Arturia PolyBrute Service Manual
USER MANUAL
Special Thanks
DIRECTION
Frederic Brun Philippe Cavenel
ENGINEERING
Bruno Pillet
Thierry Chatelain
Thomas Aubert
Osée Rajaiah
Olivier Delhomme
MANUAL
Randy Lee (Author) Camille Dalemans Are Leistad
DESIGN
Thierry Chatelain
Bruno Pillet
SOUND DESIGN
Jean-Michel Blanchet
Victor Morello
Clément Bastiat
Olivier Briand
Marc Antigny
Alexandre Adam
Loris De Marco
Kevin Molcard
Timothée Behety
Sébastien Rochard
DesignBox
Euan Dickinson
Michael Geyre
Simon Gallifet
Boele Gerkes
Lionel Ferragut
Nadine Lantheaume
Nicolas Dubois
Jérôme Blanc
Aurore Baud
Frédéric Brun
Olivier Grall
Lily Jordy
Kenny Larkin
Tobias Menguser
Valentin Lepetit
Benjamin Reynier
Vivien Henry
Matt Pike
TESTING
Germain Marzin Florian Marin
BETA TESTING
Marco Correia
Boele Gerkes
© ARTURIA SA – 2020 – All rights reserved.
26 avenue Jean Kuntzmann
38330 Montbonnot-Saint-Martin - 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: 14 September 2020
Are Leistad
Terry Marsden
Randy lee
Thank you for purchasing the Arturia PolyBrute!
This manual covers the features and operation of Arturia’s PolyBrute.
In this package you will find:
• One PolyBrute analog synthesizer
• One Quick Start Guide
• The product safety manual. Please read this before using the PolyBrute.
• One IEC AC power cord.
Be sure to register your PolyBrute 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 PolyBrute provides the following benefits:
• It enables you to download the PolyBrute user manual and the latest version of
the companion PolyBrute Editor software
• It allows you to receive special offers restricted to PolyBrute owners, such as
3rd-party sound banks, etc.
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:
1. 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.
2. It is important that you read the included Safety Manual thoroughly and fully
understand the instructions.
NOTICE:
Service charges incurred due to a lack of knowledge relating to how a function or feature
works (when the product is operating as designed) are not covered by the manufacturer’s
warranty, and are therefore the owner's responsibility. Please study this manual carefully
and consult your dealer before requesting service.
Precautions include, but are not limited to, the following:
1. Read and understand all the instructions.
2. Always follow the instructions on the instrument.
3. Before cleaning the instrument, always remove the AC cable. When cleaning, use
a soft and dry cloth. Do not use gasoline, alcohol, acetone, turpentine or any other
organic solutions; do not use a liquid cleaner, spray or cloth that's too wet.
4. Do not place the instrument in an unstable position where it might accidentally
fall over.
5. Do not place heavy objects on the instrument. Do not place the instrument near
a heat vent at any location with poor air circulation.
6. Do not open or insert anything into the instrument that may cause a fire or
electrical shock.
7. Do not spill any kind of liquid onto the instrument.
8. Always take the instrument to a qualified service center. You will invalidate your
warranty if you open and remove the cover, and improper assembly may cause
electrical shock or other malfunctions.
9. Do not use the instrument with thunder and lightning present; otherwise it may
cause long distance electrical shock.
10. If Safeguard Fuse for internal AC input wire needs to be replaced, swap the fuse
with the following technical characteristics : F3.15A, 250v AC.
11. Do not expose the instrument to hot sunlight. The operating temperature range
of the instrument should be 15°-35° C (59°-95° F).
12. Do not use the instrument when there is a gas leak nearby.
13. Arturia is not responsible for any damage or data loss caused by improper
operation of the instrument.
Introduction
Congratulations on your purchase of the Arturia PolyBrute!
PolyBrute is the logical progression of the Brute series of synthesizers. It inherits a decade
of development and refinement that began with the Micro- and MiniBrute synths, and later
thrilled the world with the release of the MatrixBrute. These synthesizers claimed new
territory through their power, elegance and simplicity. And the
fat, smooth, aggressive, unique... It seemed there was nothing a musician or sound designer
couldn't do if they had one or more of these beautiful Brutes in the studio.
But wonderful as they are, they are monophonic (mostly; the MatrixBrute has a threevoice paraphonic mode). Speculation has run wild for years: Will Arturia make a polyphonic
analog synthesizer someday?
Yes, yes, yes, yes, yes, and proudly, yes. Enter the PolyBrute, with six killer analog voices,
two luscious filters, and much, much more:
• 6-voice polyphonic analog synthesizer with split/layer capability
• 5-octave, velocity-sensitive keyboard with channel aftertouch and adjustable
curves
• Continuous deep/subtle sound transformations through a global morphing
feature
• Poly, Mono, and Unison modes with selectable voice allocation
• Polyphonic sequencer and arpeggiator onboard
• Motion recorder captures the movement of one control for one-shot or looped
playback
• Mixer section can route oscillators and noise generator through one or both filters
• Portamento/Glide with continuous and chromatic options
• Built-in digital effects (chorus/phaser/flanger/ring modulator, delay, reverb)
• Effects can be used as insert or send effects, or bypassed for a pure analog
signal path
• Two independent displays aid navigation and provide visual feedback
• 768 patch memories, arranged in 8 banks of 96
• Snapshot: preserve up to 5 edits in progress, with instant recall
• A potentially infinite number of patches can be imported/exported with the
PolyBrute Editor
Voice engine
• Each voice has two oscillators, plus a sub-oscillator for VCO 2
• Powerful waveform sculpting features, such as variable oscillator sync,
wavefolding (i.e., Metalizer)
• Two independent filters per voice
◦ Steiner: 12dB per octave (continuous multimode), plus our famous
Brute Factor for extra grit
◦ Ladder: 24dB per octave with distortion
◦ Use them in series, parallel, or any blend of the two
◦ Master Cutoff control to sweep both filters at once
◦ Filter FM (VCO 2 > VCF 1, Noise > VCF 2)
• Continuous soft > hard oscillator sync (2 > 1)
• Morph: Every patch has two sounds (A+B); most parameters can morph between
an A and B setting. Details are here.
• Three syncable, multi-waveform LFOs per voice
• Three loopable envelopes: VCF/VCA (ADSR), Mod (DADSR)
• Multi-colour noise generator
sound
of those instruments:
• Powerful, easy-to-use modulation matrix
Performance controls
• Morphée, a 3-D controller that can modulate parameters along the X, Y, and Z
axes simultaneously
• Velocity and Aftertouch (pressure sensitivity)
• Ribbon controller
• Pitch and Modulation wheels
• Octave buttons can shift keyboard range +/- 2 octaves from center
• One Sustain pedal input and two Expression pedal inputs (pedals optional)
Sequencer/Arpeggiator
• Polyphonic up to 6 notes
• Record and play back up to 3 modulation tracks
• Sequences can hold up to 64 steps; arpeggios can have u p to 32 steps
• Swing, time division settings
• Multiple playback modes and directions
• Convert arpeggios to sequences
• Step record/editing
• Matrix Arpeggiator mode for constructing complex arpeggios
• Tempo range 30-240 bpm
PolyBrute Editor
• Free, downloadable application for registered PolyBrute owners
• Two-way editing: turn a knob, the editor follows, and vice-versa
• Adjust internal settings quickly, such as envelope curves, timbrality settings, etc.
