Arturia MatrixBrute USER’S MANUAL

USER MANUAL

Special Thanks

DIRECTION

Frederic Brun Adrien Courdavault

ENGINEERING

Bruno Pillet

Thierry Chatelain

Robert Bocquier

MANUAL

Nick Batzdorf Glen Darcey Sebastien Rochard Morgan Perrier

DESIGN

Glen Darcey

Bruno Pillet

SOUND DESIGN

Boele Gerkes

Ken Flux Pierce

http://www.arturia.com

Information contained in this manual is subject to change without notice and does not represent a commitment on the part of Arturia. The software described in this manual is provided under the terms of a license agreement or non-disclosure agreement. The software license agreement specifies the terms and conditions for its lawful use. No part of this manual may be reproduced or transmitted in any form or by any purpose other than purchaser’s personal use, without the express written permission of ARTURIA S.A.

All other products, logos or company names quoted in this manual are trademarks or registered trademarks of their respective owners.

Product version: 1.1

Revision date: 23 March 2017

Vivien Henry

Nadine Lantheaume

Pierre-Lin Laneyrie

Sebastien Rochard

Daniel Vester

Victor Morello

Richard Devine

Yves Usson

Nicolas Dubois

Benjamin Renard

DesignBox

Frederic Brun

Stéphane Schott

Jean-Baptiste Arthus

Boele Gerkes

Victor Morello

Thierry Chatelain

Jean-Michel Blanchet

Lee Malcolm

Thank you for purchasing the Arturia MatrixBrute!

This manual covers the features and operation of Arturia’s MatrixBrute.

In this package you will find:

• One Matrixbrute analog synthesizer, with a serial number on the bottom. You will need this information in order to register your MatrixBrute online.

• One IEC AC power cord.

Be sure to register your MatrixBrute as soon as possible! There is a sticker on the bottom panel that contains the serial number of your unit. This is required during the online registration process. You may want to record these elsewhere or take a photo of the sticker in case it becomes damaged.

Registering your MatrixBrute provides the following benefits:

• It enables you to download the MatrixBrute user manual and the latest version of the MIDI Control Center software

• It allows you to receive special offers restricted to MatrixBrute owners.

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. DO NOT operate for long periods of time at a high level or at a level that is uncomfortable.

If you encounter any hearing loss or ringing in the ears, you should consult an audiologist.

NOTICE:

Service charges incurred due to a lack of knowledge relating to how a function or feature works (when the product is operating as designed) are not covered by the manufacturer’s warranty, and are therefore the owner's responsibility. Please study this manual carefully and consult your dealer before requesting service.

Precautions include, but are not limited to, the following:

1. Read and understand all the instructions.

2. Always follow the instructions on the instrument.

3. Before cleaning the instrument, always remove the USB cable. When cleaning, use a soft and dry cloth. Do not use gasoline, alcohol, acetone, turpentine or any other organic solutions; do not use a liquid cleaner, spray or cloth that's too wet.

4. Do not use the instrument near water or moisture, such as a bathtub, sink, swimming pool or similar place.

5. Do not place the instrument in an unstable position where it might accidentally fall over.

6. Do not place heavy objects on the instrument. Do not block openings or vents of the instrument; these locations are used for air circulation to prevent the instrument from overheating. Do not place the instrument near a heat vent at any location with poor air circulation.

7. Do not open or insert anything into the instrument that may cause a fire or electrical shock.

8. Do not spill any kind of liquid onto the instrument.

9. Always take the instrument to a qualified service center. You will invalidate your warranty if you open and remove the cover, and improper assembly may cause electrical shock or other malfunctions.

10. Do not use the instrument with thunder and lightning present; otherwise it may cause long distance electrical shock.

11. Do not expose the instrument to hot sunlight.

12. Do not use the instrument when there is a gas leak nearby.

13. Arturia is not responsible for any damage or data loss caused by improper operation of the instrument.

Introduction

Congratulations on your purchase of the Arturia MatrixBrute!

The MatrixBrute is designed to be a supremely powerful, modern analog classic synthesizer.

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 both the Steiner Parker filter and Dr. Bob Moog ladder filter, and our own analog effects section, give you a wealth of tools and amazing sonic character to build your own sounds up.

The center point of the MatrixBrute is the impressive Matrix Modulation, that the name is derived from. This matrix allows you to take control and route modulation sources in a near endless amount of ways. Couple this with the preformance features of the sequencer, arpeggiator, assignable macro knobs and the vast CV connectivity and you have a product the will be the center piece in your studio or stage set up.

