USER MANUAL
Special Thanks DIRECTION Frederic Brun Nicolas Dubois Adrien Courdavault Philippe Vivancos Fred’s Lab / Frédéric Nicolas Dubois Luc Walrawens Yves Usson Meslin (lead engineer) Benjamin Renard Victor Morello Olivier Delhomme Valentin Lepetit Bruno Pillet Nadine Lantheaume Pierre-Lin Laneyrie Thierry Chatelain Morgan Perrier Florian Marin Randy Lee DesignBox Sylvain Missemer Morgan Perrier Jean-Baptiste Arthus Jean-Michel Blanchet Chuck Capsis Adrien Kanter Andrew Capon Reek Havok
Thank you for purchasing the Arturia MiniBrute 2/2S! This manual covers the features and operation of Arturia’s MiniBrute 2 or MiniBrute 2S. In this package you will find: • One MiniBrute 2 series analog synthesizer, with a serial number on the bottom. You will need this information in order to register your MiniBrute 2 online.
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: 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.
16. Arturia recommends the use of shielded cables for audio (less than 3 meters long), and ferrite equipped CV/Gate cables.
Introduction Congratulations on your purchase of the Arturia MiniBrute 2! The MiniBrute 2 is designed to be an exceptionally powerful, modern analog synthesizer with a classic flair. The roots of this product stem from the greatest synthesizers of all time, all enhanced with Arturia’s own modern touch and character. The now famous ‘Brute’ style oscillators, paired with the classic sounds of the Steiner-Parker filter, give you a wealth of tools and amazing sonic character with which to build your own sounds.
Table Of Contents 1. Introduction...................................................................................................................................................................... 6 2. Installation....................................................................................................................................................................... 6 2.1. Usage Precautions.......................................................................................................
9.4. Modifying a sequence.................................................................................................................................................... 95 9.5. Saving sequences ............................................................................................................................................................. 96 10. The Arpeggiator....................................................................................................................................
1. INTRODUCTION Congratulations, and thank you for your purchase of the Arturia MiniBrute 2 analog synthesizer. You now own what many players feel is the best sounding, most versatile, and most powerful analog synthesizer in its class. The MiniBrute series of synthesizers is the culmination of a lengthy (and very enjoyable!) collaboration between Arturia's engineers and analog synthesizer "guru" Yves Usson.
The Arturia MiniBrute 2 analog synthesizer We built the MiniBrute 2 with four goals: peerless analog sound, intuitive operation, affordability — and no compromises, whether with parts, design, or connectivity. From the smallest capacitor to the potentiometers and the casing, we cherry-picked the very best suppliers, subjected every component to exhaustive testing, and fine-tuned the design for the best possible player experience.
• Fully analog signal path • 2 multi-waveform voltage-controlled oscillators (VCOs) • Sawtooth, square, and triangle waveforms (VCO 1) • Ultrasaw, Metalizer, and pulse width modulation (PWM) • Sawtooth, square, and sine waveforms (VCO 2) • VCO 2 can be used as an additional LFO • FM modulation between oscillators • Random noise generator • Steiner-Parker multimode filter with FM and RM (Resonance Modulation) • 48-point patchbay • Hard sync input for VCO1 • Separate VCA for modulation
2. INSTALLATION 2.1. Usage Precautions The MiniBrute 2 uses an external power adapter. Do not use any power supply or adapter other than the one provided by Arturia. Arturia accepts no responsibility for damage caused by use of an unauthorized power supply. 2.2. WARNING Do not place this product in a place or position where one might walk on, trip over, or roll anything over power cords or connecting cables. The use of an extension cord is not recommended.
2.4. Connecting the MiniBrute 2 to the World Always power-off all audio gear before making any audio connections. Failing to do so may damage your speakers, the MiniBrute 2 synthesizer, or other audio equipment. After completing all connections, set all levels to 0. Power on the various devices, with audio amplifier or monitoring system last, then raise the volumes to a comfortable listening level. Here is an overview of the MiniBrute 2 synthesizer’s connectors: Purpose Connector type Audio output 6.
2.4.1. The rear panel connectors The MiniBrute 2 rear panel 2.4.2. Patch Bay MiniBrute 2 patch bay, modular synth, and external audio sources This is only one example of the connections that can be made between the MiniBrute 2 and external devices.
2.5. Warm-Up and General Tuning As with all other true analog synthesizers, after being powered-on the MiniBrute 2 needs a warm-up period of approximately five to ten minutes. This allows it to reach a stable operating temperature, which ensures accurate oscillator pitch. Warm-up time depends on the external temperature; a colder environment will require longer warm-up times, while a hotter environment will result in shorter times. Humidity levels also can affect the length of the warm-up period.
3. QUICK START This chapter provides the basics you’ll need to create your very first sounds with the MiniBrute 2, so you can start enjoying its rich, full sounds immediately. In subsequent chapters, we’ll get deeper into the sound design process so you can create more animated and complex sounds. 3.1.
♪: Once the MiniBrute 2 has warmed up, you can adjust the master tuning [p.9] as described in the previous chapter. 3.2. Add some vibrato Press and hold a key on the keyboard, and slowly raise the Modulation Wheel — this will add some vibrato to the sound. • Return the Modulation Wheel to minimum position. • Set the Control section’s Mod Source [p.19] switch to the AT position. Now play the keyboard and when a key is down, press down on it further.
3.4. Introduction to envelopes MiniBrute 2 has two independent envelopes: the AD and the ADSR. The AD ENVELOPE controls the amplitude of the sound, while the ADSR ENVELOPE is dedicated to the Filter; it affects the harmonic content of the sound. 3.4.1. The AD envelope The sound’s amplification envelope determines how the level changes over time when you play a note.
3.4.2. The ADSR envelope This envelope controls the Filter, and it has more sliders than the AD envelope. The ADSR envelope is slightly more complex to use, so we will describe the basic concepts here and cover them more thoroughly in the Basics of Synthesis [p.50] chapter. Pressing down a key or sending a gate signal provides an evolving modulation signal with up to four different stages: • The attack stage determines how long it takes for the envelope to go from zero to its maximum level.
