notice or obligation to update the hardware that has been purchased. IMPORTANT: 1. The product and its software, when used in combination with an amplifier, headphones or speakers, may be able to produce sound levels that could cause permanent hearing loss.
Introduction Congratulations on your purchase of the Arturia PolyBrute! PolyBrute is the logical progression of the Brute series of synthesizers. It inherits a decade of development and refinement that began with the Micro- and MiniBrute synths, and later thrilled the world with the release of the MatrixBrute. These synthesizers claimed new territory through their power, elegance and simplicity. And the sound of those instruments: fat, smooth, aggressive, unique...
• Powerful, easy-to-use modulation matrix Performance controls • Morphée, a 3-D controller that can modulate parameters along the X, Y, and Z axes simultaneously • Velocity and Aftertouch (pressure sensitivity) • Ribbon controller • Pitch and Modulation wheels • Octave buttons can shift keyboard range +/- 2 octaves from center • One Sustain pedal input and two Expression pedal inputs (pedals optional) Sequencer/Arpeggiator • Polyphonic up to 6 notes • Record and play back up to 3 modulation
Table Of Contents 1. Overview ............................................................................................................................................................................ 5 1.1. Front panel .................................................................................................................................................................................. 5 1.1.1. Left side............................................................................................
5.1.1. Pitch..................................................................................................................................................................................................................................... 35 5.1.2. The Wheel ...................................................................................................................................................................................................................... 35 5.2. Octave buttons ...........
8.4. Matrix Arpeggiator ............................................................................................................................................................ 64 8.4.1. Matrix Arp home page ........................................................................................................................................................................................... 64 8.4.2. Polyphonic arpeggios..................................................................................
12.4. Preset: Expression control........................................................................................................................................... 91 12.4.1. Expression: Bend range........................................................................................................................................................................................ 91 12.4.2. Expression: Vibrato ...........................................................................................
1. OVERVIEW This chapter provides a quick look at the PolyBrute features, front and back. Links are included to many sections for further reading. 1.1. Front panel 1.1.1. Left side Number Section Description 1 Performance controls Wheels [p.35], Octave buttons [p.36], Morphée [p.36] 2 Headphone jack Stereo headphone connector Voice management / Control routing Polyphony, Timbrality, Wheel/Morphée routing, Glide [p.37] [p.40] 4 Morph control knob [p.
1.1.2. Right side Number Section Description 1 Matrix panel Select presets, Mod Matrix, Seq/Arp, Morph/Matrix editing 2 Motion recorder [p.42] Capture motion of one control, play back at 1/8x to 8x speeds 3 Master controls [p.9] 4 Digital effects [p.78] Modulation (chorus, phaser, etc.), Delay, Reverb, plus controls Sequencer/Arpeggiator Arpeggiator; real-time/step-time sequencer, step editing, hybrid [p.53] mode 5 Stereo spread [p.33], FX routing [p.
1.2. Rear panel Number Section Connections 1 Master Out Right (Stereo), Left (Mono) 2 Sync In, Out 3 Pedals Exp 1, Exp 2, Sustain 4 Memory Protection Off, On 5 MIDI In, Out, Thru 6 USB Type B (max. cable length 3 meters) 7 Power On/Off switch, AC cable 1. Master Out - 1/4" unbalanced +4dBu stereo line-level outputs, intended to go to an amp and speakers, or to an audio interface or mixer. For mono use the left channel only. 2. Sync In/Out - These 3.
1.2.1.2. USB Next, connect the PolyBrute to your computer with a USB cable. Then go to www.arturia.com, register your PolyBrute, and download the PolyBrute Editor software. The PolyBrute Editor is much more than a patch librarian; it's a two-way visual editing environment that enables you to see the entire patch at once, which makes the morphing feature even more obvious. It's also used to upgrade the PolyBrute firmware.
2. POLYBRUTE BASICS 2.1. User interface Here are some general notes about working with PolyBrute. For example: • Press [Settings] to access the Preset/Global option menus. • The display lists options by numbers that correspond to the eight buttons under the display. • The numbered buttons (i.e., Assign buttons) usually select menu items, though in Mods mode they do more. • When inside a menu, use [Settings] to return to the previous menu or page.
2.3. Auto-tune PolyBrute One thing to remember about analog synths is that many components are temperaturesensitive, which can lead to small variations in pitch and timbre over time. It's part of what makes them seem "alive." We recommend that you let the circuits stabilize for 5-10 minutes after power-up. If the tuning still seems a bit loose after that, you can run one of the calibration routines as described below. There are three types of auto-tuning, and you can run one by itself or run them all.
2.5. Load a preset To start exploring the presets, press the large Presets button. It turns purple when selected. PolyBrute has 8 banks of 96 presets (for a total of 768). Select the banks with Assign buttons 1-8, then select the presets inside the bank using the 12 rows of 8 buttons in the Matrix panel. To load patch B3 in bank 1, for example, press the round "1" button under the display (if you're not already in bank 1). Then find the third button from the left in row B and press it.
2.6. Try this! The Morphée controller, the Ribbon, and the pitch/mod wheels probably caught your eyes already. They're a ton of fun and provide unique tools for musical expression. As you're auditioning presets, be sure to try these features too: 2.6.1. Sweep the filters The Master Cutoff knob sweeps both filters at the same time. Some presets might not use both filters, so this is a guaranteed way to get a reaction out of one or both of them. For full details, see the Filters section [p.28]. 2.6.2.
