Arturia MINIBRUTE-2S 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

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 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.

• One IEC AC power adapter

• One Eurorack cable set

• One preset catalog

Be sure to register your MiniBrute 2S 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 2S 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 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. 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

matrix allows you to route modulation sources in a nearly endless number of ways, both within the MiniBrute 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

might be the inclusion of a very flexible 48-point patch bay. This physical

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 2S 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 a second oscillator................................................................................................................................................... 11

3.3. Sweep the Filter with a pad......................................................................................................................................... 12

3.4. Introduction to the LFOs................................................................................................................................................ 13

3.5. Introduction to envelopes............................................................................................................................................. 15

3.6. The Sequencer and Arpeggiator ............................................................................................................................... 17

4. Hardware overview................................................................................................................................................. 22

4.1. Main features ........................................................................................................................................................................ 22

4.2. The Shift button .................................................................................................................................................................. 22

4.3. Inputs and outputs ........................................................................................................................................................... 23

4.4. Top panel................................................................................................................................................................................. 23

4.5. The Sequencer section .................................................................................................................................................. 24

4.6. The rear panel ..................................................................................................................................................................... 27

5. The top panel ............................................................................................................................................................... 28

5.1. The LFOs .................................................................................................................................................................................. 28

5.2. VCO 1......................................................................................................................................................................................... 30

5.3. VCO 2 ........................................................................................................................................................................................ 33

5.4. The Filter section................................................................................................................................................................ 35

5.5. The Amplifier section (AMP)....................................................................................................................................... 39

5.6. The Osc Mixer ....................................................................................................................................................................... 41

5.7. The Patch bay section.................................................................................................................................................... 45

5.8. Secondary Shift functions ........................................................................................................................................... 45

6. Basics of synthesis .................................................................................................................................................. 46

6.1. Analog synthesizer architecture............................................................................................................................... 46

7. The Patch bay.............................................................................................................................................................. 58

7.1. General concepts ................................................................................................................................................................ 58

7.2. The VCO 1 section .............................................................................................................................................................. 63

7.3. The VCO 2 section............................................................................................................................................................. 68

7.4. The EXT IN section ............................................................................................................................................................ 69

7.5. The FILTER jacks................................................................................................................................................................ 70

7.6. The AMP section ................................................................................................................................................................... 71

7.7. The INVERTER section....................................................................................................................................................... 71

7.8. The ADSR section................................................................................................................................................................ 72

7.9. The AD section ...................................................................................................................................................................... 73

7.10. The LFO 1&2 section........................................................................................................................................................ 74

7.11. The VCA section ................................................................................................................................................................. 75

7.12. The ATTENUATORS section.......................................................................................................................................... 76

7.13. Sequencer section ............................................................................................................................................................ 78

7.14. The MIDI section ............................................................................................................................................................... 81

8. Seq / Arp: shared features.................................................................................................................................. 83

8.1. Timing features.................................................................................................................................................................... 83

8.2. Pitch and transposition.................................................................................................................................................. 84

8.3. Transport section............................................................................................................................................................... 85

8.4. Playback and polyphony ............................................................................................................................................. 86

8.5. Synchronization .................................................................................................................................................................. 87

8.6. Metronome (Shift + Sync) ............................................................................................................................................ 89

8.7. Tempo........................................................................................................................................................................................ 89

8.8. Tap............................................................................................................................................................................................... 89

8.9. Time Division ........................................................................................................................................................................ 89

8.10. Swing ..................................................................................................................................................................................... 90

8.11. Gate time: Seq vs. Arp..................................................................................................................................................... 91

8.12. Playback direction/note order ................................................................................................................................ 92

8.13. Transport controls ........................................................................................................................................................... 93

8.14. Scale selection ................................................................................................................................................................... 95

8.15. Define the User scale .................................................................................................................................................... 98

9. Sequencer basics...................................................................................................................................................... 99

9.1. Play a pattern........................................................................................................................................................................ 99

9.2. Record a pattern ............................................................................................................................................................... 101

9.3. Pattern management .................................................................................................................................................. 103

9.4. Create a Chain .................................................................................................................................................................. 107

10. Sequence Editing ................................................................................................................................................. 108

10.1. Track selection................................................................................................................................................................. 108

10.2. Track Type ........................................................................................................................................................................ 109

10.3. Track Mute.......................................................................................................................................................................... 114

