Arturia MINIBRUTE-2 Users Manual
USER MANUAL
Special Thanks
DIRECTION
Frederic Brun Nicolas Dubois Adrien Courdavault Philippe Vivancos
ENGINEERING
Fred’s Lab / Frédéric
Meslin (lead engineer)
Olivier Delhomme
Nadine Lantheaume
MANUAL
Sebastien Rochard Morgan Perrier Florian Marin Randy Lee
DESIGN
Sebastien Rochard DesignBox Sylvain Missemer Morgan Perrier
SOUND DESIGN
Victor Morello Jean-Baptiste Arthus Jean-Michel Blanchet
BETA TESTERS
Chuck Capsis
Terry Mardsen
Marco Correia
Nicolas Dubois
Benjamin Renard
Valentin Lepetit
Pierre-Lin Laneyrie
Adrien Kanter
Jean-Philippe Gross
Ken Flux Pierce
Luc Walrawens
Victor Morello
Bruno Pillet
Thierry Chatelain
Andrew Capon
Gert Braakman
Tom Hall
Yves Usson
Reek Havok
Randy Lee
Simon Gallifet
© ARTURIA SA – 2017 – All rights reserved.
11 Chemin de la Dhuy
38240 Meylan
FRANCE
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: 1.0
Revision date: 15 January 2018
Thank you for purchasing the Arturia MiniBrute 2/2S!
This manual covers the features and operation of Arturia’s MiniBrute 2 or MiniBrute 2S.
In this package you will find:
• One MiniBrute 2 series analog synthesizer, with a serial number on the bottom.
You will need this information in order to register your MiniBrute 2 online.
• One IEC AC power adapter
• One Eurorack cable set
• One preset catalog
Be sure to register your MiniBrute 2 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 MiniBrute 2 series synthesizer provides the following benefits:
• It enables you to download the user manual and the latest version of the MIDI
Control Center software
• It allows you to receive special offers restricted to owners of MiniBrute 2 series
synthesizers.
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 related 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 electrical plug from the outlet
and remove the power cord and USB cable from the unit. When cleaning, use a
soft and dry cloth. Do not use gasoline, alcohol, acetone, turpentine or any other
organic solutions; do not use 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 ventilation to prevent the instrument
from overheating. Do not place the instrument near a heat vent or any place of
poor air circulation.
7. Use only the provided AC adapter, as specified by Arturia.
8. Make sure the line voltage in your location matches the input voltage specified
on the AC power adapter.
9. Do not open and insert anything into the instrument, as this could cause a fire or
electrical shock.
10. Do not spill any kind of liquid onto the instrument.
11. In the event of a malfunction, always take the instrument to a qualified service
center. You will invalidate your warranty if you open and remove the cover, and
improper testing may cause electrical shock or other malfunctions.
12. Do not use the instrument when thunder and lightning is present.
13. Do not expose the instrument to hot sunlight.
14. Do not use the instrument when there is a gas leak nearby.
15. Arturia is not responsible for any damage or data loss caused by improper
operation of the instrument.
16. Arturia recommends the use of shielded cables for audio (less than 3 meters
long), and ferrite equipped CV/Gate cables.
Introduction
Congratulations on your purchase of the Arturia MiniBrute 2!
The MiniBrute 2 is designed to be an exceptionally powerful, modern analog synthesizer
with a classic flair.
The roots of this product stem from the greatest synthesizers of all time, all enhanced with
Arturia’s own modern touch and character. The now famous ‘Brute’ style oscillators, paired
with the classic sounds of the Steiner-Parker filter, give you a wealth of tools and amazing
sonic character with which to build your own sounds.
There are many great features, both old and new, in the MiniBrute 2 series synths. But the
pièce de résistance
patch bay. This physical matrix allows you to route modulation sources in a nearly endless
number of ways, both within the MiniBrute 2 and with external devices.
Couple these features with the sheer musicality of the sequencer and arpeggiator and you
have an instrument that will become a powerful asset in your creative endeavors, be they
on stage or in the studio.
We are excited to bring you this powerful and affordable synthesizer. It is the culmination
of many years of research, and is the perfect combination of our passion for the world of
synthesizers and our deep appreciation for the the world of music they help to create.
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. You are about to experience
a synthesizer of an entirely different breed.
