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 2S! This manual covers the features and operation of Arturia’s MiniBrute 2S. In this package you will find: • One MiniBrute 2S series analog synthesizer, with a serial number on the bottom. You will need this information in order to register your MiniBrute 2S 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 2S! The MiniBrute 2S 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.
Table Of Contents 1. Introduction...................................................................................................................................................................... 6 2. Installation....................................................................................................................................................................... 6 2.1. Usage Precautions.......................................................................................................
.13. Transport controls ........................................................................................................................................................... 93 8.14. Scale selection ................................................................................................................................................................... 95 8.15. Define the User scale ...............................................................................................................
1. INTRODUCTION Congratulations, and thank you for your purchase of the Arturia MiniBrute 2S 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 2S analog synthesizer We built the MiniBrute 2S 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 2S 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 2S to the World Always power-off all audio gear before making any audio connections. Failing to do so may damage your speakers, the MiniBrute 2S 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 2S synthesizer’s connectors: Purpose Connector type Audio output 6.
2.4.1. The rear panel connectors The MiniBrute 2S rear panel 2.4.2. Patch Bay MiniBrute 2S patch bay, modular synth, and external audio sources This is only one example of the connections that can be made between the MiniBrute 2S and external devices.
2.5. Warm-Up and General Tuning As with all other true analog synthesizers, after being powered-on the MiniBrute 2S 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 2S, 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. This chapter also has introductory information about the Sequencer and the Arpeggiator here [p.17]. 3.1.
♪: Once the MiniBrute 2S has warmed up, you can adjust the master tuning [p.9] as described in the previous chapter. 3.2. Add a second oscillator Press the Octave + pad to raise the pitch of the MiniBrute 2S by one octave. (The Octave + pad is under knob #15.) Now press and hold a pad and do the following: • Raise the Osc 2 slider in the OSC MIXER section to maximum • Turn the VCO 2 Tune knob counter-clockwise until VCO 2 is an octave lower than the original pitch. • Play a few notes.
3.3. Sweep the Filter with a pad The obvious way to sweep the filter cutoff frequency is to grab the Cutoff knob and turn it. But it's also very easy to use the pads to do the same thing while you're playing. Leave all of the controls as they were in the sub-oscillator [p.11] example above, but make these three changes: • Set the Filter Cutoff knob to minimum • Set the Att > Cutoff knob to maximum • Switch VCO 2 to Sawtooth. Sawtooth waves have more harmonics, so the filter sweep will be more obvious.
3.4. Introduction to the LFOs MiniBrute 2S has two independent low-frequency oscillators (LFOs) with identical waveforms and controls. LFOs are used to "modulate" a parameter (i.e., change a parameter) in a cyclical fashion. For example, an LFO can change the pitch of an oscillator up and down gradually. That form of modulation is known as "vibrato." In the following examples we'll use LFO 1, but the same experiments can be done with LFO 2. See the LFO section [p.28] of the Top Panel [p.
3.4.2. Add vibrato with VCO 2 There's a quick way to add vibrato without using the patch bay, and in the process we'll learn a little more about VCO 2. It's simple to set this up. Starting from the previous example [p.13]: • Unplug the patch cable • Switch VCO 2 Range to LFO Now play a pad and slowly raise the VCO 1 FM knob — this will add some vibrato to the sound. Still holding the pad, turn the VCO 2 Tune knob clockwise to raise the LFO speed. You'll hear the rate of the vibrato increase.
3.5. Introduction to envelopes MiniBrute 2S 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. 3.5.1. The AD envelope The sound’s amplification envelope determines how the level changes over time when you play a note.
3.5.2. 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.55] chapter. Pressing down a pad 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.
3.6. The Sequencer and Arpeggiator As if you weren't having enough fun already, let's take a quick look at the Sequencer and the Arpeggiator. To learn more about their features, we recommend starting with the introductory chapter [p.83]. ♪: 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 Arpeggiator The MiniBrute 2S is in Sequencer mode by default. But you can switch to Arpeggiator mode instantly by pressing the On button in the Arp/Loop section of the top panel. It looks like this: The Arp/Loop section Before you play the pads, let's configure the Arpeggiator so we'll be hearing the same thing.
3.6.3. The Sequencer The MiniBrute 2S allows you to record up to 64 patterns of your own. But there may be something there already that you could use as a starting point later, so first we'll audition the existing patterns. We'll learn how to record them [p.19] after that. First, if the Arp/Loop button is lit, press it once and it will go dark. This means the Arpeggiator is no longer active.