• Librarian features (organize, search by category, export, import, share with other
users)
• Doubles as a VST plugin for DAW control of external PolyBrute parameters
Other hardware features
• Stereo outputs
• MIDI In/Out/Thru connectors
• Clock In/Out for integration with modular systems
• USB type B connector for use with DAWs and the PolyBrute Editor
• Headphone jack with independent level control
That's a huge list, and it adds up to a HUGE sound. We can hardly wait for you to get your
hands on this instrument! Prepare for your creativity to be set ablaze by PolyBrute.
One more thing: Be sure to visit our website (www.arturia.com) to grab the latest firmware,
download the PolyBrute Editor, and check out the tutorials and FAQs.
Musically yours,
The Arturia team
Table Of Contents
1. Overview............................................................................................................................................................................ 5
1.1. Front panel .................................................................................................................................................................................. 5
1.1.1. Left side................................................................................................................................................................................................................................. 5
1.1.2. Right side ............................................................................................................................................................................................................................ 6
1.1.3. The Matrix panel............................................................................................................................................................................................................. 6
1.2. Rear panel .................................................................................................................................................................................. 7
1.2.1. Connections....................................................................................................................................................................................................................... 7
1.3. About this manual................................................................................................................................................................. 8
2. PolyBrute Basics.......................................................................................................................................................... 9
2.1. User interface .......................................................................................................................................................................... 9
2.2. Master controls ...................................................................................................................................................................... 9
2.3. Auto-tune PolyBrute......................................................................................................................................................... 10
2.4. What is digitally-controlled analog? .................................................................................................................... 10
2.5. Load a preset ......................................................................................................................................................................... 11
2.6. Try this!...................................................................................................................................................................................... 12
2.6.1. Sweep the filters ......................................................................................................................................................................................................... 12
2.6.2. Start the arpeggiator............................................................................................................................................................................................... 12
2.6.3. Move Morph from A to B....................................................................................................................................................................................... 12
3. Create a Patch ............................................................................................................................................................. 13
3.1. Subtractive synthesis........................................................................................................................................................ 13
3.2. Create a new patch .......................................................................................................................................................... 14
3.2.1. Initialize the patch..................................................................................................................................................................................................... 14
3.2.2. VCO 1 ................................................................................................................................................................................................................................. 15
3.2.3. VCF 1 (Steiner) .............................................................................................................................................................................................................. 17
3.2.4. VCA ENV .......................................................................................................................................................................................................................... 18
3.2.5. Enter the Matrix .......................................................................................................................................................................................................... 19
3.2.6. Add Effects................................................................................................................................................................................................................... 20
3.3. Save the patch.................................................................................................................................................................... 20
3.4. That was only sound A................................................................................................................................................. 20
4. Voice Architecture ...................................................................................................................................................... 21
4.1. A note about tuning............................................................................................................................................................ 21
4.2. Morph basics ......................................................................................................................................................................... 21
4.3. VCOs 1 and 2 ........................................................................................................................................................................ 22
4.3.1. Similar features.......................................................................................................................................................................................................... 22
4.3.2. Tune................................................................................................................................................................................................................................... 22
4.3.3. VCO 1 ................................................................................................................................................................................................................................ 23
4.3.4. VCO 2............................................................................................................................................................................................................................... 24
4.3.5. Noise generator......................................................................................................................................................................................................... 25
4.4. Mixer........................................................................................................................................................................................... 25
4.5. LFOs ........................................................................................................................................................................................... 26
4.5.1. LFOs 1 and 2 ................................................................................................................................................................................................................. 26
4.5.2. LFO 3 ................................................................................................................................................................................................................................. 27
4.5.3. Unipolar, bipolar ........................................................................................................................................................................................................ 27
4.5.4. LFO sync division...................................................................................................................................................................................................... 27
4.5.5. Rate control for synced LFOs .......................................................................................................................................................................... 28
4.6. Filters ......................................................................................................................................................................................... 28
4.6.1. Shared features.......................................................................................................................................................................................................... 29
4.6.2. VCF 1 (Steiner) ........................................................................................................................................................................................................... 30
4.6.3. VCF 2 (Ladder)............................................................................................................................................................................................................ 31
4.7. Filter FM..................................................................................................................................................................................... 31
4.7.1. VCO 2 > VCF 1 ................................................................................................................................................................................................................ 31
4.7.2. Noise > VCF 2................................................................................................................................................................................................................ 31
4.8. Envelopes................................................................................................................................................................................ 32
4.8.1. Envelope curves.......................................................................................................................................................................................................... 33
4.8.2. VCF/VCA velocity modes .................................................................................................................................................................................... 33
4.8.3. Envelope loop modes ............................................................................................................................................................................................ 33
4.9. Stereo spread....................................................................................................................................................................... 33
4.10. FX routing selector ......................................................................................................................................................... 34
5. Performance Controls........................................................................................................................................... 35
5.1. Wheels....................................................................................................................................................................................... 35
5.1.1. Pitch..................................................................................................................................................................................................................................... 35
5.1.2. The Wheel...................................................................................................................................................................................................................... 35
5.2. Octave buttons.................................................................................................................................................................... 36
5.3. Morphée................................................................................................................................................................................... 36
5.4. Voice/control mode buttons....................................................................................................................................... 37
5.4.1. Polyphony ....................................................................................................................................................................................................................... 37
5.4.2. Timbrality....................................................................................................................................................................................................................... 38
5.4.3. Wheel modes ............................................................................................................................................................................................................. 39
5.4.4. Morphée modes ........................................................................................................................................................................................................ 39
5.5. Glide .......................................................................................................................................................................................... 40
5.5.1. Glide in Split mode .................................................................................................................................................................................................. 40
5.6. Morph knob .......................................................................................................................................................................... 40
5.7. Ribbon controller............................................................................................................................................................... 40
5.8. Aftertouch ................................................................................................................................................................................ 41
5.9. Expression pedals .............................................................................................................................................................. 41
5.10. Motion recorder................................................................................................................................................................ 42
5.10.1. The Stretch factor................................................................................................................................................................................................... 42