3. CREATE A PATCH This chapter walks through the basics of sound design on the PolyBrute, starting with an initialized patch, shaping it, and finally saving it. Advanced users can jump to areas of interest by following the links in each section. 3.1. Subtractive synthesis PolyBrute is an analog subtractive synthesizer. This method of synthesis starts by generating raw waveforms, and then uses filters to remove (subtract) unwanted harmonics to achieve the desired sound.
3.2. Create a new patch The following example uses VCO 1, VCF 1, LFO 1, and an envelope. PolyBrute has two or three of each, but let's keep it simple for now. 3.2.1. Initialize the patch To create a preset from the ground up, begin by initializing the patch. This creates a simple sound with no modulation routings that you can use to create an original patch.
3.2.2. VCO 1 After the patch has been initialized, play a note on the keyboard. You'll hear a simple, bright waveform from VCO 1 only. In the Mixer section, press the VCO 1 Filter button repeatedly until the LED inside the orange circle is lit. The filter sections are color-coded to match the circles, so this means that VCO 1 is routed to the Steiner filter. Adjust the VCO 1 Tune knob up, down, and back to center. This is how to set its basic pitch.
3.2.2.1. VCO 1 waveform mix PolyBrute VCOs constantly generate three basic waveforms (sawtooth, triangle, and square), with two knobs on the bottom row of the VCO module for adjusting the mix between them. To observe this: 1. Turn the second and third knobs counter-clockwise so they point to the sawtooth and the sigma (Σ), respectively. 2. Hold a note and turn the second knob through its full range: 100% left = sawtooth; 100% right = triangle. A middle position provides a blend of both. 3.
3.2.3. VCF 1 (Steiner) The Steiner filter defaults to lowpass mode in the Init patch, which means that anything below the corner frequency is allowed to pass; anything above it is gradually filtered out. 1. Sweep the Cutoff knob through its full range while holding a note. There's no sound when the knob is all the way down because the lowpass filter is blocking all frequencies from passing. 2. Move the Resonance knob halfway up and sweep the filter again.
• Brute Factor adds distortion by feeding the filter output back into itself. This can be subtle or wild. Try with various VCO 1 mixer levels. • VCF ENV Amt routes VCF 1 through VCF ENV. Lower the Cutoff to make headroom for the envelope. • Level controls the output level of VCF 1. Results are most obvious when the Series/ Para knob is 50-100% to the left. The sound has a basic tone now, but it needs more of a shape. That's what envelopes do, so we'll cover that next. 3.2.4.
The other two envelopes are described in this section [p.32]. But here's a quick summary: • The VCF ENV can shape the harmonic content of both filters. It has the same controls as the VCA ENV, so it can affect timbre the same way VCA ENV affects amplitude. Note that VCF ENV Amt interacts with Cutoff to provide headroom for the VCF ENV to work. • The MOD ENV is a 5-stage envelope with a Delay stage prior to the Attack stage (DADSR).
3.2.6. Add Effects The Effects section [p.78] can add motion and ambience to any patch. Even the initialized patch can sound great! Simply raise the Modulation Intensity knob to add some chorus, raise the Delay and Reverb levels to suit your tastes, and enjoy. 3.3. Save the patch If you want to keep your new patch, there are several methods described here [p.46]. But if you already know of an available preset location, hold Save and select that location with the Matrix buttons.
4. VOICE ARCHITECTURE The PolyBrute has two types of sound sources: voltage-controlled oscillators (VCOs) and a noise generator. Their levels are set by the Mixer, then they pass through one or both filters before heading to the voltage-controlled amplifier (VCA). Each of those items can be modulated by multiple sources, thanks to the Mod Matrix. It all adds up to the best set of sound sculpting tools a synthesist could want.
4.3. VCOs 1 and 2 The VCOs have some similar features that we'll cover here. VCO-specific features are described in the sections that follow. 4.3.1. Similar features Both VCOs have these parameters. 4.3.2. Tune Each VCO has a Tune knob, but they can respond differently for each preset. • The VCO 1 Tune knob range is +/- 2 octaves, and its LED lights when set to an octave increment (+/- 2, +/- 1, or center).
4.3.3. VCO 1 VCO 1 has two controls that VCO 2 does not: 4.3.3.1. Metalizer What is wavefolding? Imagine the peak of a triangle folding over in the middle: now two sharp peaks are visible on either side. Then picture those peaks folding over, and so on. That's what the Metalizer does to a triangle wave; it becomes more "jagged," which increases the harmonic content. But a waveform is bipolar, so actually the top peaks fold downward and the "bottom peaks" fold upward, as in this image. 4.3.3.2.
4.3.4. VCO 2 VCO 2 is very influential: it can force VCO 1 to sync its harmonics (Sync 2 > 1 above), modulate its fundamental frequency (FM 2 > 1 [p.24]), modulate VCF 1 (VCO 2 > VCF 1 [p.31]), and appear directly in the mixer, all at the same time. Plus it has a descendant: a suboscillator, described in the next section. VCO 2 has two controls that VCO 1 does not: 4.3.4.1. Sub The sub-oscillator produces a sine wave that is always an octave below the fundamental pitch of VCO 2.