You can exit Record mode by pressing the Record button again. To disable the metronome, hold the Shift button and press the Sync button until it goes dark. !: If you've created a pattern you'd like to keep, hold the Save button and press the pad that is flashing. Do this before you load another pattern or you will lose your new pattern. You may want to read the Save a pattern [p.105] section to learn how to copy a pattern to a new location, etc. Each MiniBrute 2S pattern has four parallel tracks.
3.6.3.2. Record a pattern (step mode) ♪: For a brief example of real-time recording, click here [p.19]. If you've found an empty pattern, or at least a pattern you don't want to keep, let's make a quick recording in Step mode. • Enable the metronome by holding the Shift button and then pressing the Sync button. If the Sync button lights up when you press the Shift button, the metronome is already enabled.
4. HARDWARE OVERVIEW 4.1. Main features The MiniBrute 2S takes a multi-layered step sequencer, an arpeggiator, a powerful analog monosynth, and a flexible patch bay, and combines them into a powerful music creation station. As its initial interface it provides a set of drum-machine-style pads, arranged in a piano-style layout and spanning a single octave.
4.3. Inputs and outputs In order to hear the MiniBrute 2S, its audio output needs to connect to an audio amplifier either directly or through a mixer console (or use the Headphones output). As to control, the MiniBrute 2S can accept control voltage signals from devices like a modular synthesizer or a MIDI controller (e.g., a MIDI drum pad or wind controller), or even audio signals from an external sound source such as a microphone or electric guitar.
4.5. The Sequencer section This is where all of the music-writing happens: the capturing of ideas, their refinement, and the spontaneous improvisation that takes your music to places you had previously left unexplored. Each of the zones in this section plays an important part in what will become a creative liberation for you.
4.5.1. The Octave & Transpose pads ♪: When you change the octave range or transposition with the [Octave -/+] pads, the change will happen only after a pad has been pressed. 4.5.1.1. Octave + / - pads The Octave pads can transpose the MiniBrute 2S pads and sequences over a wide pitch range. • Pad range: Press [Octave -] once to shift the pads down by one octave. Press [Octave -] a second and third time to access lower notes.
4.5.1.2. Transpose a pattern Here's how to transpose a pattern while it is playing back: 1. Press Play to start the pattern 2. Hold the Transpose pad 3. Press the pad with the note name that corresponds to the desired transposition amount. For example, pressing the D# pad while the Transpose pad is held will shift the pattern up by a minor third. 4. To put the pattern back to the original pitch, hold Transpose and press the lowest C pad. 5.
4.6. The rear panel There are several types of connectors on the rear panel. When viewed left to right: 4.6.1. 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. 4.6.2. 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. 4.6.3.
5. THE TOP PANEL This chapter covers the synthesizer features of the MiniBrute 2S: the oscillators, the filter, the envelopes, etc. Click the following links for descriptions of the patch bay [p.58], the Sequencer [p.19] and Arpeggiator [p.18], and the Sync [p.87] 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.
5.2. VCO 1 The VCO 1 section has eight controls that form the foundation of the MiniBrute 2S 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.48] section of the Basic Synthesis [p.46] 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 2S 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: 34 • 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 2S • 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.50] (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 2S 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 2S 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 2S 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 2S 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.55]. 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. The Patch bay section For a description of the patch bay features, see the Patch Bay chapter [p.58]. 5.8. Secondary Shift functions There are some very useful secondary functions that are activated by holding the Shift button and then pressing a pad or a button. For a description of those features, see the Shift functions [p.158] chapter.
6. BASICS OF SYNTHESIS Your MiniBrute 2S 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 2S 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 2S 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 Arturia - User Manual MiniBrute 2S - Basics of synthesis 49
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 2S 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 2S 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 2S joins ranks with modular synthesizers many times its size. The MiniBrute 2S patch bay This manual will focus mostly on the individual sections of the MiniBrute 2S patch bay and how they relate to one another.
7.1.2. Patch points: Inputs vs. Outputs The connectors in the MiniBrute 2S 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 2S pads (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 2S 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 pads (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.76] 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.76] pairs. 7.2.
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 2S. 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 2S. 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 2S 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 2S pads 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.76] 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.76] pairs.
7.11. The VCA section Like the External input [p.69] 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.76] section for essential information about routing a signal through the Attenuators. 7.12.4.
7.13. 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 2S 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.140] to instruct the MiniBrute 2S 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 2S 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 2S and the modular system. • MiniBrute 2S as master: Connect one TS cable from the MiniBrute 2S Sync out jack to the clock input of the slave device, and connect a second TS cable from the MiniBrute 2S 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 2S 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. Press / Mod 2 The Press / Mod 2 jack will send a control voltage to the destination of your choice. The input source for this jack is the aftertouch signal generated by the pads.