We are proud and thrilled to bring you this iconic synthesizer. It is the fusion of the programable analog synthesizer wants and dreams of our entire development team.

Be sure to visit the www.arturia.com website and check for the latest firmware, download the MIDI Control Center and check out the tutorials and FAQs. Get ready to explore synthesis in a whole new way.

Musically yours, The Arturia team

1. Connections ..................................................................................................................................................................... 2

2. Getting Started with MatrixBrute....................................................................................................................... 4

2.1. Auto-Tuning MatrixBrute ................................................................................................................................................... 6

2.2. Understanding Digitally-Controlled Analog ........................................................................................................ 6

2.3. Load a Preset, Play, and Adjust the Output Level .......................................................................................... 7

3. Guided Tour...................................................................................................................................................................... 8

3.1. Subtractive synthesis overview ................................................................................................................................... 8

3.2. Initializing a Preset ............................................................................................................................................................. 9

3.3. Hands On................................................................................................................................................................................ 10

3.3.1. VCO 1 ................................................................................................................................................................................................................................. 10

3.3.2. VCF 1 .................................................................................................................................................................................................................................... 11

3.3.3. ENV 2................................................................................................................................................................................................................................. 12

3.3.4. LFO/Aftertouch/Matrix........................................................................................................................................................................................... 13

3.3.5. Analog Effects Section........................................................................................................................................................................................... 15

4. Operation......................................................................................................................................................................... 16

4.1. Master Controls..................................................................................................................................................................... 16

4.2. Utility Commands ............................................................................................................................................................... 17

4.3. VCOs ........................................................................................................................................................................................... 19

4.3.1. VCOs 1 and 2 ................................................................................................................................................................................................................. 19

4.3.2. Sub oscillator................................................................................................................................................................................................................ 19

4.3.3. Mixable waveforms............................................................................................................................................................................................... 20

4.3.4. VCO 3 - LFO 3............................................................................................................................................................................................................ 20

4.3.5. Noise Generator ......................................................................................................................................................................................................... 21

4.4. Audio Mod................................................................................................................................................................................ 21

4.5. VCO Sync................................................................................................................................................................................. 21

4.6. Voice Mode............................................................................................................................................................................. 22

4.6.1. Monophonic................................................................................................................................................................................................................... 22

4.6.2. Paraphonic ................................................................................................................................................................................................................... 22

4.6.3. Duo Split mode .......................................................................................................................................................................................................... 23

4.7. Wheels...................................................................................................................................................................................... 24

4.8. Keyboard Performance Controls............................................................................................................................ 25

4.8.1. Glide ................................................................................................................................................................................................................................... 25

4.8.2. Play Control.................................................................................................................................................................................................................. 26

4.9. Macro Knobs......................................................................................................................................................................... 27

4.10. Mixer........................................................................................................................................................................................ 28

4.11. LFOs 1 and 2......................................................................................................................................................................... 29

4.12. Filters....................................................................................................................................................................................... 30

4.13. Envelopes .............................................................................................................................................................................. 32

4.14. Analog Effects .................................................................................................................................................................... 34

5. The Matrix...................................................................................................................................................................... 35

5.1. PRESET mode........................................................................................................................................................................ 36

5.1.1. Panel................................................................................................................................................................................................................................... 36

5.1.2. Recalling internal presets..................................................................................................................................................................................... 36

5.1.3. Saving a preset........................................................................................................................................................................................................... 36

5.2. MOD mode............................................................................................................................................................................. 37

5.2.1. Create a modulation path .................................................................................................................................................................................... 37

5.2.2. Setting the modulation amount....................................................................................................................................................................... 37

5.2.3. User assignable destinations........................................................................................................................................................................... 38

5.3. SEQ Mode .............................................................................................................................................................................. 40

5.3.1. Sequencer Mode......................................................................................................................................................................................................... 41

5.3.2. Arpeggiator mode.................................................................................................................................................................................................... 46

5.3.3. Matrix Arpeggiator Mode ..................................................................................................................................................................................... 47

6. MIDI ................................................................................................................................................................................... 48

6.1. MIDI Continuous Controller Assignments.......................................................................................................... 48

6.2. MIDI Control Center settings ..................................................................................................................................... 49

7. Software License Agreement............................................................................................................................ 52

8. Declaration of Conformity................................................................................................................................... 54

1. CONNECTIONS

Back View

Panel Release latch - Push, then use the hinged prop inside the case to set the control panel at the most convenient angle. You can also leave the panel flat.

1. Master Out - 1/4" unbalanced +4dBu stereo line-level outputs, intended to go to an amp and speakers, or to an audio interface or mixer. For mono use the left channel only.