5.10.2. Exceptions .................................................................................................................................................................................................................. 42
5.11. Voice allocation modes................................................................................................................................................. 43
5.11.1. Polyphonic allocation............................................................................................................................................................................................. 43
5.11.2. Unison / mono allocation................................................................................................................................................................................... 44
6. Working with Presets ............................................................................................................................................. 45
6.1. Selecting a preset ............................................................................................................................................................... 45
6.2. Snapshots............................................................................................................................................................................... 45
6.3. Random patch generation .......................................................................................................................................... 46
6.4. Panel mode ........................................................................................................................................................................... 46
6.5. Saving a preset ................................................................................................................................................................... 46
6.5.1. Quick Save..................................................................................................................................................................................................................... 46
6.5.2. Save to another location ...................................................................................................................................................................................... 47
6.5.3. Use the PolyBrute Editor....................................................................................................................................................................................... 47
7. Working with Mods.................................................................................................................................................. 48
7.1. Creating a mod route....................................................................................................................................................... 48
7.1.1. Select the source......................................................................................................................................................................................................... 48
7.1.2. Assign a destination................................................................................................................................................................................................. 49
7.1.3. Edit an existing modulation ............................................................................................................................................................................... 50
7.1.4. Modulate a mod route............................................................................................................................................................................................. 51
7.1.5. Erase all mod routes ................................................................................................................................................................................................ 51
7.2. Mod source list..................................................................................................................................................................... 52
7.2.1. What is the Voices source?................................................................................................................................................................................ 52
8. Sequencer Mode ....................................................................................................................................................... 53
8.1. Common features .............................................................................................................................................................. 53
8.1.1. The Home page ........................................................................................................................................................................................................... 53
8.1.2. Hold mode...................................................................................................................................................................................................................... 54
8.1.3. Metronome..................................................................................................................................................................................................................... 54
8.1.4. Time divisions.............................................................................................................................................................................................................. 54
8.1.5. Swing percent.............................................................................................................................................................................................................. 54
8.1.6. Rate..................................................................................................................................................................................................................................... 54
8.1.7. Gate..................................................................................................................................................................................................................................... 54
8.1.8. The transport ................................................................................................................................................................................................................ 54
8.1.9. Tap....................................................................................................................................................................................................................................... 55
8.2. The Arpeggiator.................................................................................................................................................................. 55
8.2.1. ARP home page.......................................................................................................................................................................................................... 55
8.2.2. Play Mode: Arp........................................................................................................................................................................................................... 56
8.3. The Sequencer .................................................................................................................................................................... 56
8.3.1. Sequence playback................................................................................................................................................................................................... 57
8.3.2. Live edits ........................................................................................................................................................................................................................ 58
8.3.3. SEQ home page ....................................................................................................................................................................................................... 60
8.3.4. Play Mode: Seq ........................................................................................................................................................................................................... 61
8.3.5. Sequence length ........................................................................................................................................................................................................ 61
8.3.6. Real-time recording ................................................................................................................................................................................................ 62
8.3.7. Step recording ............................................................................................................................................................................................................ 62
8.3.8. The Modulation tracks........................................................................................................................................................................................... 63
8.4. Matrix Arpeggiator ............................................................................................................................................................ 64
8.4.1. Matrix Arp home page ........................................................................................................................................................................................... 64
8.4.2. Polyphonic arpeggios............................................................................................................................................................................................ 65
8.4.3. Approach notes ......................................................................................................................................................................................................... 65
8.4.4. Play Mode: Matrix Arp ........................................................................................................................................................................................... 65
8.5. Sequence Management ................................................................................................................................................ 66
8.5.1. Copy current sequence ......................................................................................................................................................................................... 66
8.5.2. Paste sequence ......................................................................................................................................................................................................... 66
8.5.3. Paste sequence and automation................................................................................................................................................................... 66
8.5.4. Clear current sequence........................................................................................................................................................................................ 66
8.5.5. Erase notes................................................................................................................................................................................................................... 66
8.5.6. Erase automation..................................................................................................................................................................................................... 66
9. Step Record / Edit ..................................................................................................................................................... 67
9.1. What's the difference? ................................................................................................................................................... 67
9.2. Overwrite vs. overdub .................................................................................................................................................... 67
9.3. Step Record ........................................................................................................................................................................... 67
9.3.1. Enter / edit one step ................................................................................................................................................................................................ 68
9.3.2. Enter / edit many steps........................................................................................................................................................................................ 68
9.4. Step edit: Notes ................................................................................................................................................................... 69
9.4.1. Add / delete notes..................................................................................................................................................................................................... 69
9.4.2. Change the duration .............................................................................................................................................................................................. 70
9.4.3. Select a purple step ................................................................................................................................................................................................ 70
9.4.4. Exit step edit................................................................................................................................................................................................................. 70
9.5. Step record: Mods ............................................................................................................................................................. 70
9.5.1. Enter / edit one mod step ...................................................................................................................................................................................... 71
9.5.2. Enter / edit many mods......................................................................................................................................................................................... 71
9.5.3. Delete a Modulation track..................................................................................................................................................................................... 71
10. Morph Mode ............................................................................................................................................................... 72
10.1. What is Morph Mode? ................................................................................................................................................... 72
10.1.1. Morph vs. crossfade................................................................................................................................................................................................ 72
10.2. The Morph knob................................................................................................................................................................ 73
10.3. Morphing with Morphée .............................................................................................................................................. 73
10.4. Morph and mod routes ................................................................................................................................................ 74
10.5. Morphing sounds ............................................................................................................................................................. 74
10.5.1. Editing sounds A and B........................................................................................................................................................................................ 74