Musically yours, The Arturia team
of the MiniBrute 2 might be the inclusion of a very flexible 48-point
Table Of Contents
1. Introduction...................................................................................................................................................................... 6
2. Installation....................................................................................................................................................................... 6
2.1. Usage Precautions................................................................................................................................................................ 6
2.2. WARNING .................................................................................................................................................................................. 6
2.3. Register your Instrument................................................................................................................................................ 6
2.4. Connecting the MiniBrute 2 to the World.............................................................................................................. 7
2.5. Warm-Up and General Tuning .................................................................................................................................... 9
3. Quick start...................................................................................................................................................................... 10
3.1. Create your first sound: the “basic patch” ......................................................................................................... 10
3.2. Add some vibrato................................................................................................................................................................ 11
3.3. Add a second oscillator................................................................................................................................................... 11
3.4. Introduction to envelopes............................................................................................................................................. 12
3.5. Get to know an LFO.......................................................................................................................................................... 14
3.6. The Sequencer and Arpeggiator .............................................................................................................................. 15
4. Hardware overview.................................................................................................................................................. 17
4.1. Main features .......................................................................................................................................................................... 17
4.2. The Control section............................................................................................................................................................ 18
4.3. Inputs and outputs .......................................................................................................................................................... 20
4.4. Top panel................................................................................................................................................................................ 20
4.5. The rear panel ...................................................................................................................................................................... 21
5. The top panel ............................................................................................................................................................... 22
5.1. The LFOs .................................................................................................................................................................................. 22
5.2. VCO 1.......................................................................................................................................................................................... 25
5.3. VCO 2 ........................................................................................................................................................................................ 28
5.4. The Filter section............................................................................................................................................................... 30
5.5. The Amplifier section (AMP)....................................................................................................................................... 34
5.6. The Osc Mixer ...................................................................................................................................................................... 36
5.7. Legato vs. Retrigger note response ...................................................................................................................... 40
5.8. The Patch bay section................................................................................................................................................... 40
5.9. Secondary Shift functions .......................................................................................................................................... 40
6. Basics of synthesis ................................................................................................................................................... 41
6.1. Analog synthesizer architecture................................................................................................................................ 41
7. The Patch bay............................................................................................................................................................. 53
7.1. General concepts ................................................................................................................................................................ 53
7.2. The VCO 1 section .............................................................................................................................................................. 58
7.3. The VCO 2 section............................................................................................................................................................. 63
7.4. The EXT IN section ............................................................................................................................................................ 64
7.5. The FILTER jacks................................................................................................................................................................ 65
7.6. The AMP section ................................................................................................................................................................. 66
7.7. The INVERTER section..................................................................................................................................................... 66
7.8. The ADSR section............................................................................................................................................................... 67
7.9. The AD section ..................................................................................................................................................................... 68
7.10. The LFO 1&2 section....................................................................................................................................................... 69
7.11. The VCA section ................................................................................................................................................................. 70
7.12. The ATTENUATORS section........................................................................................................................................... 71
7.13. The Sequencer section .................................................................................................................................................. 73
7.14. The MIDI section ............................................................................................................................................................... 76
8. Seq / Arp: shared features.................................................................................................................................. 78
8.1. Mode selection....................................................................................................................................................................... 78
8.2. Timing controls..................................................................................................................................................................... 79
8.3. Transport section.............................................................................................................................................................. 80
8.4. Playback functions............................................................................................................................................................ 81
8.5. Skip selections: Seq / Arp............................................................................................................................................. 84
8.6. Skip selections: Time Division.................................................................................................................................... 84
8.7. Restart Seq / Arp from beginning........................................................................................................................... 84
8.8. Synchronization.................................................................................................................................................................. 85
9. The Sequencer ............................................................................................................................................................ 87
9.1. Basic Operation .................................................................................................................................................................... 87
9.2. Transpose / Kbd Play ..................................................................................................................................................... 88
9.3. Creating a sequence ....................................................................................................................................................... 89
9.4. Modifying a sequence.................................................................................................................................................... 95
9.5. Saving sequences ............................................................................................................................................................. 96
10. The Arpeggiator....................................................................................................................................................... 97
10.1. What’s an arpeggiator? .............................................................................................................................................. 97
10.2. Arpeggiator features .................................................................................................................................................... 97
10.3. Basic operations.............................................................................................................................................................. 98
10.4. Arpeggiator modes.................................................................................................................................................... 100
10.5. Build a multi-octave arpeggio ............................................................................................................................. 103
10.6. Pausing an arpeggio .................................................................................................................................................. 104
11. Introduction: the MIDI Control Center..................................................................................................... 105
11.1. MCC basics.......................................................................................................................................................................... 105
12. MIDI Control Center............................................................................................................................................ 109
12.1. Template Browser ......................................................................................................................................................... 109
12.2. Device Memories............................................................................................................................................................. 110
12.3. Local Templates................................................................................................................................................................. 111
12.4. Store To/Recall From.................................................................................................................................................... 112
12.5. Import/Export Device Settings............................................................................................................................... 113
12.6. Data entry............................................................................................................................................................................ 114
12.7. Device Settings ................................................................................................................................................................. 115
13. Shift functions.......................................................................................................................................................... 123
13.1. SHIFT + Keys 1-5.............................................................................................................................................................. 123
13.2. SHIFT + Keys 6-16 .......................................................................................................................................................... 123
13.3. SHIFT + Key 17.................................................................................................................................................................. 123
13.4. SHIFT + Keys 18-19......................................................................................................................................................... 124
13.5. SHIFT + Oct down (Seq mode only).................................................................................................................. 124
13.6. SHIFT + Oct up (Seq mode only)......................................................................................................................... 124
13.7. SHIFT + Play ...................................................................................................................................................................... 124
13.8. SHIFT + Rec (Seq mode only)................................................................................................................................ 124
13.9. SHIFT + Seq encoder................................................................................................................................................... 124
13.10. SHIFT + Stop (Seq mode only) ........................................................................................................................... 124
13.11. SHIFT + Sync.................................................................................................................................................................... 124
13.12. SHIFT + Tap / Rest (Arp mode only)................................................................................................................ 124
13.13. SHIFT + Time Div encoder...................................................................................................................................... 125
14. Declaration of Conformity............................................................................................................................... 126
1. INTRODUCTION
Congratulations, and thank you for your purchase of the Arturia MiniBrute 2 analog
synthesizer. You now own what many players feel is the best sounding, most versatile, and
most powerful analog synthesizer in its class.