2. Insert Send/Return - +4dBu 1/4" TRS jack for sending the output of the synth (mono) to an external processor and back in. This goes before the Master Out in the signal path. It requires an insert cable, wired: Tip = Send, Ring = Return, Sleeve = Ground.

3. CV Ins/Outs - 3.5mm control voltage outputs and inputs for being controlled/controlling by modular synthesizers. 12 parameters are available (VCA, LFO 1 Amount, Ladder Filter Cutoff, Steiner Filter Cutoff, VCO 2 Metal, Pulse Width, Ultra, Pitch; VCO 1 Metal, Pulse Width, Ultra, Pitch). The CV inputs are tolerant to +/-15V

4. Input - External input. Run external instruments through the MatrixBrute's synthesis engine.

5. Input Type (Inst/Line) - For external instrument, use Instrument level for Hi-Z sources like an electric guitar or bass; use Line level for sources such as another electronic instrument, mixer output. This is an unbalanced input. Line = 68kΩ. Instrument = 1.1MegΩ

6. Gain - Level control for external instrument input, used in conjunction with the Gate (#7). Line Gain = 0 -> 20dB. Instrument Gain = 0 -> 40dB

7. Audio Gate (Off/On) - A gate extractor that allows you to use external audio signals, like a guitar, to trigger the envelope generators. The Gain control (#6) adjusts the level of the instrument relative to this threshold.

8. Gate In/Out - Receives/sends a voltage trigger, usually to/from another analog synthesizer. Use it to trigger the MatrixBrute from another source, such as an analog drum machine.

9. Sync In/Out - This allows you to syncronize the Matrixbrute with devices that support the DIN 24 sync standard.

10. Expression 1, 2; Sustain - Pedal inputs. Expression 1 and 2 are for continuously variable expression pedals (sometimes called volume pedals), Sustain is for a momentary on/off pedal (i.e. a sustain pedal). Some manufacturers reverse the polarity of their pedals; download the MIDI Control Center software from www.arturia.com to correct the polarity of any of them. These pedals are converted to MIDI, so they appear in the MIDI Out datastream. Expression pedal wiring is Tip = pot center tap; Ring = 3.3V; Sleeve = Gnd

11. Memory Protection On/Off - When off, prevents the MatrixBrute's patch Preset and sequencer Pattern memories from being overwritten.

12. MIDI In/Out/Thru - Standard 5-pin DIN jacks. Connect to MIDI interfaces and other equipment.

Arturia - User Manual MatrixBrute - Connections 2

13. USB - USB B jack for connecting MatrixBrute to a Mac or PC (which normally have USB A connections; the cable is often called a "printer cable.") This lets you use Arturia's MIDI Control Center software (available from www.arturia.com), and it also sends/receives MIDI

- no additional MIDI interface is required.

14. Power switch - Turn the instrument on and off.

15. AC jack 100-240Vac, 50-60Hz, 45W

3 Arturia - User Manual MatrixBrute - Connections

2. GETTING STARTED WITH MATRIXBRUTE

With the MatrixBrute on a solid playing surface, push the Panel Release latch and use the hinged prop inside to set the control panel at the most convenient angle (or just leave it flat if that works better). Take care when lifting on the Matrixbrute panel as it could cause the support to fall.

Back View

In order to hear the instrument, connect cables from the Master Out to your amp and speakers. Use the left output for mono, i.e. if you're only using one cable. (You can also just use headphones - the jack is on the left side of the front edge, by the wheels.)



very useful features to a computer environment.

Please use a USB-B to USB-A cable to connect it to a Mac or PC when you first get it.

Arturia - User Manual MatrixBrute - Getting Started with MatrixBrute 4

MIDI CC

Then go to www.arturia.com and download the MIDI Control Center software for Mac and PC. Arturia is constantly improving our instruments, so we ask that you u pdate to the latest firmware (which you do through this program).

MIDI Control Center is a librarian for presets and sequences, and it's used to configure the instrument's MIDI settings.

MIDI: In addition to the keyboard, almost all the knobs and sliders send and respond to MIDI, so you can record and edit them in a DAW. This also makes the instrument useful as a hands-on controller for other instruments. MIDI can go in and out the USB port, the 5-pin DIN ports, both, or neither.

For details about which MIDI Continuous Controllers each fader and knob sends/receives, please see the section on MIDI [p.48].

5 Arturia - User Manual MatrixBrute - Getting Started with MatrixBrute

2.1. Auto-Tuning MatrixBrute

Kbd Track + Panel auto-tunes the instrument. You'll need to do that once in a while, more often before



it warms up.