3.5. Get to know an LFO An LFO can do much more than add vibrato [p.11] to the sound. For example, it can be used to modulate the harmonic content also. We will use the patch bay to illustrate this point.
3.6. The Sequencer and Arpeggiator As if you weren't having enough fun already, let's take a quick look at the Sequencer/ Arpeggiator section. To learn more about their features, we recommend starting with the introductory chapter [p.78]. ♪: Before you proceed, play a note to make sure you have sound. If not, raise the level on one of the waveform sliders in the OSC MIXER section. If that doesn't help, you may want to revisit the Basic Patch [p.10] section of the manual. 3.6.1.
3.6.2. The Mode switch There's a switch above the lowest "E" on the keyboard labeled "Mode". It is used to toggle between the Sequencer and Arpeggiator modes. Set that to Arp to select the Arpeggiator. 3.6.2.1. Arpeggiator With the Mode switch set to Arp, adjust the following settings: • Set the Seq / Arp Mode knob to 1 / Up • Set the Time Div knob to 1/8 • Set the Rate knob to the center position (12:00) • If you haven't already done it, press the large Sync button until the INT LED is lit.
4. HARDWARE OVERVIEW 4.1. Main features The MiniBrute 2 provides a two-octave, piano-type keyboard. Besides offering a way to play notes, this keyboard provides additional controls for adding expressiveness: • Aftertouch generates a signal that corresponds to how hard you press on a key after it’s down. You can use this signal to modulate vibrato, filter cutoff, and other parameters. • Velocity corresponds to the dynamics of your playing, and similarly to aftertouch, can modulate multiple parameters.
4.2. The Control section 4.2.1. Keyboard The MiniBrute 2 keyboard covers a two-octave range, which can be extended using the Octave Down/Up buttons. The keyboard also provides aftertouch and velocity control, and can also be used as fully polyphonic MIDI controller for other devices via the USB and MIDI out connectors on the rear panel. 4.2.2. Wheels The MiniBrute 2 features the two classic control wheels: Pitch and Modulation. 4.2.2.1.
4.2.3. Octave The Octave section transposes the MiniBrute 2 keyboard over a wide pitch range. There are five colored LEDs and each one represents a different amount of octave shift. Only one is lit at a time: red = -2, orange = -1, green = 0 (center), orange = +1, red = +2. At the center range (green) the leftmost C key corresponds to C2 (130.81Hz) and the rightmost C key corresponds to C4 (523.25Hz).
4.2.7. Mod Dest Depending on the switch setting, the Mod Source signal is routed to one of the following destinations: • LFO 1 Vib: The Mod Source controls the amount of LFO 1, which by default will introduce vibrato. • Mod CV: The Mod Source is routed to the Press / Mod jack in the MIDI section of the patch bay. ♪: The Mod Source signal is always present at the Att 1 -> Cutoff knob in the Filter section. If you want to defeat this modulation routing, set the Att 1 -> Cutoff knob to zero. 4.3.
4.5. The rear panel There are several types of connectors on the rear panel. When viewed left to right: 4.5.1. Kensington lock The small hole over the product name is a security feature called a Kensington lock. We want to be sure that your creativity takes flight only when you want it to. 4.5.2. Outputs Connect headphones to the headphone jack for personal monitoring and connect a 1/4" TS (tip-sleeve) cable to the Master jack to run the audio into a mixer or external amplifier. 4.5.3.
5. THE TOP PANEL This chapter covers the synthesizer features of the MiniBrute 2: the oscillators, the filter, the envelopes, etc. Click the following links for descriptions of the patch bay [p.53], the Control [p.18] section, the Sequencer [p.87] and Arpeggiator [p.97], and the Sync [p.85] settings. 5.1. The LFOs An LFO is low frequency oscillator that can produce various waveforms at sub-audio frequencies (0.0625Hz up to 100Hz).
The sampling rate of the Random waveforms is controlled by the Rate knob, the same way the rate of the other LFO waveforms is controlled (see below). 5.1.2. Sync The Sync switch sets the LFO rate’s operating mode. It can be slaved to the Sequencer/ Arpeggiator tempo clock (Seq) or set to Free mode (i.e., the LFO rate depends solely on the Rate knob setting). 5.1.3. Rate The Rate knob sets the LFO oscillation rate, and ranges from very slow rates (once every 16 seconds, or 0.
5.1.4. Retrigger the LFOs The LFO retrigger options There's a secondary Shift function for each LFO that lets you decide if you want an LFO to retrigger when a new note is played. To toggle this function, hold the Shift button and then press the top F key (LFO 1) or the top F# key (LFO 2).
5.2. VCO 1 The VCO 1 section has eight controls that form the foundation of the MiniBrute 2 sound. The VCO 1 section ♪: Many top panel knobs have blue letters beneath them. This means there are pre-wired connections between those knobs and the blue-lettered item. For example, (VCO 2) is written beneath the FM knob. That means the second voltage-controlled oscillator (VCO 2) is the default source for the modulation that happens when the FM knob is turned clockwise.
5.2.3. Pulse Width This knob affects only the square wave of VCO 1. It has no impact on the saw or triangle waveforms. What it does is alter the width of the square wave from a "round-sounding" 50% to increasingly narrow-sounding pulse waves. See the Signal enhancers [p.43] section of the Basic Synthesis [p.41] chapter for a visual representation of the waveforms. The Pulse Width can be modulated by an LFO or other sources via the patch bay. See the PWM [p.
5.2.8. Metal Mod The Metal Mod knob sets the modulation range for the Metalizer knob. Velocity is routed to the Metal Mod by default, but the patch bay allows you to use something else to modulate the parameter instead.
5.3. VCO 2 MiniBrute 2 has two oscillators that are completely independent: each has its own waveshape and tuning, and can be mixed separately in the OSC MIXER section. They share the filter and amplifier stages. The VCO 2 section There is a certain level of pre-wired interaction between VCO 1 and VCO 2, though. For example: • The pitch of VCO 2 will track that of VCO 1 by default, but there is an input on the patch bay that allows the VCO 2 pitch to track another source.