8. SEQ / ARP: SHARED FEATURES MiniBrute 2S provides a powerful set of tools with its Sequencer and Arpeggiator. You can record 64 different multi-track sequences, each with up to 64 steps, and chain those sequences together. The Arpeggiator generates notes based on the pads you have pressed and plays them back according to the settings you have defined. The output of the Arpeggiator can be recorded by the Sequencer, too! The Sequencer and the Arpeggiator share many features.
8.2. Pitch and transposition A Sequencer pattern can be transposed during playback, either by octaves or by chromatic steps. But an active arpeggio cannot be transposed. To construct an arpeggio with different notes, change the octave range of the pads and play the notes you want the arpeggio to contain. ♪: If you like a certain arpeggio and want to be able to transpose it, record it into a pattern and then transpose the pattern.
8.3. Transport section The MiniBrute 2S transport section The Sequencer and Arpeggiator share the transport section. They will play, pause, stop and restart at the same time. The only difference is that the Record button is not active for the Arpeggiator, although you can capture an arpeggio by recording its output into the Sequencer as you play the pads. Here are a couple of quick reference charts for the transport-related features of the Sequencer and the Arpeggiator.
8.4. Playback and polyphony MiniBrute 2 is a monophonic synthesizer, and the Sequencer and the Arpeggiator share a single voice. Both can run at the same time, but when you play the pads to create an arpeggio it will override the notes being played by the Sequencer until you release the pads. This can result in some marvelous interplay between the two. (In other words, try it! It's a lot of fun.
8.5. Synchronization MiniBrute 2S 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).
8.5.2. As Slave MiniBrute 2S functions as a slave to an external clock when one of those options is selected (USB, MIDI or CLK). When MiniBrute 2S is in Slave mode: • The Tempo controls will not control the internal sequencer or arpeggiator while the external source is running. • The MiniBrute 2S 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.
8.6. 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 Shift and press the Sync button. 8.7. Tempo Use the Tempo 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).
8.10. Swing Swing introduces a “shuffle” feel to the active pattern or arpeggio. There are dozens of settings available, ranging from 50-75% in increments of 1. To make a selection, hold Shift and turn the Tempo/Value knob. What the Swing setting does is shift the timing of the notes in a pattern, making the first note of a pair longer and the second note shorter.
Maybe the following graphic will help illustrate what is meant by that: As smaller resolutions are selected, the swing period is subdivided into two triggers of equal length. ♪: The smaller resolutions cause the subdivisions to happen very quickly. As you are learning about the interaction between the Master Swing setting and the Time Division settings, it may be helpful to cut the master tempo in half or less temporarily. The Master Swing setting may be changed using the MIDI Control Center [p.140].
8.12. Playback direction/note order There are four different options for the order in which notes will be played by the Sequencer, and eight different directions/note orders for the Arpeggiator. The cool thing is that they can be playing in different directions at the same time! 8.12.1. Sequencer: playback direction To select one of the Playback directions for the Sequencer involves the Shift button: • Select a pattern you know well so you can identify the notes as they are played.
8.13. Transport controls The Transport buttons control the sequencer, the arpeggiator, and external devices using MIDI or the Sync/Run jacks in the patch bay. But they also can send other MIDI messages if the external device does not respond to MMC commands. Use the MIDI Control Center [p.140] to make changes. 8.13.1. STOP button This button has an obvious job: press it while a pattern is playing and the pattern will stop.
8.13.3. RECORD button 8.13.3.1. Step Record mode If the sequencer is stopped or paused and the Record button is pressed, the MiniBrute 2 will enter Step Record [p.21] mode. The Record button will be lit red, and any pads that contain data will be lit red also. For an advanced explanation of Step Record mode, see the Sequence Editing [p.108] chapter. 8.13.3.2. Real-time recording If you hold the Record button and then press Play, the MiniBrute 2 will enter Real-time recording [p.19] mode.
8.14. Scale selection 8.14.1. What the Scales do The MiniBrute 2S pads give you the ability to assign one of eight input scales to the pads and the Step encoders: seven preset scales and one you can customize yourself (the User scale). A scale is a sort of ‘filter’ that will help you to hear only the notes you want to hear in your pattern or your arpeggio. Here's what the Scale feature does: • It affects the notes you hear being played back.