10.5.2. Morph utilities............................................................................................................................................................................................................ 76
10.6. What can morph?........................................................................................................................................................... 77
11. The Effects..................................................................................................................................................................... 78
11.1. FX routing................................................................................................................................................................................. 78
11.2. Modulation.............................................................................................................................................................................. 79
11.3. Delay .......................................................................................................................................................................................... 79
11.3.1. Delay controls .............................................................................................................................................................................................................. 79
11.3.2. Delay sync options ................................................................................................................................................................................................ 80
11.3.3. Delay filter options................................................................................................................................................................................................. 80
11.4. Reverb ..................................................................................................................................................................................... 80
11.4.1. Reverb filter options............................................................................................................................................................................................... 80
12. Settings............................................................................................................................................................................ 81
12.1. Settings overview............................................................................................................................................................... 81
12.1.1. Preset settings ............................................................................................................................................................................................................. 81
12.1.2. Preset / Voice settings........................................................................................................................................................................................... 81
12.1.3. Global settings........................................................................................................................................................................................................... 82
12.2. Preset: Voice........................................................................................................................................................................ 82
12.2.1. Voice: VCO.................................................................................................................................................................................................................... 82
12.2.2. Voice: Envelopes...................................................................................................................................................................................................... 85
12.2.3. Voice: LFO.................................................................................................................................................................................................................... 86
12.2.4. Voice: Allocation........................................................................................................................................................................................................ 87
12.3. Preset: Out section .......................................................................................................................................................... 89
12.3.1. Out: Preset volume ................................................................................................................................................................................................. 89
12.3.2. Out: Stereo modes ................................................................................................................................................................................................. 89
12.3.3. Out: Modulation Alt Preset ................................................................................................................................................................................ 89
12.3.4. Out: Delay settings................................................................................................................................................................................................. 89
12.3.5. Out: Reverb Settings ............................................................................................................................................................................................ 90
12.4. Preset: Expression control........................................................................................................................................... 91
12.4.1. Expression: Bend range........................................................................................................................................................................................ 91
12.4.2. Expression: Vibrato................................................................................................................................................................................................ 92
12.4.3. Expression: Glide..................................................................................................................................................................................................... 92
12.4.4. Expression: Morphée ............................................................................................................................................................................................ 92
12.4.5. Expression: Ribbon ................................................................................................................................................................................................ 93
12.4.6. Expression: Exp1, Exp2......................................................................................................................................................................................... 93
12.5. Preset: Preset info ........................................................................................................................................................... 94
12.5.1. Preset info: Init.......................................................................................................................................................................................................... 94
12.5.2. Preset info: Details................................................................................................................................................................................................. 94
12.5.3. Preset info: Generate ........................................................................................................................................................................................... 94
12.5.4. Preset info: Sound designer ............................................................................................................................................................................ 94
12.6. Global: Sync......................................................................................................................................................................... 95
12.6.1. Sync: Source ............................................................................................................................................................................................................... 95
12.6.2. Sync: Clock.................................................................................................................................................................................................................. 95
12.6.3. Sync: Metronome.................................................................................................................................................................................................... 95
12.7. Global: Keyboard.............................................................................................................................................................. 96
12.8. Global: MIDI......................................................................................................................................................................... 96
12.8.1. MIDI: Channels.......................................................................................................................................................................................................... 96
12.8.2. MIDI: Output dest .................................................................................................................................................................................................... 97
12.8.3. MIDI: Input src .......................................................................................................................................................................................................... 97
12.8.4. MIDI: Arp/Seq MIDI out ...................................................................................................................................................................................... 97
12.8.5. MIDI: Local control ................................................................................................................................................................................................. 97
12.8.6. MIDI: Program change........................................................................................................................................................................................ 97
12.9. Global: Misc.......................................................................................................................................................................... 98
12.9.1. Misc: Compare........................................................................................................................................................................................................... 98
12.9.2. Misc: Knob catch ..................................................................................................................................................................................................... 98
12.9.3. Misc: Factory reset................................................................................................................................................................................................. 98
12.9.4. Misc: Voice auto-tuning....................................................................................................................................................................................... 98
12.9.5. Misc: Ctrl calibration ............................................................................................................................................................................................. 99
12.9.6. Misc: FW version.................................................................................................................................................................................................. 100
12.9.7. Misc: Pedals ............................................................................................................................................................................................................. 100
12.9.8. Misc: Sleep Time................................................................................................................................................................................................... 100
13. Specifications........................................................................................................................................................... 101
13.1. MIDI Continuous Controller assignments ..................................................................................................... 102
14. Software License Agreement....................................................................................................................... 104
15. Declaration of Conformity.............................................................................................................................. 106
1. OVERVIEW
This chapter provides a quick look at the PolyBrute features, front and back. Links are
included to many sections for further reading.
1.1. Front panel
1.1.1. Left side
Number Section Description
1 Performance controls Wheels [p.35], Octave buttons [p.36], Morphée [p.36]
2 Headphone jack Stereo headphone connector
Voice management / Control routing
3
[p.37]
4 Morph control knob [p.40] Adjust balance between sounds A and B
5 Voice parameters [p.21] VCOs, Filter FM, Noise, Mixer, VCFs, Envelopes, LFOs
6 Keyboard, ribbon controller [p.40]
Polyphony, Timbrality, Wheel/Morphée routing, Glide
[p.40]
Keyboard: velocity-sensitive, channel aftertouch
Ribbon: route to any parameter via Mod Matrix
Arturia - User Manual PolyBrute - Overview 5
1.1.2. Right side
Number Section Description
1 Matrix panel Select presets, Mod Matrix, Seq/Arp, Morph/Matrix editing
2 Motion recorder [p.42] Capture motion of one control, play back at 1/8x to 8x speeds
3 Master controls [p.9]
4 Digital effects [p.78] Modulation (chorus, phaser, etc.), Delay, Reverb, plus controls
Sequencer/Arpeggiator
5
[p.53]
Stereo spread [p.33], FX routing [p.78], fine tune, phones level, master
volume
Arpeggiator; real-time/step-time sequencer, step editing, hybrid
mode
1.1.3. The Matrix panel
The Matrix panel is an 8 x 12 (96-button) grid that has four modes. It is used to select Presets
[p.45], to work with the Sequencer / Arpeggiator [p.53], and to manage the modulation matrix
through the Mods [p.48] button. The Morph button [p.72] is used to access the modulation
matrix with a focus on one or both of the morphing sounds in each patch.
6 Arturia - User Manual PolyBrute - Overview
1.2. Rear panel
Number Section Connections
1 Master Out Right (Stereo), Left (Mono)
2 Sync In, Out
3 Pedals Exp 1, Exp 2, Sustain
4 Memory Protection Off, On
5 MIDI In, Out, Thru
6 USB Type B (max. cable length 3 meters)
7 Power On/Off switch, AC cable
1. Master Out - 1/4" unbalanced +4dBu stereo line-level outputs, intended to go to an amp and
speakers, or to an audio interface or mixer. For mono use the left channel only.
2. Sync In/Out - These 3.5mm connectors enable the PolyBrute to synchronize with nonMIDI devices through the most widely used sync standards.
3. Expression 1, 2; Sustain - Pedal inputs. Expression 1 and 2 work with continuously variable
expression pedals to control volume, filter frequency, and more. Sustain is for a momentary
on/off pedal (i.e. a sustain pedal). Momentary pedals can be normally closed or normally
open; PolyBrute has a polarity setting for each pedal, so you can use either type.
4. Memory Protection On/Off - When On, prevents the PolyBrute's patch memories from
being overwritten.
5. MIDI In/Out/Thru - Standard 5-pin DIN jacks, used to connect PolyBrute to other MIDI
devices.
6. USB - USB type B port for connecting PolyBrute to a Mac or PC. This lets you use Arturia's
PolyBrute Editor software (available from www.arturia.com), and it also exchanges MIDI
data with your computer. We recommend using a cable that is no longer than 3 meters (10
feet or shorter).
7. Power section - Connect the AC cable to an appropriate power source and use the switch
to turn the instrument on and off. Power requirements: 100-240Vac, 50-60Hz, 85W.