5.3.3. Range The Range switch sets VCO 2 to one of three tuning ranges: • Fine: a full turn of the knob covers a range of more than an octave above and below the center frequency • All: a full turn of the knob will sweep VCO2 through the entire frequency range of the MiniBrute 2 • LFO: VCO2 can be used as an additional LFO with a wide frequency range (1Hz to audio range). This is handy if you're already using LFOs 1 and 2 for other modulations through the patch bay, for example.
5.4. The Filter section The filter alters the oscillators’ timbre via the four response modes described in the next chapter [p.45] (LP, BP, HP & Notch). Its cutoff and resonance can be adjusted manually. The cutoff can also be controlled by the keyboard and modulated by various modulation generators. The MiniBrute 2 filter is based on Nyle Steiner’s Sallen & Key architecture (designed in the 70s) and offers -12dB/octave slopes in LP and HP modes, and -6dB/octave slopes in BP and Notch modes.
5.4.3. Resonance This knob lets you create a resonance peak at the cutoff frequency. Turning it clockwise emphasizes the partials at the cutoff frequency, and the sound becomes more aggressive. When the knob reaches its last quarter zone, the filter starts to oscillate on its own. However, this oscillating behavior depends on the cutoff frequency; the MiniBrute 2 filter oscillates within a range beginning around 180Hz up to approximately 8kHz. To extend the oscillation range, use the Brute Factor knob. 5.
5.4.5. RM (Resonance Modulation) This parameter modulates the level of resonance that will occur at the cutoff frequency of the filter. It is pre-wired to be modulated by LFO 2, but the patch bay can be used to route another input as the resonance modulation source. This control is bi-polar, which means it allows the modulation to be either positive- or negative-going. It also means that when the knob is set to the center position (12:00) no modulation will occur.
5.4.6. Att 1 > Cutoff This parameter provides another method of modulating the filter cutoff frequency. It is prewired to control the amount of pressure-sensitivity that will be applied to the filter, but the patch bay can be used to route another input as the modulation source. The "Att 1" portion of the label stands for "Attenuator 1".
5.5. The Amplifier section (AMP) The amplifier section controls the final stage of the MiniBrute 2 output. Everything else that has happened on the synth will be fed through this section before it reaches the audio output connectors. The Amplifier section 5.5.1. Brute Factor The Brute Factor is a special MiniBrute 2 feature inspired by a common patch used on a famous vintage mono-synthesizer that connected the headphone output to the external audio input.
5.5.4. Att 2 > Amp Under ordinary circumstances the Att 2 > Amp knob is kept at the minimum position; this allows the AD Envelope generator to open and close completely from silence to silence. However, there may be times when a non-zero setting of this knob is very useful.
5.6. The Osc Mixer The oscillators deliver four basic waveforms: sawtooth, pulse, triangle, and sine (VCO 2 only). These waveforms are accessible through the Oscillator mixer and their respective levels can be adjusted with the sliders. A second oscillator is available to thicken the sound through detuning or setting its pitch to other intervals. The mixer also controls the level of noise and of external audio (if an external source is plugged into the patch bay's Ext in jack).
5.6.3. Triangle / Metalizer (VCO 1) The level of the Triangle wave and Metalizer is controlled with the slider labeled with the triangle icon. Pulling it down completely mutes the signals and moving it up increases their level. Turning the Metalizer knob from fully counter-clockwise to fully clockwise warps the triangle wave’s smooth, flute-like sound into complex, metallic-sounding waves. The wave warping/folding is also under the control of an additional modulator: the Metal Mod knob.
5.6.7. ADSR Envelope sliders These four sliders affect the Filter by default. Their functions are described extensively in the Basics of Synthesis chapter [p.50]. The ADSR Envelope section ♪: An LED indicator shows the envelope amount that is being sent to the filter. The LED’s brightness depends on the envelope signal’s amplitude. 5.6.8. AD Envelope sliders These two sliders affect the Amplifier by default. Their functions have been described extensively here [p.
5.6.9. AD Envelope switches Normally the amplifier envelope is triggered by the playing of a note, but it can also be triggered by other sources via the patch bay. Whichever method is used to trigger the envelope, the four switches in the AD Envelope section determine the behavior of the envelope after it has been triggered. 5.6.9.1. Gate/Trig This switch toggles the function of the AD Envelope between two settings: Gate and Trig.
5.7. Legato vs. Retrigger note response The Legato/Retrig response key There's a secondary Shift function that allows you to decide how you want the MiniBrute 2 to respond when notes are played in a legato fashion (i.e., a second note is played before the first note is released). There are two possible responses: with the Legato setting the notes do not retrigger, and with the Retrigger setting the notes do retrigger.
6. BASICS OF SYNTHESIS Your MiniBrute 2 is a true analog synthesizer, so all sounds are produced by analog electronic circuits. No digital computer circuitry is involved in the generation, filtering, or basic control of the sound. This is one of the reasons why MiniBrute 2 creates rich, animated, and lively electronic sounds. 6.1. Analog synthesizer architecture The analog sound production chain uses a classical approach called subtractive synthesis.
The fundamental frequencies and harmonics of sine and sawtooth waveforms Most importantly, other devices can control an oscillator to set its pitch (keyboard controller), modulate its pitch (vibrato), and modulate the shape of the waveforms (PWM, Ultrasaw). 6.1.1.2. Unpitched signal generator Unlike the previous category, an unpitched signal generator (also called noise generator) has no regular, periodic pattern — the signal’s amplitude is always changing randomly.
6.1.2. Signal enhancers Signal enhancers (or wave-shapers) transform or distort the oscillator’s basic pitched signal to increase their harmonic content, and make them sound brighter and richer. The MiniBrute 2 provides three signal enhancers: • The Ultrasaw builds two phase-shifted copies of the basic sawtooth signal. These copies have independent and ever-evolving phase shifts with respect to each other, and are eventually mixed with the sawtooth signal.
The top of a triangle wave is folded over by the Metalizer 44 Arturia - User Manual MiniBrute 2 - Basics of synthesis
6.1.3. Filter 6.1.3.1. What is a filter? In general, a filter follows the signal generator and signal enhancers, and modifies the spectral content of the signal or signals. This can involve either attenuating (filtering out) or emphasizing (resonating) particular overtones and partials, and these changes can be either static or dynamic. Filters are very important circuits whose design contributes greatly to the a synthesizer’s sound and character.