The MiniBrute series of synthesizers is the culmination of a lengthy (and very enjoyable!)
collaboration between Arturia's engineers and analog synthesizer "guru" Yves Usson.
Since the late 1990s, the French company Arturia has received acclaim from players
and reviewers alike for designing state-of-the art software emulations of the venerable
synthesizers from the 1960s to the 1980s. From the Modular V, back in 2004, to Origin, a
modular system they introduced in 2010; from Analog Factory Experience, the first hybrid
synthesizer ever (debuted in 2008), to the Synclavier V (2016) and the Buchla Easel V (2017),
their passion for synthesizers and sonic purity has given demanding musicians the best
software instruments for professional audio production.
After recreating so many legendary analog synthesizers by translating "golden" versions of
these classic instruments into sophisticated DSP algorithms, the time was right for Arturia
to introduce an analog synth of its own. But reproducing analog circuitry is not the same
as designing great-sounding analog circuits, so we enlisted the aid of Yves Usson — an
extremely talented analog circuit designer and synthesizer enthusiast whose work spans
three decades.
Besides being a talented researcher in bio-molecular microscopy, his clones of the modules
originally designed by Dr. Robert Moog, as well as ARP or EMS and his own designs,
are highly renowned in the "modular" world and continuously produced under license by
specialty manufacturers.
What’s more, he’s always willing to share his considerable experience and pass along his
knowledge to others. All his schematics stay open to the Synthesizer-Do-It-Yourself (SDIY)
community; most of his works can be found on the Yusynth ongoing project website, and
he casts a long, and welcome, shadow on the major Internet forums devoted to analog
fanatics.
Yves Usson and a couple of wired friends
Combining Arturia’s acclaimed
and Yves’ deep knowledge and experience, the MiniBrute 2 analog synthesizer has its roots
in the 1970s yet incorporates the best of the 21st century.
savoir-faire
in designing innovative musical instruments,
Arturia - User Manual MiniBrute 2 - Introduction 3
The Arturia MiniBrute 2 analog synthesizer
We built the MiniBrute 2 with four goals: peerless analog sound, intuitive operation,
affordability — and no compromises, whether with parts, design, or connectivity.
From the smallest capacitor to the potentiometers and the casing, we cherry-picked the very
best suppliers, subjected every component to exhaustive testing, and fine-tuned the design
for the best possible player experience.
Furthermore, we decided to bring back the fun of creating your own sounds, and controlling
them on stage or in the studio. There are no presets: All of the sound-shaping is at your
fingertips. This design philosophy also meant we could use true analog oscillators, not digital
ones, to provide the purity of sound that is the hallmark of analog synthesis.
But we also wanted you to be able to mangle that sonic purity the way the "big boys" can
(you know, those hulking modular synthesizers with patch cables running every which way).
So in addition to the powerful voice architecture the MiniBrute 2 provides a 48-point patch
bay, which allows you to bypass any pre-conceived notions regarding the signal path. Now
you can bring in control signals and audio from the outside world and patch them into the
MiniBrute 2 circuitry. This open-ended approach to sound design will open sonic doors you
never knew were there. We think it will even make the "big boys" come knocking at the door,
wanting to join the fun!
And yet for all its flexibility, the focus of MiniBrute 2 is on music, creativity, and the
experience of playing an instrument that is fun, physical, inspiring, and satisfying. What’s
more, with its compact size, MiniBrute 2 is ideal for the mobile and desktop musician. Not
only will it give you solid basses, amazing effects, and screaming lead lines, but it will give
you sounds no other synth on this planet can make.
As everyone knows, analog synthesizers are expensive to produce. But what’s the point in
making a synth for everyone, if no one could afford it? So, we made a bet it would be a hit,
and geared up to produce MiniBrute 2 in volume — allowing us to obtain quantity pricing on
parts, and translate the techniques of a craftsman to industrial manufacturing. The result is
analog synthesis without compromise.
MiniBrute 2 is truly a musical instrument. We loved designing it, building it, and now, playing
it. We hope you will share our enthusiasm, and find inspiration in its sounds.