10.4. Independent Timing divisions............................................................................................................................... 114

10.5. Editing in real-time........................................................................................................................................................ 114

10.6. Editing in Step mode ................................................................................................................................................... 115

10.7. Pages....................................................................................................................................................................................... 118

10.8. Page Edit view .................................................................................................................................................................. 119

10.9. Lengthen a pattern ..................................................................................................................................................... 120

10.10. Independent playing directions ....................................................................................................................... 124

11. Arpeggiator basics................................................................................................................................................. 125

11.1. What’s an arpeggiator? .............................................................................................................................................. 125

11.2. Arpeggiator features .................................................................................................................................................... 125

11.3. Basic operations.............................................................................................................................................................. 126

11.4. Arpeggiator modes (note order)........................................................................................................................... 129

11.5. Build a multi-octave arpeggio ................................................................................................................................ 132

11.6. Pausing an arpeggio .................................................................................................................................................... 133

12. Arp/Loop features................................................................................................................................................. 134

12.1. The Looper .......................................................................................................................................................................... 134

12.2. Sequencer tracks and the Arpeggiator ........................................................................................................... 135

13. Introduction: the MIDI Control Center..................................................................................................... 136

13.1. MCC basics ......................................................................................................................................................................... 136

14. MIDI Control Center............................................................................................................................................ 140

14.1. Template Browser ......................................................................................................................................................... 140

14.2. Device Memories............................................................................................................................................................. 141

14.3. Local Templates.............................................................................................................................................................. 142

14.4. Store To/Recall From................................................................................................................................................... 144

14.5. Import/Export Device Settings.............................................................................................................................. 145

14.6. Data entry........................................................................................................................................................................... 146

14.7. Device Settings ................................................................................................................................................................. 147

15. Shift functions.......................................................................................................................................................... 158

15.1. Shift function chart ........................................................................................................................................................ 158

15.2. Shift function descriptions ......................................................................................................................................... 161

16. Declaration of Conformity............................................................................................................................... 165

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.

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 2S 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 2S - Introduction 3

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.

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 2S 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 2S 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 2S 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 2S 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 2S 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 2S 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 2S - 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 2S - Introduction 5

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. 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 su pplied 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 “ entering its serial number, as printed on the sticker located under the machine:

My Registered Products

”, and add the MiniBrute 2S synthesizer by

6 Arturia - User Manual MiniBrute 2S - Installation

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

Here is an overview of the MiniBrute 2S 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 2S - Installation 7

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. The possibilities are as endless as your imagination!

8 Arturia - User Manual MiniBrute 2S - Installation

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.

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 2S to the desired pitch.

The MiniBrute 2S 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 2S 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 2S - Installation 9

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. Create your first sound: the “basic patch”

Once your MiniBrute 2S 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 2S, 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.28] and Range [p.34] 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.44] and Once [p.44] positions

• Set the OSC MIXER section’s square wave slider to maximum

• Turn the FILTER section’s Cutoff knob fully clockwise

• Set the Sync setting to Int

♪: 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 pad; you should hear your very first MiniBrute 2S 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.46] chapter. But if you simply want to play the pads for a moment, you can

use the Down or Up Octave [p.25] pads to transpose the notes to the range you prefer.

10 Arturia - User Manual MiniBrute 2S - Quick Start

♪: Once the MiniBrute 2S has warmed u p, 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. 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 2S - Quick Start 11

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.

Here's how the parameters in the VCO 2 and Filter sections should look after those changes have been made. The rest of the settings should still resemble the "sub-oscillator [p.11]" patch:

VCO 2 / Filter settings for the Filter Sweep

Now hold down a pad and slowly increase the pressure of your finger upon the pad. You'll hear the filter open up as the pressure increases.

The pressure-sensitivity of the pads can be used to control other parameters, both inside the MiniBrute 2S and on external devices. The patch bay [p.58] makes all of that possible.

example

12 Arturia - User Manual MiniBrute 2S - Quick Start

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.28] chapter to learn more about the LFOs.

3.4.1. Sweep the filter with an LFO

An LFO can do much more than add vibrato [p.14] to the sound. For example, it can be used to modulate the harmonic content. 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 pad. 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.28] of the Top Panel [p.28] 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 2S sound. To learn more, read the Patch Bay

[p.58] chapter.

Arturia - User Manual MiniBrute 2S - Quick Start 13

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.