6.1.3.2. Filter types: Low-pass, Band-pass, High-pass and Notch A filter can operate in various ways or modes. These modes are called transfer functions or spectral responses. In the MiniBrute 2 the filter can operate either as a low-pass filter, a band-pass filter, a high-pass filter, or a notch filter. In low-pass mode, the spectral contents below a given cutoff frequency (shortened to cutoff) remain unchanged, while partials above the cutoff are attenuated.
In notch mode (or rejection filter) the cutoff frequency becomes a band’s center frequency; partials within this band are attenuated, while partials above and below this band remain unchanged. How a notch filter affects the sound The cutoff frequency doesn’t have to be static; controlling it with other devices like a keyboard (keyboard tracking), or LFO, envelope generator, or other controllers, creates dynamically-changing, interesting timbres. 6.1.3.3.
6.1.4. Amplifier The amplifier generally follows the filter, and determines the signal’s overall amplitude. Its gain is controllable through various modulation sources such as an LFO, envelope generator, or some kind of external control (like a foot pedal). The amplifier is primarily responsible for shaping a sound’s dynamics.
6.1.5. Modulators Modulators provide signals that are designed specifically to control the behavior of oscillators, filters and amplifiers. Unlike audio oscillators, modulators are low-frequency signals. For example, when you sing with vibrato, you are “modulating” your voice with a low-frequency change in pitch, typically around 5Hz or so. The tremolo circuit in a guitar amplifier modulates the amplifier’s level.
6.1.5.2. Envelope generators Contrary to an LFO, an envelope generator does not provide a repeating pattern but is controlled by the keyboard or Gate input. The AD ENVELOPE controls the amplitude of the sound, while the ADSR ENVELOPE is dedicated to the Filter and affects the harmonic content of the sound. ♪: The patchbay allows the envelopes to be routed to other destinations and triggered by other sources.
Sustain The Sustain stage controls a level, not a rate. It sets the target for the Decay stage, the resting point for the decay of the harmonic content. • Set the ADSR Decay slider to the halfway point • Play a note and listen to resting point of the harmonic content • Raise the ADSR Sustain slider to about 2/3 of the way up Now play a note and hold it. The harmonic content of the sound will decay as quickly as it did when the first note was played, but it will not decay the same amount this time.
6.1.5.3. AD Attack vs. ADSR Attack: What's the difference? Now that we've gone through all of the stages of each envelope type, let's do a quick experiment to illustrate the difference between them.
7. THE PATCH BAY The MiniBrute 2 is an impressive synthesizer with a powerful set of analog circuitry that puts it in a class of its own. But with the addition of the patch bay the MiniBrute 2 joins ranks with modular synthesizers many times its size. The MiniBrute 2 patch bay This manual will focus mostly on the individual sections of the MiniBrute 2 patch bay and how they relate to one another.
7.1.2. Patch points: Inputs vs. Outputs The connectors in the MiniBrute 2 patch bay fall into two main categories: inputs and outputs. It is easy to know which is which: The output jacks are labeled with white boxes containing text or graphics, and the input jacks only have words under them. The input and output jacks have different label types Use the output jacks as sources for the input jacks, and use the input jacks as destinations for the output jacks. 7.1.3.
7.1.4. Pre-wired connections Many of the patch points have blue letters silkscreened above the jacks. If you look closely, you will notice that these are all input jacks. Blue labels show default input routings We'll go over what each one of these labels means as we cover each section of the patch bay. But to use one example from the section pictured above, the label (KBD) means the Pitch of VCO 1 normally tracks the MiniBrute 2 keyboard (abbreviated KBD).
7.1.5. External devices vs. internal routings Most of the input and output jacks can be connected to others within the patch bay. However, some of the connectors make the most sense in terms of connection to an external device. For example, consider the Sequencer section: The Sequencer section of the patch bay The Clock input jack is intended to receive signals from an external device so that the MiniBrute 2 Sequencer and Arpeggiator can be synchronized to an external clock source.
These labels indicate internal voltages For example, for the VCA section's CV input and the ATTENUATOR section's Att 2 input, the pre-wired control is the internal +5V source of the MiniBrute 2. But you can patch any control voltage standard into the patch bay here (1V, 2V, 5V, 8V, etc.).
7.2. The VCO 1 section The VCO 1 section 7.2.1. Pitch The pre-wired connection into the Pitch of VCO 1 is the keyboard (KBD). Plugging in a patch cable will break that connection and allow the new source to control the VCO 1 frequency. 7.2.2. FM When a patch cable is connected to the FM input jack the pre-wired connection between VCO 1 and VCO 2 is broken. As with VCO 2, the amount of the VCO 1 frequency modulation (FM) is governed by the FM knob in the VCO 1 section of the top panel.
7.2.5. Metal In The Metal In patch point allows an incoming source to be wave-folded the same way the VCO 1 triangle wave would be. Inserting a patch cable here bypasses the pre-wired VCO 1 triangle waveform. To hear the Metalizer effect on the source it is necessary to have the Metalizer knob or the Metal Mod knob set to a non-zero value. The Triangle wave slider in the OSC MIXER section must also be set high enough.
7.2.7. Sync There is no pre-wired connection for this input. It can be used to set up the classic "hard sync" sound by forcing VCO 1 to follow the pitch of VCO 2.
7.2.8. Lin FM Linear (Lin) FM will add harmonics to VCO 1 in a very different way than the exponential FM provided by the FM knob in the VCO 1 section. One of the characteristics of Linear FM is that it is less likely to disrupt the fundamental pitch than Exponential FM. Here's an experiment that may help show the difference. First, reconstruct the basic Square Wave patch [p.
Linear FM example: patch bay connections Now to contrast the Linear FM with the Exponential FM, do the following: • Retune VCO 2 to an octave higher than VCO 1 and reduce its level to zero again • Turn the Att 1 > Cutoff knob to the 12:00 position (but no higher; results are less predictable beyond that). If you trace the patch bay connections you will see that this knob is controlling the level of VCO 2 as it is being sent to the Linear FM input jack.