1.2.1. Connections
1.2.1.1. Audio
Connect cables from the Master Out section to a sound system, using the left output for
mono if needed. You can also plug headphones into the headphone jack near the Morphée
controller; the headphones have their own level control.
Arturia - User Manual PolyBrute - Overview 7
1.2.1.2. USB
Next, connect the PolyBrute to your computer with a USB cable. Then go to
www.arturia.com, register your PolyBrute, and download the PolyBrute Editor software.
The PolyBrute Editor is much more than a patch librarian; it's a two-way visual editing
environment that enables you to see the entire patch at once, which makes the morphing
feature even more obvious. It's also used to upgrade the PolyBrute firmware.
But even more than that, the PolyBrute Editor can be used as a VST plug-in inside a DAW,
which in turn can record the movements of the controls inside the Editor or on the PolyBrute
itself. As long as the PolyBrute is connected to the computer, whenever the DAW track plays
back it will be almost like using the PolyBrute as a plug-in synthesizer. You'll still need to set
up an audio track in the DAW to record the output of the PolyBrute, if you want those tracks
to reside inside the computer.
1.2.1.3. MIDI
Almost everything you can touch on the PolyBrute sends and responds to MIDI, which
makes it possible to capture and refine whatever happens in pursuit of a sound or a song.
This can happen over USB, the 5-pin DIN connectors, or both.
For a list of the MIDI CC numbers sent and received by each control, see the S pecifications
chapter [p.102].
1.3. About this manual
We want this manual to be easy to read, so whenever possible we've done the following:
• The names of buttons and knobs are in brackets. "Hold [Settings] and turn [Glide]"
is quicker to read than "Hold the Settings button and turn the Glide knob."
• Characters are often used; e.g., [Octave < / >] instead of "the Octave left and right
buttons."
• Navigation is shown in pathways: "Settings/Misc/Voice Auto-Tuning/1-4" means
"Press [Settings], select Misc (Assign button 8), select Voice Auto-Tuning (Assign
button 4), and select option 1, 2, 3, or 4."
• Some sections point to others by page number so you can learn more if you
want, without slogging through a bunch of text when you already know the
details.
• The terms "preset" and "patch" are used interchangeably to refer to a single
memory location.
8 Arturia - User Manual PolyBrute - Overview
2. POLYBRUTE BASICS
2.1. User interface
Here are some general notes about working with PolyBrute. For example:
• Press [Settings] to access the Preset/Global option menus.
• The display lists options by numbers that correspond to the eight buttons under
the display.
• The numbered buttons (i.e., Assign buttons) usually select menu items, though in
Mods mode they do more.
• When inside a menu, use [Settings] to return to the previous menu or page.
• An orange dot by a control means "shortcut": Hold [Settings] and activate the
control to access its menu.
• The menu for a button with an orange "shortcut" dot can be accessed with a long
press of that button.
• Lit LEDs indicate a selection, status, or routing.
• Flashing LEDs show a rate or a trigger event, with only one exception (the Split
LED, described later).
• The 96 Matrix buttons select Presets, indicate and select Mod routes, or show the
current sequencer step, depending on the active mode.
You know the rest (knobs, sliders, buttons, etc.). Hopefully this manual will explain anything
that doesn't explain itself.
2.2. Master controls
The settings of these controls are stored with the preset:
• Stereo spread: Adjusts the stereo width of the output signal. This can be
modulated via the Mod Matrix.
• FX: Handles the routing of the Effects section. Follow this link [p.34] to learn more.
The following controls are
• Master Volume: The synthesizer itself will not distort with the level all the way up;
the control is only to avoid overloading the next step in the chain (mixer, audio
interface, amp...).
• Phones: The headphone level is independent of the Master Volume.
• Fine Tune: - Global tuning ± 1 semitone from the knob's center detent.
Arturia - User Manual PolyBrute - PolyBrute Basics 9
not
stored with the preset:
2.3. Auto-tune PolyBrute
One thing to remember about analog synths is that many components are temperaturesensitive, which can lead to small variations in pitch and timbre over time. It's part of what
makes them seem "alive." We recommend that you let the circuits stabilize for 5-10 minutes
after power-up. If the tuning still seems a bit loose after that, you can run one of the
calibration routines as described below.
There are three types of auto-tuning, and you can run one by itself or run them all. Here's
how:
1. Press [Settings]
2. Select Misc (Assign button 8)
3. Select Voice Auto-Tuning (Assign button 4)
4. Now select button 1, 2, 3 or 4 depending on the desired tuning target.
Here's what the options mean:
• VCO Calibration tunes both oscillators for each voice. You may want to run this
one more often than the others.
• VCF Calibration tunes both filters for each voice. It also makes sure the filters
track the keyboard well.
• All runs the calibration routines automatically, one after the other. This will also
calibrate the VCAs.
It takes a while to run the calibration routines, which is why we made it possible to launch
them individually as needed.
2.4. What is digitally-controlled analog?
Unlike early synthesizers, PolyBrute has the advantage of digital control over its analog
circuitry. It's the best of both worlds: the warmth and hands-on control of real analog, with
the ability to save and recall patches and settings (not to mention USB, MIDI, and other
modern features).
For this reason, when you load a patch the physical positions of the knobs and sliders may
not match the parameter values stored with the patch. But the PolyBrute has three modes
that allow you to specify how these controls respond when they are first moved. These
settings are available in the Editor and at Settings / Misc / Knob Catch.
• Hook - a control must sweep past the stored value before it changes the
parameter. Benefit: smooth changes.
• Jump - the value jumps to the position of the control as soon as you move it.
Benefit: instant response.
• Scaled - the parameter changes from its stored value when the control moves,
and the range is scaled (averaged) to cover the remaining values in that
direction. When the control direction is reversed the normal parameter range
is restored. Benefit: instant response
setting.
It's always possible to audition the settings of the front panel. This process is described in
the Panel mode section [p.46].
and
smooth changes. This is the default
10 Arturia - User Manual PolyBrute - PolyBrute Basics
2.5. Load a preset
To start exploring the presets, press the large Presets button. It turns purple when selected.
PolyBrute has 8 banks of 96 presets (for a total of 768). Select the banks with Assign buttons
1-8, then select the presets inside the bank using the 12 rows of 8 buttons in the Matrix panel.
To load patch B3 in bank 1, for example, press the round "1" button under the display (if you're
not already in bank 1). Then find the third button from the left in row B and press it. The
Program display shows "1.B3": "1" is the bank, "B" is the row, and "3" is the column.
Bank 1, preset B3 selected
[Program < or >] also can be used to select adjacent patches.
Arturia - User Manual PolyBrute - PolyBrute Basics 11
2.6. Try this!
The Morphée controller, the Ribbon, and the pitch/mod wheels probably caught your eyes
already. They're a ton of fun and provide unique tools for musical expression. As you're
auditioning presets, be sure to try these features too:
2.6.1. Sweep the filters
The Master Cutoff knob sweeps both filters at the same time. Some presets might not use
both filters, so this is a guaranteed way to get a reaction out of one or both of them. For full
details, see the Filters section [p.28].