8.14.2. Scale Types Here’s what each of the Scales looks like. Keep in mind that the last note pictured in each scale type is actually the first note of the next octave: 8.14.2.1. Chromatic The Chromatic scale There are twelve notes in the chromatic scale: that’s the largest number a Scale can have. It’s like a musical ‘bypass’ setting: all of the notes entered by the pads will play back at their original pitches, and all notes are available when the encoder is turned.
8.14.2.3. Dorian and Mixolydian Dorian Mixolydian 8.14.2.4. Harmonic Minor and Blues Harmonic Minor Blues Notice that the Blues Scale only contains seven notes.
8.14.2.5. User scale The User Scale is programmable Only you know what the User Scale will be: choose any note in the chromatic scale and any number of notes between 1 and 12. To learn how to create one, see the User Scale [p.98] section of the MIDI Control Center [p.140] chapter. 8.15. Define the User scale You can change the notes assigned to the User scale using the pads or the MIDI Control Center [p.140]. It can have anywhere from 1 to 12 notes per octave.
9. SEQUENCER BASICS 9.1. Play a pattern To start playback of the current Sequencer pattern, press the Play/Pause button. If the selected pattern is empty, read the section about how to load a pattern [p.104]. If the Play button flashes quickly, that means the MiniBrute 2 is not set to Internal sync mode. Press the Stop button and then press the Sync button until the LED next to INT is lit. Then press the Play button again. 9.1.1. Pause the pattern To pause playback temporarily, press the Play/Pause button.
9.1.4. Transposing the pattern Transposition only affects tracks that are set to the Pitch type. The various track types are described here [p.109]. 9.1.4.1. Using the pads You can transpose a pattern during playback by using a combination of the pads. Here's how • Hold pad 16, which is labeled "Transpose". The current transposition value is shown by which pad is lit. • Press one of the pads to define the transposition amount. Transposition of a pattern is relative to the key of C.
9.2. Record a pattern As you proceed through this section, keep in mind the features we covered in the Seq / Arp: shared features [p.83] chapter, such as Playback Direction [p.92], Time Division [p.89], and Scales [p.95]. These features can all be used as you create your patterns. 9.2.1. Basic concepts of recording in real time There's a brief introduction to real-time recording [p.19] in the Quick Start [p.10] chapter.
• You may want to activate the metronome (Shift + Sync) and Instant Change (Shift + Load) • Hold Record and press Play to start the real-time recording process • Play the pads while the pattern being recorded is looping • Warning: Resist the urge to switch banks during the next step! • Hold Load and select the next pattern location • Play some pads • Repeat until you've recorded several patterns, up to all 16 of them. Those new patterns are only being held in RAM temporarily.
9.3. Pattern management 9.3.1. Flash memory vs. RAM The MiniBrute 2S holds 64 patterns, arranged in four banks of 16 patterns each. But it doesn't hold them all in its RAM memory at once: It holds a single bank at a time. This may seem unusual, but it is actually very convenient: You can work on any one of those 16 patterns, then another, then the next one, and then save each one to the Flash memory quickly, one after the other.
9.3.3. Load a pattern There are four banks of 16 patterns from which to choose. !: Loading a pattern from a different Bank will clear the RAM memory, and any unsaved changes will be lost. Be sure you have saved any patterns you don't want to lose! To load a pattern, press and hold the Load button. You can turn the Tempo encoder to select a different bank (A, B, C or D) and then press the corresponding pad button 1-16.
9.3.4. Revert a pattern To revert to the version of a pattern that is stored in the flash memory, hold Shift and press the Save button (which has the word Revert written in blue underneath). There is no pattern selection involved here; the pattern you are currently working on is the one that will be rewritten. ♪: This is the only way to revert an edited pattern to its stored state; pressing Load and attempting to load the current pattern again will not do it. 9.3.5.
9.3.6. Copy a pattern Copying a pattern is possible only from within the current bank, so there is no bank selection involved. The procedure will make a copy of a single pattern and allow you to paste it to another location, even in a different bank. The process is simple: • Hold the Copy button • Press the pad that corresponds to the pattern you want to copy. It can be a different pattern than the one you're editing at the moment.
9.4. Create a Chain The MiniBrute 2S allows you to chain multiple patterns together from within the same bank. It's a quick way to put a song or performance together, drawing from the 16 patterns within the bank you have loaded into RAM. A Chain can be up to 16 patterns long. To get started, follow these steps: • Press and hold the Chain button • Using the pads, select a pattern from the 16 that are available within the bank. It is not possible to create a chain from different banks.