Here’s an overview of the features at your disposal:
4 Arturia - User Manual MiniBrute 2 - Introduction
• 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 routings
• Two envelopes: ADSR (filter) and AD (amplitude)
• Loopable AD envelope
• Two multi-waveform LFOs with free-run or sync modes
• Brute Factor: overdrive the filter input with the audio output
• External audio can be routed through the Oscillator mixer or directly to the output
• Sequencer and arpeggiator, syncable to external clock: MIDI, USB, or CLK (1 step,
1 pulse, 24/48 ppq)
• MIDI input and output connectors
• USB port for use with a DAW
• Audio and headphone outputs
• Use with Arturia's MIDI Control Center for device configuration and sequence
archival
But that’s enough talk — plug in your new analog friend, and start shaking the walls!
Arturia - User Manual MiniBrute 2 - Introduction 5
2. INSTALLATION
2.1. Usage Precautions
The MiniBrute 2 uses an external power adapter. Do not use any power supply or adapter
other than the one provided by Arturia. Arturia accepts no responsibility for damage caused
by use of an unauthorized power supply.
2.2. WARNING
Do not place this product in a place or position where one might walk on, trip over, or roll
anything over power cords or connecting cables.
The use of an extension cord is not recommended. However if you must use one, make sure
that the cord has the ability to handle the maximum current needed by this product. Please
consult a local electrician for more information on your power requirements.
This product should be used only with the components supplied or recommended by Arturia.
When used with any components, please observe all safety markings and instructions that
accompany the accessory products.
2.3. Register your Instrument
Registering your instrument establishes your legal ownership, which entitles you to access
the Arturia Technical Support service, and be informed of updates.
Additionally, you can subscribe to the Arturia newsletter to be informed of Arturia-related
news as well as promotional offers.
Connect to your Arturia account via this URL:
https://www.arturia.com/login
Go to the section “
its serial number, as printed on the sticker located under the machine:
My Registered Products
”, and add the MiniBrute 2 synthesizer by entering
6 Arturia - User Manual MiniBrute 2 - Installation
2.4. Connecting the MiniBrute 2 to the World
Always power-off all audio gear before making any audio connections. Failing to do so may
damage your speakers, the MiniBrute 2 synthesizer, or other audio equipment.
After completing all connections, set all levels to 0. Power on the various devices, with audio
amplifier or monitoring system
Here is an overview of the MiniBrute 2 synthesizer’s connectors:
Purpose Connector type
Audio output 6.35 mm (1/4'') mono jack (470 Ω impedance / line level)
Headphones
Patch bay (most jacks)
Patch bay (sync & clock
jacks)
MIDI input & output Standard MIDI DIN-5
USB Standard USB type B
Power DC input Internal 2.1 mm, external 5.5 mm
last,
then raise the volumes to a comfortable listening level.
6.35 mm (1/4'') TRS jack (signal is mono)
2Ω impedance (185mW @ 250Ω / 60mW @ 80Ω / 24mW @ 32Ω)
3.5 mm (1/8'') miniature mono jacks
CV in puts: Eurorack level signals, 100kΩ, +/-5Vx (Exception: Pitch CV inputs are
6.8MΩ impedance)
CV outputs: Eurorack level signals, 680Ω, +/-5V
Clocks / Gates inputs: Eurorack level signals, 68kΩ, 0V/+5V
Clocks / Gates outputs: Eurorack level signals, 2kR, 0V/+5V
3.5 mm (1/8'') miniature TRS jacks
Clock inputs: Eurorack level signals, 68kΩ, 0V/+5V
Clock outputs: Eurorack level signals, 2kR, 0V/+5V
Arturia - User Manual MiniBrute 2 - Installation 7
2.4.1. The rear panel connectors
The MiniBrute 2 rear panel
2.4.2. Patch Bay
MiniBrute 2 patch bay, modular synth, and external audio sources
This is only one example of the connections that can be made between the MiniBrute 2 and
external devices. The possibilities are as endless as your imagination!
8 Arturia - User Manual MiniBrute 2 - Installation
2.5. Warm-Up and General Tuning
As with all other true analog synthesizers, after being powered-on the MiniBrute 2 needs
a warm-up period of approximately five to ten minutes. This allows it to reach a stable
operating temperature, which ensures accurate oscillator pitch. Warm-up time depends on
the external temperature; a colder environment will require longer warm-up times, while a
hotter environment will result in shorter times. Humidity levels also can affect the length of
the warm-up period.
Once the synthesizer has reached its running temperature, tune it to pitch. Use an external
tuner to check the instrument’s tuning; if needed, adjust the Global Tune knob to tune the
MiniBrute 2 to the desired pitch.
The MiniBrute 2 has been designed for rock-solid pitch stability when operated in normal
temperature and humidity conditions, at external temperatures between 20°C and 32°C in
temperate areas. In practice, the MiniBrute 2 provides satisfactory operation over a much
wider temperature range, although extreme external temperatures or fluctuations can lead
to longer stabilization time or erratic tuning.
Arturia - User Manual MiniBrute 2 - Installation 9
3. QUICK START
This chapter provides the basics you’ll need to create your very first sounds with the
MiniBrute 2, so you can start enjoying its rich, full sounds immediately. In subsequent
chapters, we’ll get deeper into the sound design process so you can create more animated
and complex sounds.