4.3.5. Noise generator A noise generator produces a random series of frequencies and amplitudes. With no fundamental frequency, there's no specific pitch. Noise Colour changes the character from red noise (dark) to white noise (bright) and every possible shade between the two. Noise can provide a breathy or percussive element, or it can be used on its own to emulate wind or water sounds, etc. It also can modulate VCF 2 [p.31] when the sound needs a bit of "rasp" or timbral chaos. 4.4.
4.5. LFOs LFO stands for Low Frequency Oscillator. LFOs generate waveforms in a lower frequency range than VCOs, and are used as modulation sources to affect other parameters. The PolyBrute LFOs can run as slowly as one cycle every 50 seconds all the way up to 100Hz (the audible range). To be "heard" they must be routed to a destination using the Mod Matrix [p.48]. Each LFO has its own features: LFOs 1 and 2 are very similar, and LFO 3 is in a class by itself. 4.5.1.
4.5.2. LFO 3 LFO 3 shares some features with LFOs 1 and 2, and has some that are unique and unusual. • Curve changes the LFO shape from logarithmic (100% left) to linear (halfway) to exponential (100% right). • Symmetry alters the ratio between the rising and falling times of the LFO without affecting the rate. • Rate sets the LFO frequency. An LED in the right corner of the LFO module flashes to indicate the rate. • Retrig toggles LFO response between Mono (dark) and Poly>Retrig (lit).
4.5.5. Rate control for synced LFOs When an LFO Sync button is active, moving the LFO Rate knob selects different time divisions for the LFO. The display shows the value as the knob is turned. 4.6. Filters Filters define subtractive synthesis: they remove harmonic content generated by the oscillators. High levels of resonance can drive filters into self-oscillation, so they are potential sound sources. When modulated their timbre varies over time, which adds motion to the sound.
4.6.1. Shared features Both PolyBrute filter modules have the following controls: • Cutoff sets the corner frequency individually for each filter. • Resonance emphasizes the corner frequency. Higher resonance levels can cause a filter to self-oscillate. • VCF Env Amt controls the level of cutoff frequency modulation caused by the VCF ENV. It's a bipolar control, so positive and negative envelopes are possible. • Level adjusts the output of the filter. 4.6.1.1.
4.6.1.3. Series / Para The Series / Para knob is located in the Ladder filter module, but it affects both filters. It achieves the desired balance between running the filters in parallel or in series, where the output of VCF 1 is fed into VCF 2. This is better than "the best of both worlds": this is a blending of two worlds to make the world you want. In case these terms are unfamiliar, here are two examples of what this means: • Filters in series use each other's strengths.
♪: The Steiner filter tracks the keyboard fairly well, but the Ladder filter tracks the keyboard more accurately. This distinction is important when using a self-oscillating filter as a third oscillator. 4.6.2.1. Brute Factor Brute Factor is a proprietary filter feedback circuit that does everything from warming up the low end to creating a monstrous growl. The exact effect depends on its interaction with other settings: Mixer levels, cutoff, resonance, etc. 4.6.3.
4.8. Envelopes VCF ENV is identical to VCA ENV so it is not pictured. Envelopes are adjustable modulators that shape voltage over time when a note is triggered. PolyBrute has two 4-stage envelopes (ADSR), plus a third with a delay stage (DADSR). Each envelope has an LED to indicate the current level of the envelope; it changes quickly or slowly depending on the settings.
Parameter Envelope VCF, VCA Velo only Delay MOD only Attack All Decay All Sustain All Release All Min / Max Range None / Full 0-18 seconds 2 ms - 18 sec Description Envelope response to velocity Controls the onset of the MOD envelope. The time the voltage takes to reach maximum 2 ms - 18 The time the voltage takes to reach the Sustain level from sec maximum Zero / Max Voltage target for the Decay stage. If set to maximum the Decay setting has no effect.
4.10. FX routing selector This button controls the routing of the Effects section. • Insert runs the entire signal through the effects • Send uses the Delay and Reverb as a side chain (Modulation is always an insert effect) • Bypass removes all effects from the output. Note that when the signal is dry (effect levels at zero) the signal path is pure analog.
5. PERFORMANCE CONTROLS One of Arturia's goals for PolyBrute was to place a wide variety of performance options at your fingertips, and we are proud of what we have accomplished; there are dozens of controls and features that respond instantly when inspiration strikes. Some controls are standard (pitch/mod wheels, channel aftertouch, sustain/expression pedals), and some are quite unconventional (the ribbon controller, the motion recorder, and Morphée, our triple-axis controller). 5.1.
5.2. Octave buttons Use [Octave < / >] to transpose the keyboard by octaves. These extend its range to a total of nine octaves. Transposition occurs locally and over MIDI. Press both buttons to reset the transposition to zero. In Split mode this must be done for each half of the keyboard. ♪: The upper and lower keyboard zones can be transposed independently [p.38]. 5.3. Morphée You may never have encountered anything like Arturia's Morphée controller.
5.4. Voice/control mode buttons The four buttons near the wheels allow instant configuration of the voice engine and two of the most-used performance controls. The top two buttons select Voice modes; the bottom two select Control modes. 5.4.1. Polyphony PolyBrute has three voice modes that are selected using [Polyphony]. • Poly (polyphonic) allows all six voices to be triggered independently by different notes. • Unison stacks multiple voices on a single key.
5.4.2. Timbrality The Timbrality modes change the keyboard layout for sounds A + B. Here's what they do: • Single: the keyboard has one zone; each note triggers one voice that can morph between sounds A + B. • Layer: the keyboard has one zone, with two morphing voices per note. If the Morph control is at zero, sound A is doubled. When it is at maximum, sounds A + B are doubled. • Split: the keyboard has two zones. The lower zone is always sound A; the upper zone can morph between sounds A + B.