10. SEQUENCE EDITING This is no ordinary sequencer being brought to you in the MiniBrute 2S. Modular systems have long been associated with Step Sequencers, and in recent years they have been tied into computer-based recording systems courtesy of USB/MIDI interfaces. This is wonderful development, and it has garnered an avid, multi-generational fan base.
10.2. Track Type The first two tracks are dedicated to the functions printed on their buttons: Pitch and Gate. That's the heart of most music, and we'll give them proper attention in this chapter. The other two tracks are selected the same way: press their buttons. But then they can be configured in a lot of ways. The configuration begins by choosing the track type. To do this, hold one of the Velo/Mod 1 or Press/Mod 2 buttons and turn the Tempo/Value knob in both directions to view the various track types.
10.2.2. Pitch / Scale For the Pitch track, or when tracks 3 or 4 are in Pitch mode, the CV output is quantized to a scale. The Pitch track, Track 3 and Track 4 each contain a Scale and a Root Note that are saved with the pattern. You can edit the Pitch of a step in Step mode by turning the associated Step encoder. The velocity value will be shown on the display, with values ranging from C0 to C6. To select a scale, hold Shift and press one of the Scale pads (#9-16).
10.2.3. Velo Track 3 or 4 can be set to the Velocity type. When that type is selected the play mode, resolution and sequence length are shared with the Pitch track. The status of the steps (on/off) in step-recording mode are also shared with the Pitch track. The velocity is sent on a 5V range by default. You can set the velocity voltage range using the MIDI Control Center [p.140]. The Velocity value is shown on the display as the Step encoders are turned, with values ranging from 1 to 127. 10.2.3.1.
10.2.5. xV: 1V, 2V, 5V, 8V Track 3 and Track 4 can be set to one of the Voltage types. (Rather than name all four types each time, we'll substitute the variable 'x' in the name: 1V becomes xV, and so does 2V, etc.) When a track type of xV is selected, the output of that track is a constant voltage. You can activate or deactivate the steps using the pads in Step mode. The value that is defined for an active step is held until the next active step.
10.2.7. Envelope When track 3 or track 4 is set to the Envelope type, the CV output is an AD envelope. When a step is active, the envelope is triggered. You are able to set the Decay time using the Step encoders, with values ranging from 1 to 100. The shape of the decay stage is exponential, with a maximum decay time of approximately 10 seconds. 10.2.7.1. Secondary function for Gate: Attack Using Shift and a Step Encoder, you can set the attack time of the AD envelope that has been triggered by the step.
10.3. Track Mute If you'd like to silence the output of one of the tracks, hold the Shift button and press one of the TRACK SELECT buttons. When a track is muted, the LED under its TRACK SELECT button is dark. The muting scheme might seem strange at first, but here's how it works: • The Pitch and Gate tracks are linked, so when one is muted, the other will be muted too. • The Pitch and Gate tracks will be muted when muting tracks 3 or 4, if the track being muted is set to the Velo or Pressure type.
10.6. Editing in Step mode In order to edit the steps a pattern the Sequencer must be in Step mode. You can do Step mode editing while a pattern is playing, but for now it might be easier to press the Stop button. Then if the Record button is not already lit, press it. When it turns red, you'll know the Sequencer is in Step mode. 10.6.1. The pads at a glance In Step mode, a pad that is red indicates a step that contains data. To silence that step, press the pad and it will go dark.
10.6.2. The Step encoders: edit, audition These sixteen encoders will handle most of the editing in Step mode. The Step encoders From Stop mode or Step Record mode: Select the Pitch track and turn one of the Step encoders a single click in either direction. This will trigger the recorded note to help identify the pitch of the selected step. The second click will edit the pitch of that step.
10.6.3. Copy/Paste procedures The Copy button has multiple uses depending on the key combinations. We covered copying [p.106] and pasting [p.106] patterns in the previous chapter; here we will focus on copying and pasting steps within a pattern. Find or create a pattern with some interesting data in the tracks and we'll describe how to make use of the copy/paste functions while you are editing a pattern in Step mode.
10.6.4. Erase functions We covered the method for erasing [p.106] patterns in the previous chapter; here we will focus on erasing steps within a pattern. !: The following procedures are destructive! They show how to erase steps, whole pages of 16 steps, and an entire track. Please save any patterns you do not want to lose.
10.8. Page Edit view You can view steps 1-16, 17-32, 33-48 or 49-64 by pressing one of the four corresponding Page buttons (16, 32, 48, or 64). • The currently edited page will be white • The currently playing page will blink red while in Pause or Play. It will be lit in red when in Stop.