3.1. Create your first sound: the “basic patch”
Once your MiniBrute 2 has been correctly connected to your sound system, set all the
controls to their minimum level: - counter-clockwise for the knobs - lowest position for sliders
- center position (12 o'clock) for controls with – and + (FM 1 and RM) - center position for all
three Tune controls - center position for the Master Volume knob
Switch on your MiniBrute 2, and as you let it warm up [p.9], set the following parameters to
the recommended values:
• Set the LFO 1 and LFO 2 Sync switches to the Free position
• Set the LFO 1 and LFO 2 Rate controls to the center position
• Set the VCO 2 Wave [p.22] and Range [p.29] switches to their "up" positions (Sine
wave and Fine)
• Set the FILTER section’s Mode knob to LP
• Set the AD ENVELOPE switches to the Gate [p.39] and Once [p.39] positions
• Set the OSC MIXER section’s square wave slider to maximum
• Turn the FILTER section’s Cutoff knob fully clockwise
• Set the Control section’s Mod Source [p.19] switch to Wheel
• Set the Control section’s Mod Dest [p.20] switch to LFO 1 Vib
• Set the Sync setting to Int
• Set the Modulation Wheel to minimum
♪: No cables should be connected to the patch bay yet.
These settings give us a unified starting point for the following examples. Here’s a visual
representation of the patch:
The (basic) patch
Now, press a key; you should hear your very first MiniBrute 2 sound!
That's a fat square wave... but it sounds a bit static, doesn't it? We’ll improve this in the Basics
of Synthesis [p.41] chapter. But if you simply want to play the keyboard for a moment, you
can use the Down or Up Octave [p.19] buttons to transpose the notes to the range you prefer.
10 Arturia - User Manual MiniBrute 2 - Quick start
♪: Once the MiniBrute 2 has warmed up, you can adjust the master tuning [p.9] as described in the
previous chapter.
3.2. Add some vibrato
Press and hold a key on the keyboard, and slowly raise the Modulation Wheel — this will
add some vibrato to the sound.
• Return the Modulation Wheel to minimum position.
• Set the Control section’s Mod Source [p.19] switch to the AT position.
Now play the keyboard and when a key is down, press down on it further. This "pressure
sensitivity" is called Aftertouch (AT). And like the Modulation Wheel, it can introduce vibrato
to the note you’re holding. This is a great way to add expressiveness to your playing.
3.3. Add a second oscillator
Press the Up Octave button to put the keyboard into the +2 Octave range. Now press and
hold a key on the keyboard 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. VCO 2 has become a sub-oscillator, which beefs up your sound
by adding more bass.
Here’s an overview of the patch:
VCO 2 is being used as a sub-oscillator
Arturia - User Manual MiniBrute 2 - Quick start 11
3.4. Introduction to envelopes
MiniBrute 2 has two inde pendent envelopes: the AD and the ADSR. The AD ENVELOPE
controls the amplitude of the sound, while the ADSR ENVELOPE is dedicated to the Filter; it
affects the harmonic content of the sound.
3.4.1. The AD envelope
The sound’s amplification envelope determines how the level changes over time when you
play a note. Up to this point in the chapter the note has only played while you were holding
the key, which results in an “electronic organ” sound that has no dynamics. By changing the
AD ENVELOPE parameters (Attack, Decay) we can control how the sound fades in and fades
out.
Raise the AD ENVELOPE section’s Attack slider to its middle position, then press a key. Now
the sound rises slowly to the maximum level. As soon as you release the key, the sound
stops abruptly. Raise the Decay slider, and the sound will fade out to its minimum level when
you release a key.
There are two switches inside the AD ENVELOPE section (Gate/Trig and Once/Loop [p.39]).
Their functions are somewhat more complex and will be described in the Top Panel [p.22]
chapter.
12 Arturia - User Manual MiniBrute 2 - Quick start
3.4.2. The ADSR envelope
This envelope controls the Filter, and it has more sliders than the AD envelope. The ADSR
envelope is slightly more complex to use, so we will describe the basic concepts here and
cover them more thoroughly in the Basics of Synthesis [p.50] chapter.
Pressing down a key or sending a gate signal provides an evolving modulation signal with
up to four different stages:
• The attack stage determines how long it takes for the envelope to go from zero
to its maximum level. The attack time can be as short as 0.5ms or as long as 4
seconds.
• The decay stage begins when the attack stage reaches its maximum value, and
determines the time it takes to decrease from this maximum value down to a
steady level (set by the sustain parameter; see next). The speed of this decay can
vary from 0.5ms to 4 seconds.
• The sustain stage starts at the end of the decay phase, and remains at the
sustain value long as a keyboard key is held down or a gate signal remains full
on. The sustain level is variable between zero (no sustain) and the envelope’s
maximum value.
• Finally, the release stage starts u pon releasing the key, and sets the amount of
time for the level to decrease from the sustain level down to zero. The release
time can be as quick as 0.5ms and as long 4 seconds.