5.4.3. Wheel modes Press the Wheel button repeatedly to select the Wheel assignment: • Matrix allows it to be routed to multiple parameters at the same time. • Cutoff gives it control of the master cutoff frequency, so it's the same as turning that knob. • Vibrato connects an LFO to both VCOs, so the Wheel can add vibrato to the patch without using the Mod Matrix. • LFO 1 Amp lets the Wheel control the modulation amount of any mod route that uses LFO 1 as a source.
5.5. Glide When the Glide knob is set to a non-zero value the pitch sweeps from one note to the next. The maximum glide time is 10 seconds. Set the Glide knob 100% to the left to disable glide. There are several ways to define the glide behavior (time vs. rate, smooth or quantized, etc.). To access that page, hold [Settings] and turn the Glide knob. The options are described in this section [p.92]. 5.5.1.
5.8. Aftertouch The PolyBrute keyboard also features Aftertouch (i.e., pressure sensitivity). It can be used to control any parameter through the Mod Matrix: Sweep the filters, add volume swells, or increase the vibrato rate, etc., simply by increasing the pressure on the keyboard with your fingers. In Mods mode, select Aftertouch as the source (row I) and route it to any destination you like. There's a handful of global aftertouch settings at Settings/Keyboard/Aft Sensitivity. 5.9.
5.10. Motion recorder The Motion Recorder can record the relative movements of any one control (knob, fader, ribbon, etc.), with only a few exceptions [p.42]. Try this: 1. Activate the “Rec Arm” button. This puts the recorder in recording mode. 2. Hold down a key to start the recording, and keep it down for now. 3. Sweep the Master Cutoff knob in an obvious pattern. 4. Release the key to stop the recording. 5. Deactivate the “Rec Arm” button. 6. Set the Play button to Once. 7. Play one note.
5.11. Voice allocation modes When a note is triggered the PolyBrute can play as many as six voices on a single key. The Voice allocation modes let you define this response for each patch. They are accessed by holding [Settings] and pressing one of the Voice mode buttons [p.37]. The page you'll see depends on the Polyphony mode for the current zone: Poly mode takes you to the Poly Allocation page; Unison or Mono mode takes you to the Uni/Mono Allocation page.
5.11.2. Unison / mono allocation The Uni/Mono Allocation options are identical for the upper and lower zones regardless of the Timbrality mode (Single, Layer, or Split). The lower zone settings can be accessed even when the keyboard is not split. To access these settings when the Single/upper zone is in Unison or Mono mode, hold [Settings] and press [Polyphony]. To access these settings for the lower half when it is in Unison or Mono mode, hold [Timbrality] for 1 second.
6. WORKING WITH PRESETS The focus of this chapter is preset management: loading, saving, comparing, etc. Follow these links to learn how to initialize a preset [p.14], create a preset from scratch [p.13], or to edit an existing preset [p.21]. 6.1. Selecting a preset The process of selecting one of the 768 internal presets was covered here [p.11]. But it's easy: Select the Preset mode button, select a bank with an Assign button (1-8), then select one of the Matrix buttons (A1-L8).
6.3. Random patch generation PolyBrute can generate a random patch for you by choosing sounds A and B from different patches, changing the morph knob value, moving the result to sound A, and then repeating most of that process a random number of times. The generated patch can then be tweaked, saved as a Snapshot, or saved as a new preset. This feature is found at Settings/Preset Info/Generate. Press [Assign 3] to generate the random patch. 6.4.
6.5.2. Save to another location This process allows you to save an edited patch to any one of the 768 internal memory locations. It's basically the same as selecting a preset in the first place, except you hold the Save button first: 1. Hold [Save] until step 4. After 1 second the display says "Hold Save and Press a Matrix Cell to Save." 2. Use [Assign 1-8] if you want to store the patch to a different bank. 3. Use Matrix buttons A1-L8 to select a location (cell) within the selected bank. 4.
7. WORKING WITH MODS The Modulation Matrix is a wireless patch bay that can route the PolyBrute's modulation sources to one or more destinations. Almost any parameter with a knob or fader can be a destination, and each can be modulated positively or negatively. The mod routes are arranged in a 12 x 8 grid: sources are in rows A-L, and destinations are in columns 1-8. Four separate banks of mod routes can be selected with Assign buttons 1-4.
7.1.2. Assign a destination There are no "fixed" destinations: any mod route can modulate any available parameter. Destinations are selected by holding [Assign 1-8] and activating a parameter control. For the following example, set the Modulation Intensity in the Effects module to something obvious. We'll use LFO 3 as a mod source. 1. To select Modulation Intensity as the destination, hold Assign button 1 and turn that knob. 2. The display shows "Fx Modul Intensity" as mod destination 1. 3.
7.1.2.3. Less-obvious destinations No hardware control Some destinations don’t have a hardware control, such as the main VCA, LFO amplitudes, Global Pitch (VCOs 1+2 combined), Filter Pan, and Voice Pan. To view the list Hold [Assign 1-8] and turn [Mod Amount], then release the Assign button when you see the one you want. They are all pictured here: Right-side controls Some destinations could be overlooked because they're on the other side of the Matrix panel. But most of those can be modulated, too.