♪: The modulation happens without using patch cables because there is a pre-wired connection



between VCO 1 and VCO 2. This is what is meant by the blue letters under the VCO 1 FM knob that

say "VCO 2". To learn more about these pre-wired connections, see the first note (♪) in the VCO 1 [p.30]

section of the Top Panel [p.28] chapter. ♪: Since VCO2 tracks the pitch of VCO 1 by default, which in turn

tracks the transposition range of the pads by default, the LFO rate will increase or decrease as you

change the octave range of the pads. If you want the frequency of VCO 2 to be consistent across the

entire range of the pads, plug only one side of a patch cable into the Pitch 2 input jack in the patch bay.

See the Patch Bay [p.58] chapter to learn more.

14 Arturia - User Manual MiniBrute 2S - Quick Start

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. Up to this point in the chapter the note has only played while you were holding a pad, 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 pad. Now the sound rises slowly to the maximum level. As soon as you release the pad, the sound stops abruptly. Raise the Decay slider, and the sound will fade out to its minimum level when you release the pad.

There are two switches inside the AD ENVELOPE section (Gate/Trig and Once/Loop [p.44]). Their functions are somewhat more complex and will be described in the Top Panel [p.28] chapter.

Arturia - User Manual MiniBrute 2S - Quick Start 15

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. 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 pad 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 upon releasing the pad, 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

16 Arturia - User Manual MiniBrute 2S - 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 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. 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 for a large button that says "Sync" (it's above knob #7).

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 2S: the LFOs, the Sequencer, and the Arpeggiator. Push the Sync button repeatedly 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 2S - Quick Start 17

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. So hold down the Shift button and then:

• Tap the "F" pad ("1/8")

• Tap the "G#" pad ("Chrom")

Now hold the Arp/Loop On button and turn the Tempo/Value knob until you see the word "Up" in the display.

We'll explain what those settings mean in the Seq / Arp: shared features [p.83] chapter.

Now hold down at least 3 pads. You should hear those three notes repeated in order from lowest to highest. If nothing happens, check the setting of the Sync button [p.17] again.

For a more lengthy explanation of what an Arpeggiator is, see the Arpeggiator Basics [p.125] chapter. If you're curious about the more advanced Arp/Looper features, click here [p.134].

18 Arturia - User Manual MiniBrute 2S - Quick Start

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.

Next, hold down the Shift button and then:

• Tap the lowest "C" pad ("Fwd")

• Tap the "F" pad ("1/8")

• Tap the "G#" pad ("Chrom")

We'll explain what those settings mean in the Seq / Arp: shared features [p.83] chapter.

• Press the large Sync button until the INT LED is lit

• Hold the Load button (it's located above knobs 8 and 9).

While still holding the Load button, look at the pads. You will use them to select the pattern you want to load. Some of the pads may be lit, which means they already contain pattern data. The flashing pad indicates which pattern has already been loaded into memory.

• Select a pad that is lit

• Press the Play button.

The sequence you selected will begin to play. If you do not hear anything, set up the Basic

Patch [p.10] again.

To select another pattern, hold the Load button and press a different pad.

3.6.3.1. Record a pattern (real time)

♪: For a brief example of step-mode recording, click here [p.21].



If you've found an empty pattern, or at least a pattern 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.

• Hold the Record button

• Press the Play button

As soon as you press Play, the Record button will become blue, the metronome will start, and the sequencer will begin recording.

♪: When the Record button is blue, the MiniBrute 2S is in real-time recording mode. When the Record



button is red, the MiniBrute 2S is in step-time recording mode.

Now play the pads as if you were playing a piano keyboard. The default length of a pattern is 1 bar (16 steps), so the sequencer will loop around after that and you'll hear the notes you played.

Arturia - User Manual MiniBrute 2S - Quick Start 19

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. In addition to note data, many other types of control data may be recorded there.

For a more lengthy introduction to the Sequencer, see the Sequencer Basics [p.99] chapter. If you're ready to learn how to change the length of a pattern, edit individual note data, and record information into the other parallel tracks, see the Sequence Editing [p.108] chapter.

20 Arturia - User Manual MiniBrute 2S - Quick Start

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.

• Press the Record button, and then release it

• Press the Play button

As soon as you press Play the metronome will start and the sequencer will begin recording. But unlike real-time record mode, the Record button is red to signify step recording mode.