Examples of the ADSR envelope
Arturia - User Manual MiniBrute 2 - Quick start 13
3.5. Get to know an LFO
An LFO can do much more than add vibrato [p.11] to the sound. For example, it can be used
to modulate the harmonic content also. We will use the patch bay to illustrate this point.
• Set all sliders to minimum
• Set the square wave slider in the OSC MIXER section to maximum
• In the FILTER section, set the Cutoff and Resonance knobs to their middle points
(12:00)
• Set the FILTER section FM knob to the 12:00 position
• Also in the FILTER section, set the Mode knob to BP (band pass)
• Set the LFO1 Wave knob to Sine and its Rate to the 12:00 position
• Locate the LFO1&2 section in the patch bay
• Connect a patch cable to the Out 1 jack in the LFO1&2 section
• Locate the FILTER section in the patch bay
• Connect the other end of the patch cable to the Cutoff jack in the FILTER section
It's important that everything is set up properly, so here's how the patch should look:
LFO 1 modulating the filter cutoff via the patch bay
Play a note. You should immediately hear timbre sweeps, a bit like a didgeridoo, at the
rate indicated by the red LED in the LFO 1 section. Tweak the Rate knob to slow down or
accelerate this wah-wah effect, and play with the filter's Resonance to accentuate it.
You also might want to try the various LFO waveforms, which we'll describe in the LFO
section [p.22] of the Top Panel [p.22] chapter.
We have barely scratched the surface! Thanks to the patch bay, an LFO can add a cyclical
variation to almost any aspect of the MiniBrute 2 sound. To learn more, read the Patch Bay
[p.53] chapter.
14 Arturia - User Manual MiniBrute 2 - Quick start
3.6. The Sequencer and Arpeggiator
As if you weren't having enough fun already, let's take a quick look at the Sequencer/
Arpeggiator section. To learn more about their features, we recommend starting with the
introductory chapter [p.78].
♪: Before you proceed, play a note to make sure you have sound. If not, raise the level on one of the
waveform sliders in the OSC MIXER section. If that doesn't help, you may want to revisit the Basic Patch
[p.10] section of the manual.
3.6.1. The Sync button
Before you can make music with the Sequencer or the Arpeggiator it is important to have
the Sync button set to Int (Internal). Look at the right side of the MiniBrute 2 for a large
button that says "Sync" right in the middle.
The Sync button
The four LEDs to the right of that button indicate the clock source for all of the timebased features of the MiniBrute 2: the LFOs, the Sequencer, and the Arpeggiator. Push the
Sync button re peatedly until the LED next to the letters "INT" is lit. This means you have
selected the Internal clock and will be able to work with the Sequencer and the Arpeggiator
immediately.
Arturia - User Manual MiniBrute 2 - Quick start 15
3.6.2. The Mode switch
There's a switch above the lowest "E" on the keyboard labeled "Mode". It is used to toggle
between the Sequencer and Arpeggiator modes. Set that to Arp to select the Arpeggiator.
3.6.2.1. Arpeggiator
With the Mode switch set to Arp, adjust the following settings:
• Set the Seq / Arp Mode knob to 1 / Up
• Set the Time Div knob to 1/8
• Set the Rate knob to the center position (12:00)
• If you haven't already done it, press the large Sync button until the INT LED is lit.
Now press the Play button and hold down at least 3 notes. You should hear those three notes
repeated in order from lowest to highest. If nothing happens, check the setting of the Sync
button again.
3.6.2.2. Sequencer
The MiniBrute 2 has eight sequences available and you can record your own sequences into
them. But there may be something there already that you could use as a starting point later,
so first we'll audition the existing sequences. We'll learn how to record them after we find
an empty one.
With the Mode switch set to Seq, adjust the following settings:
• Set the Seq / Arp Mode knob to 1 / Up
• Set the Time Div knob to 1/8
• Set the Rate knob to the center position (12:00)
• If you haven't already done it, press the large Sync button until the INT LED is lit.
Now press the Play button. If the sequence is silent, skip to the next section. If it is not silent,
change the Seq / Arp Mode knob to 2 / Dwn; the next time the sequencer loops it will start
playing sequence #2. Keep changing the sequence number until you've gone through all 8
sequences.
3.6.2.3. Record a sequence
If you've found an empty sequence, or at least a sequence you don't want to keep, let's
make a quick real-time recording.
• 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.
• Press the Record button: it will become red
• Press the Play button: it will become green and you should hear the metronome.
When you're ready, play some notes. The default length of a sequence is 2 bars, so the
sequencer will loop around after that and replace the first set of notes with new ones.
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.
We'll learn how to change the length of a sequence, erase unwanted notes from the end of
a sequence, and use step-time recording in the Sequencer [p.87] chapter.
16 Arturia - User Manual MiniBrute 2 - Quick start
4. HARDWARE OVERVIEW
4.1. Main features
The MiniBrute 2 provides a two-octave, piano-type keyboard. Besides offering a way to play
notes, this keyboard provides additional controls for adding expressiveness:
• Aftertouch generates a signal that corresponds to how hard you press on a key
after it’s down. You can use this signal to modulate vibrato, filter cutoff, and other
parameters.