7.1.4. Modulate a mod route You can use a mod route to modulate another mod route. For example, if you want LFO 2 to modulate the mod route “LFO 3 > Pitch Vco1”: 1. Initialize a patch [p.14] and enter Mods mode. The [Assign 1] column shows “1.Pitch Global” by default. 2. Press F1 (button F in column 1) to connect “LFO 3 > Pitch Global” and give it an amount. 3. Hold [Assign 2] and press F1. The [Assign 2] column shows “Amount 1.F1” in the display.
7.2.
8. SEQUENCER MODE This chapter covers the features of the Seq/Arp section, which includes the Sequencer, the Arpeggiator, and their hybrid, the Matrix Arpeggiator. Here's a brief overview of each: • Sequencer mode [p.56] contains a 64-step sequence that can trigger notes, modulation events, or both. Each step in the sequence can contain up to 6 notes. Sequence length is adjustable. • In Arpeggiator mode [p.
• With [SEQ] active, the Matrix view options and several track operations are available. • With [ARP] active, the Octave range and Copy to Seq options are available. 8.1.2. Hold mode Enable [Hold] and the Seq/Arp pattern continues playing after the keys are released. 8.1.3. Metronome Press [Metro] to activate the metronome. To set the metronome level and pre-count mode, hold [Metro] for 1 second. 8.1.4. Time divisions Press [Time Div] to access the Time Division menu.
8.1.9. Tap Use this button to tap in the tempo. You'll see the tempo change in the display. The sequencer engine updates with every tap, so you can keep tapping if you need to follow a drifting tempo. 8.2. The Arpeggiator The [ARP] button activates the Arpeggiator, which steps automatically through the notes being held. Each note of the arpeggio becomes a red step in the Matrix, and a purple step shows the current playback position.
8.2.2. Play Mode: Arp Hold [Play Mode] to view the Arp Play Mode page, and use [Assign 1-7] to select an option. These set the playback direction for an arpeggio. • Up steps through the notes from lowest to highest and repeats. • Down steps through the notes from highest to lowest and repeats. • Inclusive plays from lowest to highest and back down, repeating the edge notes. • Exclusive plays from lowest to highest and back down, not repeating the edge notes.
8.3.1. Sequence playback When [SEQ] is active the Split LED flashes to indicate that a sequence is ready to go; just play a key on the lower zone and it will start, or press the Play button. ♪: A sequence plays its original pitches when the second C from the left is triggered, but it transposes if a different note is triggered.
8.3.2. Live edits 8.3.2.1. Matrix row labels Each row of Matrix buttons has a specific function in Sequencer mode. The labels on the right side of the Matrix panel tell you what they do when lit: • Sld means a slide is active for this step. When active it follows the Glide value. When off (dark) there is no Glide. The Glide setting must be high enough for a Slide to be heard. • Acc adds an accent to that step. • Key is where the note events live.
8.3.2.4. Change step length (tie notes) There are two ways to change the length of a step (i.e., tie a note): the Bracket way and the Knob way. The Bracket way To make a step longer, hold its Matrix button for less than 1 second and press a button to the right. You have just put "brackets" around the length of the note. The button LEDs indicate the note duration: the brightest step is the original note, and the buttons to the right are lit more dimly to show that the note is tied.
8.3.3. SEQ home page Enter Sequencer mode and press [SEQ]. You'll see the Sequencer mode home page, where the Matrix view options and several track operations are found. Other pages are shown temporarily while changing Sequencer mode settings, but the Sequencer returns to the home page after 1 second. 8.3.3.1. View steps 1-32, 33-64 A sequence can contain up to 64 steps, which is more than the Matrix panel can display at one time. Use [Assign 1 + 2] to switch the view between steps 1-32 and steps 33-64.
8.3.4. Play Mode: Seq Hold [Play Mode] to view the [SEQ] Play Mode page, and use [Assign 1-4] to select an option. These set the playback direction for the sequence. • Forward plays the sequence from the first step to the last, then starts at the beginning again. • Pendulum plays the sequence forward and then backward, repeating the first and last steps. • Random can trigger any step inside the sequence length, even steps that contain no data. • Walk moves according to probability, not chance.
8.3.6. Real-time recording Real-time recording remembers velocity levels, note duration, and legato playing for up to six voices, plus activity on the first three controls you move. You can record in real time and edit the sequence in step time later. You may want to configure the Metronome ahead of time: hold [Metro] for 1 second. On that page you can set the metronome volume and enable or disable the count-in feature. There are three ways to start a real-time recording: 1.
8.3.8. The Modulation tracks Controller changes can be recorded for up to three parameters, live or in step record. Here's how it works: • During real-time recording the sequence normally loops indefinitely, but when recording a Modulation track the record light turns off after one loop. • When a control is moved during a record loop, Modulation track recording begins on that step (i.e., step N). When the record loop reaches step N-1, the record light turns off.
8.4. Matrix Arpeggiator This mode is a hybrid of the Sequencer and the Arpeggiator. Hold up to six notes, and out of those PolyBrute plays the ones you enable on each step, in a specific octave for each step, for up to 16 steps before repeating. The arpeggio rhythm is shaped by enabling and disabling the steps in each column, which are then played back in order according to the Play Mode setting. The following graphic shows how a monophonic pattern might look.
8.4.2. Polyphonic arpeggios The Matrix Arpeggiator is polyphonic. Here are some things to know about that: • Multiple cells can be enabled in each column. • A long press on a cell will clear the others in the same column. • Pressing and holding two cells from different columns draws a "monophonic" line between the two cells. 8.4.3.