7.2.10. Square This jack provides the full-strength output of the VCO 1 Square waveform. The setting of the Square slider in the OSC MIXER has no effect on this connector. To control its level, route it through one of the Attenuator [p.71] pairs. 7.2.11. Triangle This jack provides the full-strength output of the VCO 1 Triangle waveform. The setting of the Triangle slider in the OSC MIXER has no effect on this connector. To control its level, route it through one of the Attenuator [p.71] pairs. 7.2.12.
7.4. The EXT IN section The EXT IN section 7.4.1. Master The Master input allows you to run the audio output of another device directly to the outputs of the MiniBrute 2. It does not pass through the filters or any other circuitry; only the Master Volume knob will affect the signal. The level control on the source device might need to be used to balance its level with level of the MiniBrute 2. 7.4.2.
7.5. The FILTER jacks The Filter section 7.5.1. FM input The ADSR envelope is the pre-wired source for the Filter cutoff Frequency Modulation jack (FM), but another source can be used by plugging a cable into this jack. The new control signal will modulate the Filter cutoff frequency in the amount set by the FM knob in the Filter section. Remember that in order for modulation of the Filter cutoff frequency to occur, the FM knob must be set to a non-zero value. 7.5.2.
7.6. The AMP section The AMP section If you want something else to control the final output stage of the amplifier instead of the AD Envelope, plug the new source into the AM jack in the AMP section. Doing so will bypass the AD Envelope, so you won't hear any sound out of the MiniBrute 2 until a signal is received at this connector (or the Att 2>Amp knob is raised). 7.7.
7.8. The ADSR section The ADSR section 7.8.1. Trig Normally a gate signal from the MiniBrute 2 keyboard is required to trigger the ADSR Envelope. But you can use a different source instead, such as a trigger signal from a modular synthesizer. To make that happen, plug the new source into the ADSR Trig input jack. 7.8.2. ADSR Out jack The ADSR Envelope is a flexible modulator. If you want to use its stages to control an internal parameter (e.g.
7.9. The AD section The AD section 7.9.1. AD Trig Normally the AD Envelope is triggered when the ADSR Envelope receives a gate signal. But you can use a different source instead, such as a trigger signal from an external device. To set up this routing plug an appropriate source into the AD Trig input jack. 7.9.2. AD Attack The Attack time of the AD Envelope can be modulated by an external source instead of by the Attack slider in the AD ENVELOPE section. The source can be an LFO, for example.
7.10. The LFO 1&2 section The LFO 1&2 section 7.10.1. LFO Out 1 This jack provides the full-strength output of the selected LFO 1 waveform. To control its level, route it through one of the Attenuator [p.71] pairs. 7.10.2. LFO Out 2 This jack provides the full-strength output of the selected LFO 2 waveform. To control its level, route it through one of the Attenuator [p.71] pairs.
7.11. The VCA section Like the External input [p.64] section, the VCA section provides an additional way to route internal/external signals through the MiniBrute 2. These signals can be patched to any input jack and used to modulate those destinations. But unlike the signals that arrive at the Ext In jack, signals sent into the VCA section do not show up at the Ext slider, they do not pass through the filter, and they are not processed by the AMP section.
7.12. The ATTENUATORS section The Attenuators provide a way to "tame" the output signal of a source. For example, if you route the output of LFO 2 directly into the Pitch 2 input of VCO 2, the pitch of VCO 2 will sweep the entire frequency range it can generate. To narrow the modulation range of LFO 2, send its output into one of the Attenuators instead. Then patch a cable from the Out jack of that Attenuator into the Pitch 2 input of VCO 2.
7.12.3. Out 1 > Cutoff (Att 1) This jack will provide the attenuated output of the source that was connected to the In 1 jack. Route it to the desired destination parameter and then control the amount of modulation with the Att 1 > Cutoff knob on the front panel. ♪: Read the Using the Attenuators [p.71] section for essential information about routing a signal through the Attenuators. 7.12.4.
7.13. The Sequencer section The Sequencer section 7.13.1. Clock This jack will receive a clock signal to which the tempo-based components of the MiniBrute 2 can synchronize. To use an external source as the clock, tap the large Sync button until the LED next to the word CLK is lit. Use the MIDI Control Center [p.109] to instruct the MiniBrute 2 what sort of external clock is being used as the sync reference: 1step (Gate), 1step (Clock), 1pulse (Korg), 24ppq, or 48ppq. 7.13.2.
7.13.3. Sync & Run Look closely at the two jacks on the bottom of the Sequencer section. You'll see a small arrow between them: Sync > Run are interrelated jacks The arrow indicates that the Sync and Run jacks are permanently related: When the Sequencer starts it sends clock information to the Sync jack and a trigger voltage to the Run jack. 7.13.3.1.
7.13.3.2. Use two TS cables between MiniBrute 2 and other devices Most modular systems do not use TRS cables or connectors, so when working with those systems you will need to use two TS cables between the MiniBrute 2 and the modular system. • MiniBrute 2 as master: Connect one TS cable from the MiniBrute 2 Sync out jack to the clock input of the slave device, and connect a second TS cable from the MiniBrute 2 Run output jack to the run/reset input of the slave device.
7.14. The MIDI section This section of the patch bay is entirely populated with output jacks. You can use them locally with the MiniBrute 2 or externally with other devices. The MIDI section 7.14.1. KBD This jack provides a pitch output signal that changes its voltage based on which notes are played or received over MIDI. For example, if you wanted the AD Envelope Decay time to increase as you play higher notes, you could connect the KBD output to the AD Decay input jack.
7.14.4. Mod The Mod jack will send a control voltage to the destination of your choice. The source for the control voltage is determined by the setting of the Mod Source switch, which is found in the Control Section of the top panel, next to the Bend Range knob. If the Mod Source switch is set to Wheel, the Mod wheel will control the destination parameter. If it is set to Aftertouch, then the pressure-sensitivity of the keyboard will be the modulation source instead.