♪: When the Record button is red, the MiniBrute 2S is in step-time recording mode. When the Record



button is blue, the MiniBrute 2S is in real-time recording mode.

When you're ready, press a pad and it will turn red to enable that step in the sequence. Press the pad again to disable that step and it will go dark.

The default length of a pattern is 1 bar (16 steps), so the sequencer will loop around after that and you'll hear the steps you enabled.

But if you started with an empty pattern, all the notes will play back at the same pitch. This is because the pitch of each step is actually entered using the knobs above the pads.

To test this, turn the knob above one of the lit pads by one click. You'll see the TEMPO/VALUE display change from the tempo to a note name like "C#3" or "B 2". Notes can be changed using this method whether the sequencer is running or not, as long as the unit is in Record mode (i.e., the Record button is lit).

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.

Arturia - User Manual MiniBrute 2S - Quick Start 21

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. Besides offering a way to play notes, the pads provide additional ways to express your musical ideas:

• Pressure generates a signal that corresponds to how hard you press a pad after it has been played. You can use this signal to modulate vibrato, filter cutoff, and other parameters.

• Velocity corresponds to the dynamics of your playing, and similar to aftertouch, can modulate multiple parameters.

• Transposition allows shifting the note range of the pads over six octaves.

• 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 USB/MIDI control and external CV/GATE signals.

4.2. 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 Sequencer section. For example, look under the Tempo knob, under the buttons, and inside the pads: you'll see blue words and numbers.

When the Shift button is held and the corresponding button or pad is pressed, secondary functions are activated or toggled. For example, the Step Size of a pattern can be changed to 1/16th notes by holding the Shift button and pressing the F# pad.

For a complete description of the secondary Shift features, see the Shift functions [p.158] chapter.

♪: The Shift button is not related to the blue letters silkscreened under the synthesizer knobs or inside



the patch bay.

22 Arturia - User Manual MiniBrute 2S - Hardware overview

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.

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 2S

This is where all of the synthesizing takes place. There are so many powerful features located here that the top panel [p.28] has its own chapter. The Patch bay [p.8] has its own chapter too.

Arturia - User Manual MiniBrute 2S - Hardware overview 23

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. These controls serve all of the basic functions you would expect of a sequencer in a modular system, and as you work with them you will come to love the simplicity and sensibility of the workflow.

But the more you work with them, the more you will be amazed how the these controls unlock features you never knew you needed.

The Sequencer section of the MiniBrute 2S

Here's a quick description of each section. For the full details, see these chapters: Seq / Arp:

shared features [p.83], Sequencer Basics [p.99], and Sequence Editing [p.108].

1. Arp/Loop (Hold): enable/disable the Arpeggiator; use Shift to hold the arpeggio and access blue-letter secondary functions

2. a: The Tempo/Value knob will adjust tempo, access banks, select functions, set swing values, etc. The Tap button helps set the tempo. The tempo value is displayed to the left of the Tempo knob. b: The Sync button selects the clock source for time-based functions (Seq/Arp/LFOs); Shift + Sync enables the metronome.

3. Pattern Chain / Load (Instant Change): Load patterns and chain them together; Shift + Load toggles instant vs. delayed pattern loading

4. Track Select (Mute): Access the four sequence tracks; use with Shift to mute tracks

5. Transport buttons (Real Time, Restart): Standard controls (Rec/Stop/Play/Pause); Shift toggles Real-time vs. Step record, Restart Seq/Arp

6. Edit (Recall): Pattern management; Save/Copy/Paste/Erase; use Shift to recall a stored pattern

7. Last Step / Pages 16-64: define the length of a pattern and access the step pages of longer patterns. Use Shift + Last Step to follow song pointer; Use Shift + Page button to extend pattern to the corresponding page

8. Step encoders 1-16 (Secondary functions): edit step data within a pattern

9. Pads C – D# (Seq/Arp direction): play notes; Shift + pad sets the pattern direction

10. Pads E – G (Seq/Arp step size): play notes; Shift + pad sets timing resolution of the pattern

11. Pads G# – C (Preset scales): play notes; Shift + pad selects certain preset scales

12. Octave/Transpose (Preset/User scales): Octave shift; Transpose + pad to transpose pattern; Shift + pad selects other preset scales and User scale

combinations

24 Arturia - User Manual MiniBrute 2S - Hardware overview

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