8.5. Sequence Management Hold [Sequencer] to view the sequence editing features, then use [Assign 1-6] to select the desired option. These are described in the following sections. 8.5.1. Copy current sequence Hold [Sequencer] and press [Assign 1] to copy the current sequence into a temporary buffer. You can then use the Paste Sequence feature to transfer the sequence to a different patch. 8.5.2.
9. STEP RECORD / EDIT 9.1. What's the difference? The terms are sometimes used interchangeably. Here's what they mean in PolyBrute: • Step recording means entering data. It is more track-focused. • Step editing means editing an event (i.e., a Step). The focus is one event at a time. 9.2. Overwrite vs. overdub On the Sequencer mode home page you can use [Assign 7] to toggle between Overdub On and Overwrite On. This setting does not affect the Modulation tracks.
♪: In Step record mode, holding a red button for about 1 second enters step edit mode. Press that button again to exit, or learn about it here [p.69]. 9.3.1. Enter / edit one step With Record On and the pattern not playing, your options include: • Use [Assign 7] to select Overdub On or Overwrite On. • Touch a red step to select it. You can also touch a Slide or Accent button. • To enter or replace notes on the current step, play one or more keys.
9.4. Step edit: Notes Step editing lets you make precision edits to an individual event. You can enter step edit mode from Play mode (record off) or from Step record mode (record on). In this mode you are able to: • Play one or more keys to enter note(s) or to replace existing notes. • Delete / replace a note in the middle of a chord. • Use the Amount knob to lengthen / shorten the step. • Switch to Modulations view to edit the control movements for a specific step. See Step record: Mods [p.70].
9.4.2. Change the duration After all notes are released, the corresponding Matrix buttons turn blue. There are several ways to change the duration of the notes. 9.4.2.1. All notes With all notes released, turn the Amount knob clockwise to lengthen all of the notes in the step. Those notes are now tied into the following steps. The blue LEDs to the right indicate the length of the tied notes. This is also visible in playback mode.
The Modulation tracks are in sets of three, and are shown in rows A-C and rows D-F but also in Rows G-I for the steps 17 to 24, and J-L for the steps 25 to 32. Modulation track steps that contain a value are blue. Existing Modulation tracks are named in the display as Assign buttons 5-7. Up to three parameters can be recorded - there are three Modulation tracks. Here's how it works: • When the first parameter is touched, a step button in the first row is lit blue.
10. MORPH MODE 10.1. What is Morph Mode? Every PolyBrute preset is made up of two sounds (A and B) that are available at the same time. Both the Morph knob and Morphée controller are able to crossfade seamlessly between the two sounds, each of which can have entirely different settings for the filters, envelopes, and LFOs, to name a few things. Morphing is applied to these parameters as if you were moving all the controls at once. And you are...but you're doing it with a single control.
10.2. The Morph knob This unassuming control is at the heart of the morphing feature. At its full counter-clockwise position it allows only sound A to pass; at its full clockwise position it allows only sound B to pass. It is continuously variable between the two settings, so an infinite number of blends is possible between sounds A and B. The position of the Morph knob is stored with each preset. This becomes the starting point for the modulations affecting both sounds. 10.3.
10.4. Morph and mod routes As mentioned earlier, sounds A and B share the same set of 32 Mod Matrix routes (and 64 mod connections). That means, for example, that for Mod page 1, route A 1, the selections for the source and destination need to be the same. But the settings for the source can be completely different for sound A and for sound B! Here's a quick example: 1. Initialize the patch and turn the Morph knob to A. 2.
To route VCO 1 to different filters for sounds A and B: 1. Enter Morph mode 2. Use [Assign 2] to enter Edit B 3. Press the filter routing button to route VCO 1 to the Ladder filter. Now press [Presets] and turn the Morph knob. The VCO 1 filter routing LEDs will morph from Steiner to Ladder routing, with both lit when the Morph knob is at its midpoint. This example works on any patch. 10.5.1.1. Edit A Use [Assign 1] to access and change the settings for sound A.
10.5.2. Morph utilities 10.5.2.1. Pick B This option allows you to copy sound A or B from any preset into the edit buffer of the patch you're creating. After selecting the Pick B option, use [Assign 1-8] and the Matrix buttons to select the source patch for sound B. After selecting the source patch, the display shows that sound A from the selected patch has been copied into sound B of the patch being edited.
10.6. What can morph? Nearly every PolyBrute parameter can morph between its settings for sounds A and B. These include the filters, the VCOs, the Envelopes, and the LFOs. Even some unusual parameters like Sync and Noise Colour can be morphed.
11. THE EFFECTS PolyBrute features a digital Effects section with all the classic effect types: • Modulation: chorus, phaser, flanger, and lots of other interesting pitch-based effects. • Delay: everything from quick slapback, ping pong, and stereo delays are at your disposal. • Reverb: vintage effects like Bright Plate are available, plus lush options like shimmering effect, etc.
11.2. Modulation Intensity controls the depth of the selected Modulation effect. Modulation Type selects one of these options: • Chor (Chorus) is an LFO-modulated delay, in the vicinity of 5 to 50ms. It's a rich, thickening sound. • Pha (Phaser) splits the incoming signal, changes the phase of one side, and recombines it with the unaffected signal. The result is a notch-comb filter that sweeps through the frequency spectrum, causing that classic “whooshing” sound.