2.6.2. Start the arpeggiator
For instant musical gratification it's hard to beat an arpeggiator. If the selected preset
doesn't play something automatically when you touch a key, here's what to do:
• If the patch has a slow attack, adjust the Attack sliders for VCA ENV and VCF ENV
(or select another preset)
• Press the ARP button and hold down a few keys. If nothing happens, make sure
Settings/Sync is set to Auto.
• For hands-free fun, activate the Hold button. Then you can tweak the controls
while PolyBrute keeps playing.
• Try other Arp settings (Play Mode, Time Div, Swing, and Gate). There's a lot of
variability right there.
When you're done, press the Stop button. There's more information about the entire Seq/Arp
section here [p.53].
2.6.3. Move Morph from A to B
Part of the reason PolyBrute sounds amazing is because every preset is made up of two
parallel sounds (A and B), with constant, complementary modulation going on between the
two in most cases. So whatever patch you've selected, be sure to turn the Morph knob to
check out its component sounds.
Then try this: Turn the Morph knob to position B, do an extreme edit, then turn back and forth
between A and B. When the Morph knob is on A you won't hear your edit; when it's on B
that's all you'll hear. If the Morph knob is in the middle between A and B, any edits you make
will be performed equally on sound A
Hopefully we've covered enough topics to get you started exploring PolyBrute on your own.
Now have some fun!
12 Arturia - User Manual PolyBrute - PolyBrute Basics
and
sound B.
3. CREATE A PATCH
This chapter walks through the basics of sound design on the PolyBrute, starting with an
initialized patch, shaping it, and finally saving it. Advanced users can jump to areas of
interest by following the links in each section.
3.1. Subtractive synthesis
PolyBrute is an analog subtractive synthesizer. This method of synthesis starts by
generating raw waveforms, and then uses filters to remove (subtract) unwanted harmonics
to achieve the desired sound.
However, PolyBrute also has the Metalizer, Sync and FM functions in the oscillator section
which can add harmonics to the basic oscillator sound. The results then can be sculpted
further with the filters.
The basic signal flow is simple, and generally follows this order:
• VCO (voltage-controlled oscillators) [p.22] generate the waveforms and control
the pitch frequency
• VCF (voltage-controlled filters) [p.28] shape the harmonic content
• Envelopes, LFOs, and other sources are used to alter (modulate) parameters.
Modulators can even control other modulators.
Speaking of which, one of the main features of the PolyBrute is its Matrix. This is an internal
patchbay that can route any modulation source to one or more destinations. Some sources
are physical, such as the Morphée controller; others are internal, such as an LFO, and can
run freely or synchronize to the master clock (internal or external). The impact on the sound
can be as subtle or extreme as you like.
Finally the signal passes through the amplifier section, takes a detour into the effects section
(if desired), and then the output level is set by the Master Volume control.
This manual covers all of those features in depth. For now we'll start by building a basic
patch.
Arturia - User Manual PolyBrute - Create a Patch 13
3.2. Create a new patch
The following example uses VCO 1, VCF 1, LFO 1, and an envelope. PolyBrute has two or three
of each, but let's keep it simple for now.
3.2.1. Initialize the patch
To create a preset from the ground u p, begin by initializing the patch. This creates a simple
sound with no modulation routings that you can use to create an original patch. There are
two ways to do this:
• Hold the Program left arrow and press [Presets], or
• Navigate to Settings/Preset Info and select Init with Assign button 1.
♪: Initializing a patch only affects the edit buffer. It doesn't erase the patch where you started, unless
you decide to save your new patch on top of the old one.
14 Arturia - User Manual PolyBrute - Create a Patch
3.2.2. VCO 1
After the patch has been initialized, play a note on the keyboard. You'll hear a simple, bright
waveform from VCO 1 only.
In the Mixer section, press the VCO 1 Filter button repeatedly until the LED inside the orange
circle is lit. The filter sections are color-coded to match the circles, so this means that VCO 1
is routed to the Steiner filter.
Adjust the VCO 1 Tune knob u p, down, and back to center. This is how to set its basic pitch.
Arturia - User Manual PolyBrute - Create a Patch 15
3.2.2.1. VCO 1 waveform mix
PolyBrute VCOs constantly generate three basic waveforms (sawtooth, triangle, and
square), with two knobs on the bottom row of the VCO module for adjusting the mix
between them. To observe this:
1. Turn the second and third knobs counter-clockwise so they point to the sawtooth
and the sigma (Σ), respectively.
2. Hold a note and turn the second knob through its full range: 100% left = sawtooth;
100% right = triangle. A middle position provides a blend of both.
3. For now, leave this knob at 100% right so all you hear is the triangle wave. This
makes it easier to hear what the third knob does.
4. Sigma (Σ) is a math symbol that means "the sum of." When the third knob points
there, that means all you hear is the sum of the output from the second knob (i.e.,
the mix between the saw and triangle waves).
5. Turn the third knob gradually to the right. The square wave begins to be heard.
6. When the third knob is 100% right, only the square wave is heard. To prove this,
move the Saw/Triangle wave knob through its full range. You should hear no
change to the sound.
7. Turn the Sigma/Square wave knob to the 12:00 position and move the Saw/
Triangle wave knob to experiment with the blend between all three waveforms.
3.2.2.2. Shape the VCO 1 waveform
Each waveform mix knob has a related shaper/enhancer in the top row. First some
definitions:
• Metalizer adds intense harmonics to the triangle waveform through a process
known as
• Pulse Width changes the sound of the square wave from "round" to increasingly
narrow.
Turn the second bottom-row knob to 100% right (triangle), the third knob to 100% left (Σ),
and we'll learn about the top-row knobs.
1. Play a note and slowly turn Metalizer from minimum to maximum. The sound
becomes more "edgy."
2. Turn Metalizer down to zero and turn the third bottom-row knob from Σ to the
square wave.
3. Turn Pulse Width to 100% left. This is the pure square wave.
4. Play a note and slowly turn Pulse Width from minimum to maximum. The sound
becomes thinner as the pulse width narrows. At 100% right the pulse wave is so
thin it is barely audible.
Now return those four knobs to 100% left (pure sawtooth wave) and let's explore the Steiner
filter.
wavefolding
.
16 Arturia - User Manual PolyBrute - Create a Patch
3.2.3. VCF 1 (Steiner)
The Steiner filter defaults to lowpass mode in the Init patch, which means that anything
below the corner frequency is allowed to pass; anything above it is gradually filtered out.
1. Sweep the Cutoff knob through its full range while holding a note. There's no
sound when the knob is all the way down because the lowpass filter is blocking
all frequencies from passing.