• Velocity corresponds to the dynamics of your playing, and similarly to
aftertouch, can modulate multiple parameters.
• Transposition allows shifting the keyboard’s note range over six octaves.
• The pitch bend wheel allows adding real-time pitch changes, like bending strings
on a guitar.
• The modulation wheel allows applying real-time modulation changes to various
parameters. For example, it could add vibrato, or change the filter cutoff as you
move it.
• An arpeggiator automates the creation of repeating sequences of notes.
• The sequencer allows you to trigger musical passages you have created, such
as melodies, bass lines, or percussive riffs.
Alternative ways of playing the synthesizer are available through MIDI control and external
CV/GATE signals.
Arturia - User Manual MiniBrute 2 - Hardware overview 17
4.2. The Control section
4.2.1. Keyboard
The MiniBrute 2 keyboard covers a two-octave range, which can be extended using the
Octave Down/Up buttons. The keyboard also provides aftertouch and velocity control, and
can also be used as fully polyphonic MIDI controller for other devices via the USB and MIDI
out connectors on the rear panel.
4.2.2. Wheels
The MiniBrute 2 features the two classic control wheels: Pitch and Modulation.
4.2.2.1. Pitch wheel
The Pitch wheel position defaults to the middle of its range, and returns to its default position
when released. This wheel creates a pitch bend effect, where the player can shift pitch
smoothly up or down while playing a note. The amount of shift is proportional to the rotation
of the wheel, with its full range adjustable between +/- one semitone to +/- one octave by
the Bend Range knob.
4.2.2.2. Modulation wheel
The second wheel is the Modulation wheel (Mod wheel, for short). It is pre-wired to control
the cutoff frequency of the filter in the amount set by the Att 1 -> Cutoff knob. (You will not
hear this if the Att 1 -> Cutoff knob is set to zero, or if the filter cutoff frequency is too high.)
The Mod wheel also sets the overall amount of modulation signal sent to targets selected by
the Mod Dest switch. Depending on the switch setting, it does one of the following things:
• LFO 1 Vib: The Mod wheel controls the amount of LFO 1, which by default will
introduce vibrato.
• Mod CV: The Mod wheel becomes a modulation source in the patch bay via the
Mod jack in the MIDI section.
18 Arturia - User Manual MiniBrute 2 - Hardware overview
4.2.3. Octave
The Octave section transposes the MiniBrute 2 keyboard over a wide pitch range. There are five colored LEDs and each one represents a different amount of octave shift. Only one is lit at a time: red = -2, orange = -1, green = 0 (center), orange = +1, red = +2. At the center range (green) the leftmost C key corresponds to C2 (130.81Hz) and the rightmost C key corresponds to C4 (523.25Hz).
For example, pressing the Down button once shifts the keyboard down by one octave and
the leftmost C is now C1 and the rightmost is C3. Pressing the Down button a second time
shifts the keyboard down by one more octave.
To shift the keyboard up by one octave press the Up button. To shift it back to center
immediately, press the Up and Down buttons at the same time.
Using a combination of the Down and Up buttons and the keyboard, the MiniBrute 2 can play
notes from C0 (32.7Hz) to C6 (2093Hz). The Pitch wheel can extend the frequency range
even further.
♪: When you change the octave with Down/Up buttons, transposition occurs only after a key has
been pressed.
4.2.4. The Shift button
The Shift button is circled in blue to draw attention to the blue letters that are silkscreened in
various areas of the Control section: for example, look under the Octave buttons, across the
top of the keyboard, and under the Transport section buttons.
When the Shift button is held and the corresponding button or key is pressed, secondary
functions are activated or toggled. For example, the Sequencer/Arpeggiator Swing setting
can be changed to 59% by holding the Shift button and pressing the lowest A on the
keyboard.
For a complete description of the secondary Shift features, see the Shift functions [p.123]
chapter.
♪: The Shift button is not related to the blue letters silkscreened under the synthesizer knobs or inside
the patch bay.
4.2.5. Bend Range
This knob sets the range of the Pitch Bend wheel. At its minimum setting the pitch bend
range will be +/- 1 semitone, and at its maximum setting the pitch bend range will be +/- 12
semitones (+/- 1 octave).
4.2.6. Mod Source
This switch determines which hardware control will be defined as the Mod source: the Mod
wheel or Aftertouch. By default this signal appears at two locations: the Att 1 -> Cutoff knob
and the Press / Mod output jack in the MIDI section of the patch bay.
The modulation signal is also routed by the Mod Dest switch (see the next section).
Arturia - User Manual MiniBrute 2 - Hardware overview 19
4.2.7. Mod Dest
Depending on the switch setting, the Mod Source signal is routed to one of the following
destinations:
• LFO 1 Vib: The Mod Source controls the amount of LFO 1, which by default will
introduce vibrato.
• Mod CV: The Mod Source is routed to the Press / Mod jack in the MIDI section of
the patch bay.
♪: The Mod Source signal is always present at the Att 1 -> Cutoff knob in the Filter section. If you want
to defeat this modulation routing, set the Att 1 -> Cutoff knob to zero.