10.9. Lengthen a pattern 10.9.1. Lengthen vs. Extend: What's the difference? When a pattern is lengthened, empty steps are added to the end of the current pattern. When a pattern is extended, a portion of the existing pattern data is copied and attached to the end of the current pattern. ♪: MiniBrute 2S patterns can be lengthened or extended up to the maximum pattern length of 64 steps. 10.9.2.
10.9.3. Extending a sequencer pattern It’s possible to extend a pattern using the Shift button and the Page buttons. This process will copy up to 16 steps of note data and attach it to the end of the current pattern. • Start with a pattern that has only 16 steps (the 16 button is only the Page button that is lit) • Hold Shift and then press the 32 button. This will copy the first 16 steps of the pattern into the next Page, making the pattern 32 steps long.
10.9.4. Viewing different Pages A pattern can be longer than 16 steps (see the next section). When this is the case and the Sequencer is in Step mode, you may see the status of the lit pads change as the pattern crosses over from steps 1-16 to steps 17-32, etc. You can view a particular set of 16 steps (or Page) by selecting that range of the pattern with one of the Page buttons, and as the pattern plays the Page view will not change.
10.9.7. Lengths > 16 steps To make your pattern longer than 16 steps will involve the Last Step button, the Page buttons and the Page LEDs. For example, let’s lengthen a 16-step pattern to 32 steps. First, find a 16-step pattern. The 16 button should be the only one lit in the Page buttons section. Next, exit Page Follow mode by holding Shift and pressing the Last Step button. The button should go dark. Here’s what to do next: • Hold the Last Step button until the end of this example.
10.9.9. Time division Depending on the current setting, this parameter can be a quick way to double the playback rate of your pattern or cut it in half. To set the time division, press and hold the Shift button and then press the pad that corresponds to the timing you want: • Quarter notes (1/4) • Eighth notes (1/8) • Sixteenth notes (1/16) • Thirty-second notes (1/32) The default setting is 1/16. 10.10.
11. ARPEGGIATOR BASICS 11.1. 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.
11.3. Basic operations ♪: The arpeggiator will not run if the Sync [p.87] selection is set to something other than INT and no external clock is present. 11.3.1. Arp/Loop button In order to use the arpeggiator, do these two things: • Make sure the Sync mode is set to INT. If not, press the Sync button until it is selected. • If the On button in the Arp/Loop section is not lit, press it. The arpeggiator will start. • Press at least three pads. You will hear those notes played one after the other.
11.3.4. Set the tempo Use the Tempo/Value knob or the Tap 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 button a few times. With the MIDI Control Center [p.140] you can specify how many taps of the Tap button it takes to adjust the tempo, and also how the tempo will respond when a new pattern is loaded. See the MCC chapter [p.140] for more information.
11.3.6. Hold mode To activate Hold mode, press the Shift button and then press the Arp / Loop button. The On button will flash to indicate that Hold mode is active. When Hold mode is engaged you can lift your fingers off the pads and the arpeggio will keep playing. It will keep running until you play another note, at which point the new note(s) will become a new arpeggio. You may add up to 16 notes to your arpeggio [p.132] as long as you continue to hold down at least one pad.
11.4. Arpeggiator modes (note order) All of the following examples involve holding down only 4 notes on the pads. But you can add up to 16 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.132] section. 11.4.1. Arp mode: Up With the Arp mode [p.126] set to Up the arpeggiator will play the held notes in order from the bottom to the top.
11.4.4. Arp Mode: Exclusive With the Arp mode [p.126] 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 11.4.5. Arp Mode: Random With the Arp mode [p.126] 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 11.4.6.
11.4.7. Arp Mode: Up x2 With the Arp mode [p.126] 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 11.4.8. Arp Mode: Down x2 With the Arp mode [p.126] set to Dn 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.
11.5. Build a multi-octave arpeggio Previously we explained that the Hold function [p.128] allows you to keep the arpeggiator running after you take your fingers off the pads. 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 pad.
11.6. 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) • Activate the Hold function (hold Shift, press the On button) • Play a handful of pads 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.
12. ARP/LOOP FEATURES 12.1. The Looper The Looper allows you to set up a loop inside a pattern, with a start point and an end point that are defined by where your fingers have been placed on the pads. ♪: The Looper is only available in Step mode. Here's how to set up a loop with the Looper feature. • Enter Step mode by pressing the Record button. It will turn red to indicate that the Sequencer is in Step mode. • Press the Arp/Loop On button, as if you were going to enable the Arpeggiator.