11.3.2. Delay sync options Hold [Settings] and turn Delay Time to view the “Delay Time Mode” menu. Use [Assign 1-4] to specify whether the delay is synced to the master clock or not, and which time division it uses when synced. • Hertz: not synced • Binary, Triplet, or Dotted: synced When one of the synced options is selected, the delay time division is displayed as the Delay Time knob is turned. 11.3.3. Delay filter options Hold [Settings] and turn Regeneration to view the “Delay Filters” menu.
12. SETTINGS Press [Settings] to access the Settings pages. They are divided into two main categories: Preset and Global. We'll assume in this chapter that you know to use [Assign 1-8] to select the options on each page. 12.1. Settings overview 12.1.1.
12.1.3. Global settings Sync Keyboard MIDI Misc Source Curves Channels Compare Clock Aft Sensitivity Output Dest Knob Catch Input Src Factory Reset Arp/Seq MIDI Out Voice Auto-Tuning Local Control Ctrl Calibration Program Change FW Version Metronome Pedals Sleep Time 12.2. Preset: Voice The Settings / Voice category has four main areas: VCO, Envelopes, LFO, and Allocation. 12.2.1. Voice: VCO Use [Assign 1-5] to choose the item to configure. 12.2.1.1.
12.2.1.2. VCO2 Tune modulation • [Assign 1-4] set the range for the VCO 2 Tune knob. • [Assign 5-8] define how VCO 2 responds when it is a mod source destination. 12.2.1.3. Metalizer mode • Legacy is how the Metalizer works in all prior Brutes: only the triangle wave is folded. • Level processes all VCO 1 waveforms. For the engineers among you, here's a diagram of the two modes. 12.2.1.4. Pitch Accuracy Use [Assign 1-4] to select the options: Off, Mild Expo, Mild Linear, or Wild.
12.2.1.5. Sub Level Mode • Crossfade is the behaviour described in the Sub section. • Level is a mode where only the sub level is affected by the knob ; the VCO 2 waveform mix remains unaffected 12.2.1.6. Morph pitch quantize his affects how the VCO 1 & 2 Tune parameters change between their settings for sounds A and B as the Morph knob is turned.
12.2.2. Voice: Envelopes The VCF and VCA have identical velocity and envelope modes, so they are described together. 12.2.2.1. VCF/VCA velo mode • Amount Only provides the normal response. With the Amount+ Times modes the velocity affects the Attack, Decay and Release Times. Amt+Time Natural shortens the Attack Time and extends the Decay and Release Times with higher velocities, while Amt+Time Shorten shortens all Times and Amt+Time Extend extends all Times. • Single runs the envelope once.
12.2.3. Voice: LFO LFO 1 and LFO 2 have identical features, so they are described together. The Sync Division options for all three LFOs are identical, so they are described together. LFO 3 has a Retrig switch so its polarity options are described in a separate section. 12.2.3.1. LFO1/LFO2 global retrig • An LFO set to Mono mode is shared by all voices. Retrig On/Off controls if the mono LFO will retrigger when a new note is played.
12.2.4. Voice: Allocation Use [Assign 1-4] to define the voice allocation for various combinations of [Polyphony] and [Timbrality]. 12.2.4.1. Poly upper/lower allocation These settings are the same for the upper and lower zones so they are described together. The Lower settings are only active when [Timbrality] is set to Split. [Assign 1-4] provide options for the order in which new voices are triggered. • Poly Cycle assigns a played note to the next available higher-numbered voice.
12.2.4.2. Uni/mono upper/lower allocation These settings are the same for the upper and lower zones so they are described together. They define how PolyBrute behaves when the zone [Polyphony] setting is Unison or Mono. Note that the Lower settings are only active when [Timbrality] is set to Split. • [Assign 1-3] define whether the current note will change to a new note in response to a lower note, a higher note, or the most recently played note (Priority: Last).
12.3. Preset: Out section The Settings / Out Section category has eight main areas, as pictured below. 12.3.1. Out: Preset volume Use [Assign 1-8] to set the volume for the current patch. The range between levels 1 and 8 is about 15 dB, with 8 being the default setting. This can help control the levels between patches. 12.3.2. Out: Stereo modes Use [Assign 1-2] to define the operation of the stereo control. For descriptions of each mode, see the Stereo spread section [p.33].
12.3.4.1. Delay Time Mode Edit the “Delay Time Mode”. Use [Assign 1-4] to specify whether the delay is synced to the master clock or not, and which time division it uses when synced. • Hertz: not synced • Binary, Triplet, or Dotted: synced When one of the synced options is selected, the delay time division is displayed as the Delay Time knob is turned. 12.3.4.2. Delay Filters 12.3.4.3.
12.3.5.1. Reverb HP filter Edit the Reverb HP Filter. Use [Assign 1-4] to select the HP filter cutoff: Bypass, Low, Mid, or High. 12.3.5.2. Reverb Alt Preset • Edit the Reverb Alt Preset. These five variations are the ones that can be selected for (and saved with) the patch you're creating: ◦ Bright Plate ◦ Room ◦ Dreamy ◦ Springy ◦ Delayed Plate 12.4. Preset: Expression control The Settings / Expression Control category has seven options, as pictured below. 12.4.1.