8. SEQ / ARP: SHARED FEATURES MiniBrute 2 provides a sequencer and an arpeggiator. You can record eight different sequences, each with up to 64 steps. The arpeggiator generates notes based on the keys you have pressed and plays them back according to the setting of the Seq / Arp Mode knob. The Sequencer and the Arpeggiator share several features. We will focus on those features in this chapter. They also have distinct features, so we have dedicated a chapter to each one. See the Sequencer [p.
8.2. Timing controls The Time Div encoder, Rate knob, and Tap/Rest button 8.2.1. Time Division The Time Div encoder determines the rhythmic value of the active sequence or arpeggio. Eight different settings are available. 8.2.2. Rate Use the Rate knob to control the tempo of the sequence or arpeggio. The Tap button can also be used. The tempo can be set between 30-240 bpm (beats per minute).
8.2.4. Metronome (Shift + Sync) Shift + Sync toggles the metronome Under the Sync button is the word "Metronome". The blue writing means this is a secondary Shift function, and you'll probably use it often while creating your own sequences. To toggle the Metronome on and off, hold the Shift button and press the Sync button. 8.3. Transport section The transport section The Transport buttons control the sequencer, the arpeggiator, and external devices using MIDI or the Sync/Run jacks in the patch bay.
8.4. Playback functions 8.4.1. Gate Shift + Gate selection keys The Gate time of a Seq/Arp note is the percentage of time it stays “on” before the next note happens, with 10% being the shortest time and 90% being the longest. Hold Shift and press the appropriate key to make a selection. When creating a sequence it is also possible to enter a value of “Tie”, which holds a note into the following step. See the "Tie notes [p.90]" section of the Sequencer [p.87] chapter for information.
8.4.2. Swing Shift + Swing selection keys ♪: The Time Div setting must be equal to or lower than the Master Swing setting in order for the Swing to be heard. For example, if Time Div = 1/4 and Master Swing = 1/8, the Seq/Arp will not have a shuffle feel. The Master Swing setting can be changed using the MIDI Control Center [p.109]. Swing introduces a “shuffle” feel to the active sequence or arpeggio.
8.4.3. Master Swing vs. Time Division As mentioned in the previous section, the Time Div setting must be equal to or lower than the Master Swing setting in order for the Swing to be heard. For example, if Time Div = 1/4 and Master Swing = 1/8, the Seq/Arp will not have a shuffle feel. If you set them both to 1/8 then you will hear the rhythmic figure illustrated above. But the results are even more interesting when the Master Swing setting is higher than the Time Div setting.
8.5. Skip selections: Seq / Arp It’s possible to switch between non-adjacent sequences or arpeggio modes without launching the interim selections. In other words, if sequence 1 is playing and you want segue smoothly into sequence 3, you can jump over sequence 2 without playing it. Here’s how: • Hold the Shift button • Turn the Seq/Arp Mode encoder until you reach the desired sequence / arpeggio mode • When you’re ready, release the Shift button and the new sequence / arpeggio mode will launch.
8.8. Synchronization MiniBrute 2 can be the master clock for a wide range of musical devices, or it can serve as a slave to any one of several sources. See the rear panel connectors [p.8] section for connection diagrams. The Sync options are selected using the Sync button on the right side of the top panel. The Sync button Press this button repeatedly to cycle through the four options: INT (Internal), USB, MIDI, and CLK (Clock).
8.8.2. As Slave MiniBrute 2 functions as a slave to an external clock when one of those options is selected (USB, MIDI or CLK). When MiniBrute 2 is in Slave mode: • The Tempo controls will not control the internal sequencer or arpeggiator while the external source is running. • The MiniBrute 2 transport section will still perform as usual; you can still stop, start and pause the internal sequences and the arpeggiator, and you can still record sequences.
9. THE SEQUENCER An on-board sequencer like the one provided by MiniBrute 2 is an essential tool in today's music world: it can free the performer’s hands to adjust other parameters such as filters, envelope settings or pitch while the sequencer keeps looping. You could even plug in more patch cables while a sequence is being played. MiniBrute 2 allows you to create up to eight unique sequences, and each sequence can be up to 64 steps in length.
9.1.1.4. Set the tempo Use the Rate knob or the Tap button to adjust the playback tempo. You can also set the desired tempo of the sequence before playback by pressing the Tap button a few times. With the MIDI Control Center [p.109] you can specify how many taps of the Tap button it takes to adjust the tempo, and also how the Rate knob will respond when it is turned. See the MIDI Control Center [p.109] chapter for more information. 9.1.1.5.
9.3. Creating a sequence ♪: The sequencer will not run if the Sync [p.85] selection is set to something other than INT and no external clock is present. There are three things you must do when you want to create a sequence: • Move the Seq / Arp toggle switch to the Seq position • Select a sequence location with the Seq / Arp Mode encoder • If a sequence is already running, press the Stop button. MiniBrute 2 provides two ways to input notes into your sequences: a step at a time or in real time.
The Tap/Rest button You will use this button to enter rests, and also to tie notes together (more about that later). Here’s what to do: • Press the Record button Remember: the next step will erase the existing sequence. • Play a key • Release the key to advance the step • Press the Tap / Rest button to enter a Rest • Repeat the last three items • When you’re done, press the Stop button. To hear your sequence, press the Play button.
9.3.1.3. Legato notes The process for entering a Legato note is similar: • Press the Record button • Hold the Tap / Rest button until the end of this example Remember: the next step will erase the existing sequence. • Play a series of notes, one key at a time • When you have reached the end of the legato phrase, release the Tap / Rest button. • Enter more notes as desired, or press the Stop button to exit Record mode.
9.3.2. Real-time record/replace MiniBrute 2 also allows you to record or replace the notes in a sequence while the sequencer is looping. Here are a few things to keep in mind: • Real-time recording won’t extend a sequence; you must record within the framework of an existing sequence. So you may first want to create a sequence of the desired length using the step record mode. • It can be helpful to use the built-in metronome [p.
9.3.2.3. Time Div and recording As mentioned previously, the Time Division setting does not allow you to enter different step values in the middle of a sequence while recording. But you can use it to alter the relative tempo while recording. ♪: If you are recording a difficult passage you may want to use a different Time Division setting while recording in real time (i.e., use 1/4 instead of 1/8). 9.3.3. What does it record? 9.3.3.1.