2. Move the Resonance knob halfway up and sweep the filter again. Resonance
emphasizes the corner frequency of the filter.
3. Turn the Filter type knob to HP (halfway u p) and sweep the filter again. Notice
how the frequencies disappear from the bottom u p, and at the maximum cutoff
value there is no sound. HP (highpass) is the opposite of LP (lowpass): HP allows
high frequencies to pass and filters out the lower frequencies.
4. Turn the Filter type knob to BP (100% right) and sweep the filter again. BP
(bandpass) allows a center band of frequencies to pass and filters out the higher
and lower frequencies. Resonance emphasizes the corner frequencies. As the
filter sweeps through its range, the center band moves up and down through the
audio spectrum.
5. Set the Filter type knob halfway between LP and HP. This turns VCF 1 into a
"Notch filter", which is the opposite of bandpass: the LP and HP filters work
together to
frequencies. As the filter sweeps through its range, the notch moves up and down
through the audio spectrum.
6. Now try the Filter type knob at other positions. For example, halfway between HP
and BP provides a 50/50 mix of both types.
remove
frequencies in the middle. Resonance emphasizes the corner
♪: The Master Cutoff knob can be used for the above example instead. But it actually controls both
filters at the same time, which may not always be what you want.
3.2.3.1. About the other knobs...
For this overview we've only used half of the knobs in the VCF 1 module (Cutoff, Resonance,
and Filter type). Here's a quick description of the other controls, with details in the Filters
section [p.28] of the Voice Architecture chapter [p.21].
Arturia - User Manual PolyBrute - Create a Patch 17
• Brute Factor adds distortion by feeding the filter output back into itself. This can
be subtle or wild. Try with various VCO 1 mixer levels.
• VCF ENV Amt routes VCF 1 through VCF ENV. Lower the Cutoff to make headroom
for the envelope.
• Level controls the output level of VCF 1. Results are most obvious when the Series/
Para knob is 50-100% to the left.
The sound has a basic tone now, but it needs more of a
shape
. That's what envelopes do, so
we'll cover that next.
3.2.4. VCA ENV
PolyBrute has three envelopes. We'll use the VCA ENV to learn what envelopes do, and
describe the other two later.
The VCA (voltage-controlled amplifier) is the final output stage prior to the Effects. VCA ENV
is used to shape the amplitude of the VCA. It's a 4-stage envelope (Attack/Decay/Sustain/
Release, or ADSR). Here's what each stage does:
• Attack sets the time it takes the envelope to reach its full level.
• Decay determines how long it takes the envelope to reach the Sustain level.
• Sustain is the target level for the Decay. The envelope decays until it reaches this
level, unless the key is released before it gets there.
• Release determines how long it takes the envelope to fade out after the key is
released.
These steps show the function of each stage. If needed, initialize the sound as described
here [p.14].
1. Adjust the VCA ENV Attack slider while playing the keyboard. Higher values mean
slower attack times. Use a fast attack for now.
2. Move the Decay fader up and down. The initialized sound won't change, because
the Sustain level is at maximum by default. The envelope can't decay because it
has nowhere to go.
3. Set the Sustain level to 1/4 of the way up, and try the Decay fader again. It
governs the amount of time it takes to settle from the Attack level to the Sustain
level.
4. With Decay and Sustain 1/4 of the way up, play some notes while moving the
Release fader. This controls how long it takes for the envelope to return to zero
after a note is released.
5. The Velo fader adjusts the way the envelope responds to note velocity. With
the fader all the way down the envelope has no dynamic range. When it is at
maximum, playing the keys with varying degrees of force results in notes that
are proportionately softer and louder.
18 Arturia - User Manual PolyBrute - Create a Patch
The other two envelopes are described in this section [p.32]. But here's a quick summary:
• The VCF ENV can shape the harmonic content of both filters. It has the same
controls as the VCA ENV, so it can affect timbre the same way VCA ENV affects
amplitude. Note that VCF ENV Amt interacts with Cutoff to provide headroom for
the VCF ENV to work.
• The MOD ENV is a 5-stage envelope with a Delay stage prior to the Attack stage
(DADSR). It only affects the patch when used as a modulation source in the Mod
Matrix [p.48].
3.2.5. Enter the Matrix
The true power of PolyBrute lies in how its parameters interact. For a glimpse of this we'll
set up a couple of modulation routes in the Matrix. But first an overview of the Mod Matrix:
• It holds 32 mod routes arranged in 4 pages of 8 destinations each
• Up to 64 connections can be made within those 32 routes
• Sources are clearly labeled (rows A-L)
• Easy destination assignment: hold an Assign button under the display, move a
knob or fader
• Quick connections: press the Matrix button where the source and destination
intersect
• Simple mod edits: select a route, turn the Amount knob in either direction
3.2.5.1. Add LFO to VCO pitch
1. Starting with an initialized patch [p.14], press the large Mods button.
2. To connect LFO 1 to VCO pitch (Pitch Global), press Matrix button D1. The button
turns purple to indicate the connection, and a pop-u p window shows "Amount: 0
semitones".
3. Hold a note and turn the Amount knob in either direction. Pitch modulation is
heard.
4. Turn the LFO 1 Rate knob to change the modulation speed, etc.
5. To break the mod connection, press button D1 again. A dark button means there
is no connection.
6. Press D1 again to reconnect the route, then press any other Matrix button. D1 turns
blue to indicate an active mod route, and the purple button indicates the current
selection.
3.2.5.2. Aftertouch control of VCF 2 cutoff
1. Starting with an initialized patch [p.14], press the large Mods button.
2. To assign the VCF 2 cutoff as mod destination 4, hold Assign button 4 and turn
the Ladder Cutoff knob.
3. To connect Aftertouch to VCF 2 cutoff, press Matrix button I4. The button turns
purple to indicate the connection, and a pop-up window shows "Amount: 0%".
4. Use the Amount knob to select a value of -100%.
5. Play a key and slowly increase the pressure on the key. The VCF 2 cutoff
frequency decreases as pressure increases.
We've barely scratched the surface! There's an entire chapter dedicated to the Mod Matrix
[p.48]. But a great way to learn more is to peek inside your favorite patches and see how the
modulation routes were used.
Arturia - User Manual PolyBrute - Create a Patch 19
3.2.6. Add Effects
The Effects section [p.78] can add motion and ambience to any patch. Even the initialized
patch can sound great! Simply raise the Modulation Intensity knob to add some chorus,
raise the Delay and Reverb levels to suit your tastes, and enjoy.
3.3. Save the patch
If you want to keep your new patch, there are several methods described here [p.46]. But if
you already know of an available preset location, hold Save and select that location with the
Matrix buttons. Instructions for naming the patch are here [p.47].