Part of the beauty of analog synths like the MatrixBrute is that the components in the analog circuits are temperature sensitive, giving them a slightly random character. It also takes a while for the voltage to stabilize when you first turn the synth on; the warmer the temperature, the shorter the time it takes, but you'll still need to auto-tune the instrument from time to time.

Hold down Kbd Track and Panel to initiate the auto-tuning process.

2.2. Understanding Digitally-Controlled Analog

Summary:

some different behavior settings in the MIDI Control Center software, but in the default mode you must sweep the knob past its actual setting to "hook" it.

Unlike early analog synths, MatrixBrute has the advantage of digital control over its analog circuitry. It's the best of both worlds: the warmth and hands-on control of real analog, with the ability to save and recall patches and settings - to say nothing of the Matrix (electronic patchbay), MIDI, and other modern conveniences.

Because of that, the instrument's knobs and sliders aren't actually controlling voltages directly, they are knobs that instruct the digital circuitry how to control the analog voltages. So the positions you see on the panel don't necessarily reflect where they're really set, for example after you load a Preset sound.

The MIDI Control Center software has three modes. In Hook mode you must sweep the knob until it catches its actual position before it has any effect. Jump mode means the voltage jumps to the knob position as soon as you move it; and Scaled mode scales the range of the knob based on the stored value and the physical distance to either extreme.

The Panel button mentioned above will bypass the current preset and give you a sound that is based on the actual positions of the knobs and sliders.

Arturia - User Manual MatrixBrute - Getting Started with MatrixBrute 6

The knobs and sliders don't necessarily reflect the underlying settings. There are

2.3. Load a Preset, Play, and Adjust the Output Level

Press PRESET, and the button will turn purple.

Push a button to load a Patch so you can play the instrument. Adjust the output and/or headphone levels, and fine-tune the pitch.

Be sure the Panel button mentioned above isn't lit, or you won't be listening to the Preset.



MatrixBrute stores 16 banks of 16 Presets (total 256). The banks are rows A - P on the left, Presets within each bank are in columns 1-16. To select, say, patch B3, go two rows down and three columns across; B 03 will appear in the numeric display.

(The Matrix is also used for the 64-step pattern sequencer/arpeggiator, and when you push MOD it becomes the electronic patchbay.)

7 Arturia - User Manual MatrixBrute - Getting Started with MatrixBrute

3. GUIDED TOUR

The following walkthrough will give you a solid foundation for the MatrixBrute. After this you'll have a good understanding of what you're doing when you create and shape sounds.

3.1. Subtractive synthesis overview

MatrixBrute is an analog subtractive synthesizer. Subtractive synthesis starts by generating basic waveforms, and then you remove what you don't want to sculpt the timbre you're after. MatrixBrute can also use external sounds as basic waveforms, and then process them through its engines.

The basic signal flow is simple:

• VCO (voltage-controlled oscillators) [p.19] generate various kinds of waveforms.

• VCF (voltage-controlled filters) [p.30] shape the harmonic content, but they can also self-oscillate to become sound sources.

• An extensive list of modifiers, identified by a charcoal-colored background, move the other parameters around over time in various ways. In some cases, modulators can control other modulators.

Arturia - User Manual MatrixBrute - Guided Tour 8

One of the main features in the MatrixBrute is... its Matrix (hence the name). This is an electronic modulation-routing patchbay, so everything that could be a source can be routed to any and all possible destination parameters. Some modulation sources you move physically, such as the modulation wheel; others can either run freely or lock to the internal sequencer's clock. Or they can lock to MIDI.

Triggers from the 4-octave keyboard and the sequencer/arpeggiator - as well as incoming MIDI notes - could also be considered modifiers when they're doing more than just playing notes.

The final module in the MatrixBrute's audio path is an analog effects section, and the output levels and master tuning are separate from the synthesis engine.

Throughout an analog synthesizer, frequencies are controlled by voltage. MatrixBrute uses 1V per octave, so for example from C3 to C4 is a 1V increase, and from C3 to F#3 is a 0.5V increase.

3.2. Initializing a Preset

To create your own sound from scratch, begin by initializing a preset. This will create a simple sound with no modulation routings that will allow you to quickly build up your sound. To do the initialization: Panel + Preset.

9 Arturia - User Manual MatrixBrute - Guided Tour

3.3. Hands On

MatrixBrute has more than one of every type of module, but it's only necessary to go through one of each for this bird's-eye view. So we'll just use one VCO, one VCF, one LFO, one envelope.