12.4.2. Expression: Vibrato • Use [Assign 1-4] to select the range for the Vibrato: 1, 2, 5, or 12 semitones. • Use [Assign 5-8] to select the Vibrato source: LFO 1, or a dedicated LFO with three preset speeds. 12.4.3. Expression: Glide Use [Assign 1-3] to set the Glide mode: • Time glides between any 2 notes in the same amount of time, no matter how far apart they are. • Time (Synced) is similar, but the glide time syncs to the master clock.
• Instant return to 0: When modulation input stops for one or more axes, values return to zero instantly. • Fast return to 0: When modulation input stops for one or more axes, values return to zero quickly, but not instantly. • Never return to 0: When modulation input stops, modulation values hold at current levels. 12.4.5. Expression: Ribbon Use [Assign 1-4] to define the Ribbon response. • Tap: Absolute, Instant return to 0. • Hold: Absolute, Never return to 0.
12.5. Preset: Preset info The Settings / Preset Info category has four options, as pictured below. 12.5.1. Preset info: Init This option will initialize the patch [p.14]. The result is the same as holding the Preset left arrow + pressing [Preset]. Press any button from 1 to 4 to cancel the operation or press any button from 5 to 8 to validate the operation. 12.5.2. Preset info: Details This option shows information about the current patch: type, sound designer, and revision number. 12.5.3.
12.6. Global: Sync The Global / Sync category has three options, as pictured below. 12.6.1. Sync: Source Use [Assign 1-5] to make a selection. Auto detects an incoming clock and syncs to that. If no clock is present, the internal clock is selected automatically at the last known tempo. 12.6.2. Sync: Clock Use [Assign 1-4] to select the clock rate that will be sent and received via the Sync jacks on the rear panel.
12.7. Global: Keyboard The Global / Keyboard category has two options, as pictured below. Use [Assign 1] to set the velocity and aftertouch curves. Use [Assign 2] to set the aftertouch sensitivity. 12.8. Global: MIDI The Global / MIDI category has six options, as pictured below. 12.8.1. MIDI: Channels Use [Assign 1-4] to enter the desired menu. 12.8.1.1. Input Channel (upper/lower) The pages for the upper and lower zones are identical, so both are described here.
12.8.1.2. Output Channel (upper/lower) The pages for the upper and lower zones are identical, so both are described here. Use [Assign 2] to return to the previous menu. Use [Assign 3-6] to make a selection. Use [Assign 7] to confirm the choice. Turn the mod amount knob to select the desired MIDI channel. 12.8.2. MIDI: Output dest Use [Assign 1-4] to select the destination for outgoing MIDI data. 12.8.3. MIDI: Input src Use [Assign 1-4] to designate the source for incoming MIDI data. 12.8.4.
12.9. Global: Misc The Global / Misc. category has eight options, as pictured below. 12.9.1. Misc: Compare Use [Assign 1] to capture an edit to be compared. This same list will also appear in the list of Snapshots [p.45]. 12.9.2. Misc: Knob catch Use [Assign 1-3] to make a selection. These control responses are defined here [p.10]. 12.9.3. Misc: Factory reset Use [Assign 1-4] to cancel this operation, or use [Assign 5-8] to restore all Global parameters to the factory settings.
12.9.5. Misc: Ctrl calibration Use [Assign 1-3] to enter the desired menu. Use [Assign 4] to cancel the current calibration routine, and use [Assign 5] to save the current controller calibrations. Use [Assign 6] to restore the controllers to their factory calibrations. 12.9.5.1. Wheels Calibration Move the desired wheel to the specified position and press an Assign button to set that as the calibration point for that wheel.
12.9.6. Misc: FW version Press [Assign 6] to view the current firmware version of your PolyBrute. 12.9.7. Misc: Pedals Use [Assign 1-3] to select the expression pedal to configure 12.9.7.1. Polarity Expression 1 and 2 and Polarity Sustain 12.9.8. Misc: Sleep Time Use Assign buttons to select the corresponding sleep time.
13. SPECIFICATIONS AC Input Specifications Voltage 100V - 240V AC Power 85W Frequency 50-60 Hz Safeguard fuse characteristics F3.15A, 250v AC Pedal Connections Expression (x2) Tip = Pot center tap; Ring = 3.
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EFFECTS Parameter MIDI CC SEQUENCER MIDI FILTERS COMMON MIDI Parameter CC Parameter CC Mod Intensity 13 Rate 116 Master Cutoff 27 Delay Level 31 Gate 118 Key Track 71 Delay Time 112 Regeneration 113 Reverb Level 2 Reverb Time 74 Damping 76 Arturia - User Manual PolyBrute - Specifications 103
14. SOFTWARE LICENSE AGREEMENT In consideration of payment of the Licensee fee, which is a portion of the price you paid, Arturia, as Licensor, grants to you (hereinafter termed “Licensee”) a nonexclusive right to use this copy of the SOFTWARE. All intellectual property rights in the software belong to Arturia SA (hereinafter: “Arturia”). Arturia permits you only to copy, download, install and use the software in accordance with the terms and conditions of this Agreement.
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15. DECLARATION OF CONFORMITY USA Important notice: DO NOT MODIFY THE UNIT! This product, when installed as indicate in the instructions contained in this manual, meets FCC requirement. Modifications not expressly approved by Arturia may avoid your authority, granted by the FCC, to use the product. IMPORTANT: When connecting this product to accessories and/or another product, use only high quality shielded cables. Cable (s) supplied with this product MUST be used. Follow all installation instructions.