3.4. That was only sound A...
As mentioned earlier, every preset is made u p of two parallel sounds (A and B). The Morph
knob of an initialized preset points to sound A by default. If you're ready, turn the Morph
knob to B, go back to create a new patch [p.14], and do it all again for sound B using different
values. Then set the Morph knob to the optimal position between A and B and save the
revised patch. The position of the Morph knob is stored with the patch.
20 Arturia - User Manual PolyBrute - Create a Patch
4. VOICE ARCHITECTURE
The PolyBrute has two types of sound sources: voltage-controlled oscillators (VCOs) and
a noise generator. Their levels are set by the Mixer, then they pass through one or both
filters before heading to the voltage-controlled amplifier (VCA). Each of those items can be
modulated by multiple sources, thanks to the Mod Matrix. It all adds up to the best set of
sound sculpting tools a synthesist could want.
♪: The small orange circles near many of the knobs, sliders, and buttons mean there's a shortcut
to the underlying settings of those parameters. Hold [Settings] and activate that control, or hold one of
those buttons for about 1 second, and you'll be taken to a related page.
4.1. A note about tuning
Analog components tend to drift a bit, so you may need to auto-tune PolyBrute occasionally.
This helps to ensure per-voice consistency of pitch, keyboard tracking, envelope response,
etc.
We recommend that you let the circuits stabilize for 5-10 minutes after power-up. After that,
if it seems the VCO tuning or filter tracking could be tighter, you can run one or more of the
calibration routines. Navigate to Settings > Misc > Voice Auto-Tuning and then select options
1-3, depending on the desired target.
4.2. Morph basics
The morphing aspect of the PolyBrute is an essential part of its voice architecture. In a
nutshell, every patch is made up of two sounds (A and B), and PolyBrute can morph
seamlessly between them. The sonic metamorphoses can be subtle or profound.
Almost every section of this chapter applies equally to sounds A and B. Once you are
comfortable with the basics, try editing the patch with the Morph knob set all the way to
sound A, all the way to sound B, and in various positions between the two until the patch is
perfect.
For an in-depth look and the morphing features, see the Morph Mode chapter [p.72].
Arturia - User Manual PolyBrute - Voice Architecture 21
4.3. VCOs 1 and 2
The VCOs have some similar features that we'll cover here. VCO-specific features are
described in the sections that follow.
4.3.1. Similar features
Both VCOs have these parameters.
4.3.2. Tune
Each VCO has a Tune knob, but they can respond differently for each preset.
• The VCO 1 Tune knob range is +/- 2 octaves, and its LED lights when set to an
octave increment (+/- 2, +/- 1, or center). The knob tuning changes chromatically,
but when "Pitch Vco1" is a mod route destination it can change smoothly,
chromatically, or according to a scale.
• The VCO 2 Tune knob has a variable range, and also several ways it can be
modulated through the Mod Matrix.
Hold [Settings] and move one of those controls to access their parameters. They are also
found at Settings/Voice/VCO.
4.3.2.1. Pulse Width
Pulse Width adjusts the distance between the rising and falling edges of a square wave.
When the distances are equal, that's a pure square wave; it sounds a bit like a clarinet.
When the distances are not equal, the square wave sounds increasingly thin. At the
maximum setting the square wave disappears, and so does the sound.
4.3.2.2. Mixable waveforms
The VCOs constantly generate three basic waveforms (sawtooth, triangle, and square), with
two knobs on the bottom row of the VCO module for adjusting the mix between them. For a
detailed explanation, see VCO 1 waveform mix [p.16]. It applies equally to both VCOs.
22 Arturia - User Manual PolyBrute - Voice Architecture
4.3.3. VCO 1
VCO 1 has two controls that VCO 2 does not:
4.3.3.1. Metalizer
What is wavefolding? Imagine the peak of a triangle folding over in the middle: now
two sharp peaks are visible on either side. Then picture
on. That's what the Metalizer does to a triangle wave; it becomes more "jagged," which
increases the harmonic content.
But a waveform is bipolar, so actually the top peaks fold downward and the "bottom peaks"
fold upward, as in this image.
4.3.3.2. Sync 2 > 1
Oscillator sync is a popular feature on analog synthesizers. Normally it takes two forms
(hard sync or soft sync), and the two oscillators are either synced or they aren't. But the way
PolyBrute does this is unusual: its oscillator sync is continuously variable from off to hard
sync, progressing through many levels of soft sync on the way.
Increasing the value of Sync 2 > 1 progressively locks the pitch of VCO 1 to VCO 2. At the
maximum setting, turning the VCO 1 Tune knob doesn't change the pitch of VCO 1; instead it
sweeps through a series of synced harmonics.
those
peaks folding over, and so
Arturia - User Manual PolyBrute - Voice Architecture 23
4.3.4. VCO 2
VCO 2 is very influential: it can force VCO 1 to sync its harmonics (Sync 2 > 1 above),
modulate its fundamental frequency (FM 2 > 1 [p.24]), modulate VCF 1 (VCO 2 > VCF 1 [p.31]),
and appear directly in the mixer, all at the same time. Plus it has a descendant: a suboscillator, described in the next section.
VCO 2 has two controls that VCO 1 does not:
4.3.4.1. Sub
The sub-oscillator produces a sine wave that is always an octave below the fundamental
pitch of VCO 2. It is not shaped by the VCO 2 waveform mix (saw, triangle, square), but
when added to the output of VCO 2 it can modulate VCO 1 and VCF 1 (through Sync 2 > 1 and
VCO 2 > VCF1, respectively).
The Sub knob adjusts the VCO 2 mix between no sub-oscillator (full left), equal parts
fundamental and sub-oscillator (halfway up), and sub-oscillator only (full right). The
following pictures illustrate the effect the sub-oscillator has on a pure sawtooth wave from
VCO 2:
Sub-oscillator level = 0% Sub-oscillator level = 50% Sub-oscillator level = 100%
Note that the energy output of VCO 2 is greater when the sub-oscillator mix is at 50%, since
both sources are present.
4.3.4.2. FM 2 > 1
FM (Frequency Modulation) is when the frequency of one oscillator is used to modulate the
frequency of another. The FM 2 > 1 control lets VCO 2 do this to VCO 1. The result is very
different than simply mixing the two oscillators together. In fact, you can hear this effect
even if the Mixer level for VCO 2 is zero.
For example, try this:
1. Set both VCO waveforms to Triangle and turn u p both in the Mixer so you can
tune VCO 2.
2. Play a note and turn VCO 2 all the way down in the Mixer.
3. Now gradually raise the FM 2 > 1 level. The tone becomes increasingly complex,
even though you're only hearing VCO 1. This is the effect VCO 2 is having
upon VCO 1. This effect will also be modified if you change the VCO 2 pitch or
waveform mix.
♪: A high FM 2 > 1 value can heavily affect the pitch. But using it in combination with a high Sync 2 >
1 value can provide steady pitched tones with complex harmonic content.
24 Arturia - User Manual PolyBrute - Voice Architecture
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