9.3.5. A note about velocity MiniBrute 2 will capture the velocity of each note the way it was played by default. But there’s an option in the MIDI Control Center [p.109] to make sure every recorded note has the same velocity value. You can also specify exactly what that value will be. See the MIDI Control Center [p.109] chapter 10 for more information about these features.
9.4. Modifying a sequence Now let’s focus on ways to modify an existing sequence. 9.4.1. Append You can extend your sequence by adding (appending) notes, tied notes and rests to the end of the sequence. ♪: This process will not erase the sequence or replace existing notes. To use the Append function: • Make sure the proper sequence is selected • Press Play/Pause to start the sequence !: The sequence must be playing or else the note data will be erased in the following steps.
9.5. Saving sequences MiniBrute 2 allows you to carry 8 sequences with you at all times. But you can store an unlimited number of sequences using the MIDI Control Center. So be sure to back up your hard work to your computer often. And once the sequences are safely stored on your computer it is possible to hand-pick sets of sequences that are aimed at particular audiences or sessions. See the MIDI Control Center [p.109] chapter for more information about how to use that software.
10. THE ARPEGGIATOR 10.1. What’s an arpeggiator? ‘Arpeggio’ is a musical term that basically means ‘the notes of a chord played one after the other’. For example, if you play a C chord and then play its component notes C, E, and G independently, you have played an arpeggio in the key of C. An example of notes in a chord Those same notes as an arpeggio You can play those three notes in any order and still have played an arpeggio in the key of C.
10.3. Basic operations ♪: The arpeggiator will not run if the Sync [p.85] selection is set to something other than INT and no external clock is present. 10.3.1. Seq / Arp toggle switch To use the arpeggiator you must first set the Seq/Arp toggle switch to Arp. The Seq position selects the sequencer, which is covered in a separate chapter [p.87]. 10.3.2.
10.3.4. Set the tempo Use the Rate knob or the Tap / Rest button to adjust the playback tempo. You can also set the exact tempo of the arpeggio pattern before starting the arpeggiator by pressing the Tap / Rest button a few times. With the MIDI Control Center [p.109] you can specify how many taps of the Tap / Rest button it takes to adjust the tempo, and also how the Rate knob will respond when it is turned. See the MCC chapter [p.109] for more information.
10.4. Arpeggiator modes All of the following examples involve holding down only 4 notes on the keyboard. But you can add up to 32 notes to your arpeggio through clever use of the Hold function and the Oct Minus / Plus buttons. We’ll describe these techniques in the Build a multi-octave arpeggio [p.103] section. 10.4.1. Arp mode: Up With the Arp mode encoder set to Up the arpeggiator will play the held notes in order from the bottom to the top. When it reaches the top it will start again from the bottom.
10.4.4. Arp Mode: Exclusive With the Arp mode encoder set to Exc the arpeggiator will play the held notes in order from low to high, then from high to low, without repeating the high note and low note. Arp Mode: Exclusive 10.4.5. Arp Mode: Random With the Arp mode encoder set to Rand the arpeggiator will play the held notes in a random order. There will not a predictable pattern, so it is possible that a note could be repeated one or more times before a new note is heard. Arp Mode: Random 10.4.6.
10.4.7. Arp Mode: Up x2 With the Arp mode encoder set to Up x2 the arpeggiator will play the held notes in order from the bottom to the top. But unlike the Up mode it will play each note twice before the next note plays. Arp Mode: Up x2 10.4.8. Arp Mode: Down x2 With the Arp mode encoder set to Dwn x2 the arpeggiator will play the held notes in order from the top to the bottom. But unlike the Dwn mode it will play each note twice before the next note plays.
10.5. Build a multi-octave arpeggio Previously we explained that the Hold function allows you to keep the arpeggiator running after you take your fingers off the keys. But there’s a second use for the Hold function: when Hold mode is active, you can keep adding notes to an arpeggio as long as you continue holding down at least one key. ♪: As you go through the following section, don’t forget: after you let go of the keys the arpeggio that’s playing will be replaced as soon as you press another key.
10.6. Pausing an arpeggio It is possible to pause an arpeggio in the middle of its pattern. Here’s one example: • Select any mode but Random or Order (it’ll be easier to hear what’s happening) • Start the arpeggiator • Activate the Hold function (hold Shift, press the Tap / Rest button) • Play a handful of keys to make an interesting pattern • Once you are familiar with how the pattern sounds, press Play/Pause in the middle of the pattern • The pattern will pause • Press Play/Pause again.
11. INTRODUCTION: THE MIDI CONTROL CENTER The MIDI Control Center (MCC) is an application that helps you to configure your MiniBrute 2 for your system. Use it to define the hardware response, the voltages and triggers that will be used, and the MIDI settings. It works with most of Arturia’s devices, so if you have an earlier version of the software you’ll want to download the latest version. It will work with those products as well. 11.1. MCC basics 11.1.1.
11.1.4. Connection Connect MiniBrute 2 to your computer using the included USB cable. It’ll be ready to go within seconds after power-up. Now launch the MIDI Control Center. MiniBrute 2 will be in the list of connected devices: A check mark indicates the selected device 11.1.4.1. Potential issues: Windows OS The MIDI driver for the MiniBrute 2 is not "multi-client".
11.1.4.2. Potential issues: macOS If the cable between your Mac and the MiniBrute 2 is connected properly and the Mac is having trouble detecting the unit, your Mac could be experiencing what is known as a "USB port enumeration issue." Here is one potential solution. • Launch the Audio MIDI Setup utility. The fastest way to do this is usually to hold the Command key, press the space bar, and type in the letters AMS. • If you do not see the MIDI Studio window, hold the Command key and press 2.
• Restart the MiniBrute 2. It should reappear in the MIDI Studio window. 11.1.5. Where to find the manual There is a built-in help file for the MIDI Control Center in its Help menu, as shown below: It’s a good introduction to the MIDI Control Center, describing each section of the software window and defining important terms you will need to know while using the MIDI Control Center, such as ‘the Browser’ and ‘Template’.