3.3.1. VCO 1

Play the keyboard, and you'll hear a buzzy sound. If you don't, push Preset to toggle to the initialized sound.

Turn VCO 1 up all the way, everything else all the way down in the mixer. These are all the waveforms available for processing, and we're only working with VCO 1.

Keep pressing VCO 1's Filter button until it's only routed to the red one, the Steiner filter. Oscillators must be routed to a filter to be audible.

Now that you're hearing VCO 1 on its own, move the Coarse knob to hear what it sounds like at different pitches.

There are four different waveforms in this VCO - a Sub oscillator that sounds an octave below the other three. Each wave generator has a level knob on the bottom row and an enhancer for it on the top.

Turn all four down, then bring each one in one at a time so you can hear the different waveforms. Try the enhancers to hear their effects on the waveforms.

For now, leave everything at 12 o'clock. It doesn't matter that this isn't a great sound.

Arturia - User Manual MatrixBrute - Guided Tour 10

3.3.2. VCF 1

Now to shape the sound's timbre with VCF 1.

Sweep the Master Cutoff knob while playing. (VCF 1's Cutoff knob has the same effect when you're only listening to one filter; the Master controls both together.)

With the initialized setting, the filter is set to lowpass, meaning it removes high frequencies. Cutoff selects the effect on the timbre of the sound.

Notice that there's no sound when you turn the way down (because you're blocking all the frequencies from passing). You'd think the VCO, the sound waveform generator, would be what turn the sound on and off - and it does - but sounds can also be controlled by opening up a filter.

Bring up the Brute Factor knob, and experiment it, and with Drive. It's not necessary to point out that you're adding some real testosterone to the sound. The Resonance control adds more brightness. You can leave VCF 1 set where it sounds good.

The sound in its present state is just on/off, which is what you want for, say, organ sounds. We'll adjust that next.

corner frequency

, which is where it starts operating. This has a radical

11 Arturia - User Manual MatrixBrute - Guided Tour

3.3.3. ENV 2

Envelopes shape voltage levels over time while you're triggering a note on the keyboard. While it can be routed to additional places in the MOD Matrix (see below), ENV 2 is always hardwired to control the MatrixBrute's VCAs. VCA stands for voltage-controlled amplifiers, which means all the sound sources that appear in the Mixer, i.e. the VCOs and/or any external signals plugged into the back of the instrument.

• Start by raising ENV 2's Attack slider all the way up and down to "catch" the fader's actual position. Play the keyboard while gradually raising it. This has the effect of fading in the note. A quarter of the way seems like a reasonable setting.

• The middle two stages of the envelope, Decay and Sustain, are set to one-sizefits-all settings in the initialized patch we started from. Attack is how long it takes the voltage to fade in to its initial level. From there, Decay sets how long it takes to glide to its Sustain level.

• Now for the Release stage of this 4-stage envelope (Attack/Decay/Sustain/ Release, or ADSR). This sets how fast the note fades out when you release the key. Again, a quarter of the way up might be a reasonable setting.

• Notice how every note plays at the same volume, no matter how hard you play the keyboard? The Velo/VCA fader lets you dial in how responsive the envelope is to keyboard hard you intended to play.

When the slider is all the way down, every note plays at full volume; all the way up, and you have to slam the keyboard to get it to speak up. See whether you like three quarters of the way up.

The MatrixBrute has two other Envelopes. ENV 1 is hardwired to the two filters' Cutoffs. It works the same way, so you can experiment with its effect.

velocity

, which is what electronic keyboards use to determine how

Arturia - User Manual MatrixBrute - Guided Tour 12

3.3.4. LFO/Aftertouch/Matrix

Next, how to route modulation sources in the Matrix, including the LFOs.

Low Frequency Oscillators (LFOs) are periodic waveforms just like VCOs, only they're very low - which by definition means they're very slow. Rather than being used as sound sources, LFOs 1 & 2 are used as modifiers to add movement to other parameters. (However, VCO3 is intended to be used as both a sound source and a modifier.)

Press the MOD button. The Matrix becomes an electronic patchbay.

We're going to route LFO 1 to VCO1's pitch. Depending on the settings, this can create anything from a vibrato effect, to subtle movement, to some really crazy stuff.

Like all modifiers (other than the hardwired envelopes), LFO 1 has to be routed before it does anything. Modulation sources are on the rows on the left of the Matrix, destinations are columns across the top.

LFO 1 is five rows down, VCO 1 Pitch is the first column, so simply push the button where the two intersect. The button lights purple, indicating it's the one that's selected; if you click on another button to select additional modulation routings, it'll turn blue to show it's been assigned.

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