After the end of the loop is reached the tracks will play their patterns backward, and play them forward again, and repeat that cycle until a different pad is pressed or no pads are pressed. 12.2. Sequencer tracks and the Arpeggiator The Arp can be used when Record is off, or in Real-Time recording. When the On button is lit, pressing the pads or sending external MIDI notes will play an arpeggio in the selected order, at the resolution defined for the Pitch track.
13. INTRODUCTION: THE MIDI CONTROL CENTER The MIDI Control Center (MCC) is an application that helps you to configure your MiniBrute 2S 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. 13.1. MCC basics 13.1.1.
13.1.4. Connection Connect MiniBrute 2S 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 2S will be in the list of connected devices: A check mark indicates the selected device 13.1.4.1. Potential issues: Windows OS The MIDI driver for the MiniBrute 2S is not "multi-client".
13.1.4.2. Potential issues: macOS If the cable between your Mac and the MiniBrute 2S 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. 138 • 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 2S. It should reappear in the MIDI Studio window. 13.1.5. 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’.
14. MIDI CONTROL CENTER When the MIDI Control Center and MiniBrute 2S are connected, you are able to: • send a set of 64 patterns to the MiniBrute 2S internal memory • use the Store To and Recall From buttons to transmit an entire set of 64 patterns • drag/drop to transfer a bank of 16 patterns from the MCC to the same bank in the MiniBrute 2S • edit the Device Settings • import/export Device settings • perform other MCC functions such as file management and Template creation, among other things.
The Template will be named automatically with a date/time stamp, but you can give it a more descriptive name if you like. 14.2. Device Memories 14.2.1. 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 patterns (i.e., Templates) can be dragged and then transmitted to the MiniBrute 2S internal memory.
14.3. 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 64 patterns that has been recalled from the MiniBrute 2S internal memory. You can create a limitless library of patterns by storing them to your computer in this way. You can also send a Template into the MiniBrute 2S internal memory using the Store To button. See the Store To/Recall From [p.144] section for more instructions about these procedures.
Send a Bank of 16 patterns to MiniBrute 2S Arturia - User Manual MiniBrute 2S - MIDI Control Center 143
14.4. Store To/Recall From 14.4.1. 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 2S. • Select the desired Template as shown below • Click the Store To button. This process will store all 64 patterns from the selected Template into the MiniBrute 2S. 14.4.2.
14.4.3. 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.139] 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 .
14.6. 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. To edit the Fixed Velocity Value, for example, click and drag the knob graphic or double-click in the value field and enter a new value: Editing a knob value Some parameters have a pull-down menu.
14.7. 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. 14.7.1.
14.7.1.2. MIDI Input Channel This parameter defines the MIDI Channel to which the MiniBrute 2S 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. 14.7.1.3. MIDI Thru This parameter will turn the MiniBrute 2S MIDI Output into a MIDI Thru.
14.7.1.9. Pad Poly Aftertouch The MiniBrute 2S pads are pressure-sensitive, and have two ways to put that to use. When this parameter is Off the pad pressure behaves like most MIDI keyboards with Aftertouch: a single set of aftertouch data is sent on the User MIDI channel, and it affects all voices equally. But when this parameter is set to On, each individual pad can transmit its own aftertouch value. This is known as polyphonic aftertouch.
14.7.2.
14.7.2.2. Global Tempo When set to On, the tempo that is stored with each pattern is ignored. When set to Off, the tempo is loaded with the pattern. When set to Paused, if a pattern is loaded the tempo will not change until the sequencer paused or stopped. 14.7.2.3. Sync Clock In/Out settings MiniBrute 2S is endowed with the ability to transmit or receive clocking signals from a huge range of vintage devices.
14.7.2.8. LFO1 Key Retrig The cycle of the LFO 1 waveform will be reset when a note is triggered if this parameter is set to Enable. Otherwise it will run freely, and when a note is played the LFO waveform could be at any point in its cycle. 14.7.2.9. LFO2 Key Retrig Same as above. 14.7.2.10. 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.
14.7.3. Transposition Here’s a quick reference chart for the Transposition settings: Parameter Range/Values Global Transpose Description/Function Disable, Enable Transposition USB Input port MIDI ones are allowed to do so. 1-16, all Specifies the MIDI channel to obey for transposition. Transpose Input channel and/or Transpose Center Full MIDI note Pitch range Patterns can be transposed by external devices.
14.7.4. 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. Parameter Range/Values CV Pitch Mod1 Volts per octave [] CV Pitch Mod2 Hertz per volt [*] [*] V/Oct base note [**] Hz/V base note Full MIDI Description/Function The two standards.