12. MIDI CONTROL CENTER When the MIDI Control Center and MiniBrute 2 are connected, you are able to: • send a set of eight sequences to the MiniBrute 2 internal memory • use the Store To and Recall From buttons to transmit an entire set of 8 sequences • edit the Device Settings • import/export Device settings • perform other MCC functions such as file management and Template creation, among other things. 12.1.
12.2. Device Memories 12.2.1. The Working Memory The Device Memories section The upper half of the Template Browser window contains a location called the Working Memory. It functions as a sort of ‘target’ onto which a group of sequences (i.e., Templates) can be dragged and then transmitted to the MiniBrute 2 internal memory.
12.3. Local Templates The Local Templates section The lower half of the Template Browser window shows a list containing Templates. A Template is a group of eight sequences that has been recalled from the MiniBrute 2 internal memory. You can create a limitless library of sequences by storing them to your computer in this way. You can also send a Template into the MiniBrute 2 internal memory using the Store To button. See the Store To/Recall From [p.112] section for more instructions about these procedures.
12.4. Store To/Recall From 12.4.1. The ‘Store To’ button The Template Browser has a button called “Store To”. It is used to transmit a Template from the Local Templates window to the MiniBrute 2. The process is simple: • Select the desired Template as shown below • Click the Store To button. This process will store all eight sequences from the selected Template into the MiniBrute 2. 12.4.2.
12.4.3. Save, Delete, Import/Export, etc. The Template Utility buttons These important features have been documented in the MIDI Control Center manual, which you will find in the software Help menu. Look in section 3.4.3 of the Help file [p.108] for information about Save, Save As…, New, Delete, Import and Export. ♪: The Import / Export buttons pictured above perform a different function from those at the top of the Device Settings window (see the next section). These files have the extension .
12.6. Data entry There are two main ways to enter new parameter values in the MIDI Control Center: click something and move it, or type a number into a field.
12.7. Device Settings All of the Device Settings are contained within this window. To view them within the MIDI Control Center, use the scroll bar on the right side of the window. 12.7.1.
12.7.1.2. MIDI Input Channel This parameter defines the MIDI Channel to which the MiniBrute 2 should respond. It also allows you to perform MIDI-to-CV conversion when the Sequencer and Arpeggiator are stopped. The selected value is the MIDI channel that will be allowed to control an external device through the CV/Gate/Mod connectors. These MIDI messages can either arrive via USB or the MIDI Input connector. 12.7.1.3. MIDI Thru This parameter will turn the MiniBrute 2 MIDI Output into a MIDI Thru.
12.7.1.11. Tempo Knob Mode This parameter defines the response of the Tempo knob. Two settings are available: • Jump: The tempo value will respond immediately when the Rate knob is turned. • Hook: The tempo will not change until the Rate knob passes through the current value.
12.7.2. Sequence settings Here’s a quick reference chart for the Sequence settings: Parameter Range/Values Description/Function 1/4, 1/8, 1/16, 1/32 Selects the resolution for the metronome Sync Clock In/ 1step Set Out settings 1pulse, 24ppq, 48 ppq Metronome Resolution Wait to Load, Instant Next Seq Change Fixed Velocity Mode Fixed Velocity Value Tap Tempo LFO1 Key Retrig LFO2 (Gate/Clock), Key Retrig Master Swing Sync input/output type.
12.7.2.2. Sync Clock In/Out settings MiniBrute 2 is endowed with the ability to transmit or receive clocking signals from a huge range of vintage devices. Here’s a brief look at each setting: • 1step (Gate): Interprets the rising edge of the voltage as a Note On command and the falling edge as a Note Off. Then it will advance to the next step. • 1step (Clock): It is likely the input clock has a fixed period, so MiniBrute 2 interpolates between the edges of the clock signal to derive a steady tempo.
12.7.2.8. LFO2 Key Retrig Same as above. 12.7.2.9. Master Swing This parameter sets the resolution for the swing value that has been selected using the Shift button and one of the keys as indicated on the top panel. ♪: The Time Div setting must be equal to or lower than the Master Swing setting in order for the Swing to be heard. For example, if Time Div = 1/4 and Master Swing = 1/8, the Seq/Arp will not have a shuffle feel. See Master Swing vs. Time Division [p.83] for specific information. 12.7.3.
12.7.4. CV/Gate settings This is where you select the electrical behavior for the Control Voltage connectors. Here’s a quick reference chart for these parameters.
12.7.4.4. Pressure Range This determines the change in voltage that will be generated by the pressure-sensitivity of the keyboard (i.e., aftertouch), or depending on the setting of the Mod Source [p.19] switch, by the full throw of the Mod wheel. It affects the Mod patch bay jack. 12.7.4.5. V/Oct Base Note Pitch MiniBrute 2 provides the option to set a center note for its Volt per Octave format. 12.7.5. Transport settings First a quick summary of the Transport settings, then the chart. 12.7.5.1.
13. SHIFT FUNCTIONS Here’s a list of all Shift button features. Click the links to read about them: Combination Result SHIFT + Keys 1-5 [p.123] Seq/Arp gate length SHIFT + Keys 6-16 [p.123] Seq/Arp swing amount SHIFT + Key 17 [p.123] Note retrigger modes (Retrig, Legato) SHIFT + Keys 18-19 [p.124] Reset LFO 1, LFO 2 (respectively) SHIFT + [Oct down] [p.124] Seq transpose mode SHIFT + [Oct up] [p.124] Seq KBD play mode SHIFT + Play [p.
13.4. SHIFT + Keys 18-19 Pressing Shift and the tapping the highest F on the keyboard (key #18) toggles Retrigger mode [p.24] for LFO 1. Pressing Shift and the tapping the highest F#/Gb on the keyboard (key #19) toggles Retrigger mode [p.24] for LFO 2. 13.5. SHIFT + Oct down (Seq mode only) Toggles Sequence Transpose [p.88] mode. Playing a note during sequence playback will transpose the sequence. Mutually exclusive with KBD ply mode; it's one or the other. 13.6.
13.13. SHIFT + Time Div encoder Also known as Skip Time Divisions [p.84]. Instructs the Sequencer and the Arpeggiator not to change the Time Division until the Shift button is released. This makes it possible to select non-adjacent Time Division settings without having to pass through the settings between them.
14. 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.