4.3. Inputs and outputs
In order to hear the MiniBrute 2, 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 2 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.
The means to control other instruments, or be controlled by other instruments, is provided
by the collection of inputs and outputs such as USB/MIDI in and out, an external audio input,
and the input and output connectors on the patch bay.
♪: It is necessary to use a pre-amplifier to raise the level of an audio source to match the line-level
inputs of the Ext In section in the patch bay.
4.4. Top panel
The top panel of the MiniBrute 2
This is where all of the synthesizing takes place. There are so many powerful features
located here that the top panel [p.22] has its own chapter. The Patch bay [p.8] has its own
chapter too.
20 Arturia - User Manual MiniBrute 2 - Hardware overview
4.5. The rear panel
There are several types of connectors on the rear panel. When viewed left to right:
4.5.1. Kensington lock
The small hole over the product name is a security feature called a Kensington lock. We want to be sure that your creativity takes flight only when you want it to.
4.5.2. Outputs
Connect headphones to the headphone jack for personal monitoring and connect a 1/4" TS
(tip-sleeve) cable to the Master jack to run the audio into a mixer or external amplifier.
4.5.3. MIDI
Connect a pair of the classic 5-pin DIN cables to the MIDI In and Out ports to interface with
other MIDI devices. Clock, control, and note data can be sent and received. The reception of
MIDI clock signals is dependent on the Sync [p.85] setting.
4.5.4. USB
Connect a standard type-B USB cable to the USB port to interface with a computer. Clock,
control, and note data can be sent and received. The reception of USB/MIDI clock signals is
dependent on the Sync [p.85] setting.
In addition, the USB port is used to connect the MiniBrute 2 to Arturia's MIDI Control Center.
This software is used to configure various settings of the MiniBrute 2.
♪: Synchronization with non-MIDI devices is done through a connector on the patch bay. For a full
description of the CLK setting and the connector types to use, see the Synchronization [p.85] section.
4.5.5. Power
Connect only the included power adapter to this jack. It will su pply the necessary voltage
and current to power the analog circuitry of the MiniBrute 2: 12V DC (center pin positive) and
2A (for Amperes).
Arturia - User Manual MiniBrute 2 - Hardware overview 21
5. THE TOP PANEL
This chapter covers the synthesizer features of the MiniBrute 2: the oscillators, the filter, the
envelopes, etc. Click the following links for descriptions of the patch bay [p.53], the Control
[p.18] section, the Sequencer [p.87] and Arpeggiator [p.97], and the Sync [p.85] settings.
5.1. The LFOs
An LFO is low frequency oscillator that can produce various waveforms at sub-audio
frequencies (0.0625Hz up to 100Hz). The MiniBrute 2 provides two LFOs, each with
waveform choices of sine, triangle, sawtooth, square, two types of random waves.
Each LFO has its own Wave selector, Rate control, a switch that determines whether it will
run freely or synchronize to the master clock.
The LFO 1 section
♪: LFO 1 and 2 are identical, so this section of the manual applies equally to both.
5.1.1. Wave
The LFOs offer several types of modulation waveforms. The selection is made by the Wave knob: sine, triangle, sawtooth, square, random stepped (also referred to as Sample & Hold), and random gliding (or smoothed random).
• Sine rises and falls smoothly between its minimum and maximum values
• Triangle rises and falls in more of a linear manner between its minimum and
maximum values
• Sawtooth falls to its minimum value in a linear manner and then rises suddenly
to its maximum value
• Square rises and falls suddenly between its minimum and maximum values
• Random stepped rises and falls suddenly between values that are generated at
random
• Random gliding rises and falls gradually between values that are generated at
random
22 Arturia - User Manual MiniBrute 2 - The top panel
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 0.0625Hz) up to quite fast rates (100Hz). The red LED located near the knob blinks in time with the rate. Note that the LFO rate may be superseded by the Sequencer/ Arpeggiator tempo clock if the Sync switch is set to Seq (see above).
When set to Sync the LFO rate will always be a multiple or a subdivision of the Seq/Arp
tempo. As the LFO Rate knob is turned clockwise:
• Each increase in the LFO rate doubles the LFO frequency
• Each decrease in the LFO rate cuts the LFO frequency in half.
There are nine potential rates when an LFO is set to Sync:
Rate LFO cycle repeats every: Periodicity
1 8 bars 8x
2 4 bars 4x
3 2 bars 2x
4 1 bar 1x
5 half note 0.5x
6 quarter note 0.25x
7 eighth note 0.125x
8 sixteenth note 0.0625x
9 thirty-second note 0.03125x
Arturia - User Manual MiniBrute 2 - The top panel 23
5.1.4. Retrigger the LFOs
The LFO retrigger options
There's a secondary Shift function for each LFO that lets you decide if you want an LFO to
retrigger when a new note is played. To toggle this function, hold the Shift button and then
press the top F key (LFO 1) or the top F# key (LFO 2).
24 Arturia - User Manual MiniBrute 2 - The top panel
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