14.7.4.2. V/Oct base note, Hz/V base note (Mod 1, 2) MiniBrute 2S provides the option to set a separate reference note for both Mod 1 and Mod 2. This parameter will change from V/Oct to Hz/V depending on which CV Pitch option is selected for the Mod. 14.7.4.3. Note Priority In the event that more than one note is played on the keyboard at the same time, this parameter determines whether the pitch will be derived from the highest or lowest note played.
14.7.5. Transport settings First a quick summary of the Transport settings, then the chart. 14.7.5.1. Transport Mode This parameter determines whether the controls in the Transport will send/respond to MIDI Continuous Control data (MIDI CC), MIDI Machine Control commands (MMC), or both. 14.7.5.2. Stop/Record/Play You can define the MIDI channel and CC number for each of the three main Transport commands independently.
14.7.6. User Scale To create your own User Scale for the pads, turn each note on or off. For example, if you wanted to set up a whole-tone scale that starts with C, turn off C#, D#, F, G, A and B. That way the encoders will only select C, D, E, F#, G# and A# when they are turned. As with the other Scales, if the User Scale is selected it will dictate which notes will played back by a pattern. See the Scales [p.95] section of the Seq / Arp: shared features [p.83] chapter for more information.
15. SHIFT FUNCTIONS 15.1. Shift function chart Note: Some Shift functions are only available in specific modes.
Combination Result SHIFT + Arp/Loop On [p.161] Arp Hold mode SHIFT + Last Step [p.161] Toggle Page Follow mode SHIFT + Load [p.161] Instant Change on/off SHIFT + Pad 1-4 [p.161] Play mode (FW, Rev, Alt, Rand) SHIFT + Pad 5-8 [p.161] Resolution (1/4, 1/8, 1/16, 1/32) SHIFT + Pad 9-16 [p.161] Scale SHIFT + Pad 16 + Pad 1-12 [p.161] Edit user scale SHIFT + Pad 16 + Tempo Knob [p.161] SHIFT + Page 16 .. 64 [p.162] Last Step + Page [p.162] SHIFT + Play [p.
Combination Result SHIFT + Encoders 1-16 [p.164] Secondary sequence parameter Erase + Pad 1-16 [p.164] (in edit mode) Erase step Copy + Pad 1-16 [p.164] (in edit mode) Copy Steps Paste + Pad 1-16 [p.164] (in edit mode) Paste steps Here’s a list of the button combinations that are available in Pad Playing / Real-Time mode: 160 Combination Result Erase + Pad 1-16 [p.164] Erase a pattern Copy + Pad 1-16 [p.164] Copy a pattern Paste + Pad 1-16 [p.
15.2. Shift function descriptions 15.2.1. All modes 15.2.1.1. SHIFT + Arp/Loop On Activates Hold mode for the Arpeggiator and Looper. The On button will flash when Hold mode is active. 15.2.1.2. SHIFT + Last Step This will activate Page Follow mode, so that when the sequencer is running it will display the page that is currently playing. To deactivate, simply press one of the page buttons (16, 32, 48, or 64). The page you select will be displayed after that. 15.2.1.3.
15.2.1.9. SHIFT + Page 16 .. 64 Sets the length of the current pattern to the end of the selected page (16, 32, 48, o4 64). The selected page button will be lit red. This combination works in any mode. It copies existing content to the new pages when it extends the pattern. This is different from Last Step + Page [p.162], which merely extends the pattern and does not copy/paste data from the original page. 15.2.1.10.
15.2.1.17. SHIFT + Track Select This combination will mute the selected Track: Pitch, Gate, Velo/Mod 1, or Velo/Mod 2. 15.2.1.18. Arp/Loop On + Tempo knob This is how to access the various Arpeggiator modes (Up, Down, Inclusive, etc.). 15.2.1.19. Erase + Tempo knob Change the bank while locating the pattern you want to erase. 15.2.1.20. Load + Tempo knob Change the bank while locating the pattern you want to load. 15.2.1.21.
15.2.1.28. Last Step + Pad Defines the last step of the pattern within the selected Page. 15.2.1.29. Velo/Press + Tempo knob Use this to switch the data modes of Mod 1 and Mod 2 (Pitch, Gate, 1V, Env, Sine, etc. ) 15.2.2. Step Recording mode 15.2.2.1. SHIFT + Encoders 1-16 Access the secondary sequence parameter of the 16 knobs. 15.2.2.2. Erase + Pad 1-16 (in Edit mode) Use this to erase a step within a pattern. The Sequencer must be in edit mode (with the Record button lit red). 15.2.2.3.
16. 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.
