Page 1
USER MANUAL
_POLYBRUTE 12
Page 2
Special Thanks
DIRECTION
Frédéric Brun Kevin Molcard
PROJECT MANAGEMENT
Bruno Pillet
PRODUCT MANAGEMENT
Sébastien Rochard (lead) Julien Viannenc
ENGINEERING
Bruno Pillet
Thierry Chatelain
Thomas Aubert
Osée Rajaiah
Olivier Delhomme
DESIGN
Thierry Chatelain
Bruno Pillet
SOUND DESIGN
Jean-Michel Blanchet
Victor Morello
Clément Bastiat
Olivier Briand
Euan Dickinson
Michael Geyre
Simon Gallifet
Boele Gerkes
Marc Antigny
Alexandre Adam
Loris De Marco
Kevin Molcard
Timothée Behety
Sébastien Rochard
DesignBox
Olivier Grall
Lily Jordy
Tobias Menguser
Matt Pike
Kuba Sojka
Arovane
Katsunori Ujie
Antony Baldino
Lionel Ferragut
Nadine Lantheaume
Nicolas Dubois
Jérôme Blanc
Aurore Baud
Frédéric Brun
Julien Viannenc
Diego Tejeida
Emptyvessel
Florian Marin
Graphyt
Leonard De Leonard
Maxime Desormière
Quentin Feuillard
Sebastien Rochard
Valentin Lepetit
Valentin Foare
Julien Viannenc
Shipwreck Detective
Solidtrax
Sonartraffic
Stewart Walker,
Yves Usson
QUALITY
Emilie Jacuszin
QUALITY ASSURANCE
Arnaud Barbier
Germain Marzin
Florian Marin
Adrien Soyer
Nicolas Stermann
Julien Viannenc
MANUAL
Stephen Fortner Mike Metlay Jimmy Michon
Bastien Hervieux
Page 3
BETA TESTING
Marco Correia
Jason Cooper
Jean-Marc Gendreau
© ARTURIA SA – 2024 – 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: 3.1.0
Revision date: 14 May 2024
Boele Gerkes
Jason Gibbins
Randy Lee
Are Leistad
Terry Marsden
Davide Puxeddu
T.J. Trifeletti
Börries Wendling
Page 4
Thank you for purchasing the Arturia PolyBrute
12!
This manual covers the features and operation of Arturia’s PolyBrute 12.
In this package you will find:
• One PolyBrute 12 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 12 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 12 user manual and the latest version
of the companion PolyBrute Connect software
• It allows you to receive special offers restricted to PolyBrute 12 owners, such as
third-party sound banks, etc.
Page 5
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.
IMPORTANT SAFETY INSTRUCTIONS
1. Read these instructions.
2. Keep these instructions.
3. Heed all warnings.
4. Follow all instructions.
5. Do not use this apparatus near water.
6. Clean only with dry cloth.
7. Do not block any ventilation openings. Install in accordance with the
manufacturer’s instructions.
8. Do not install near any heat sources such as radiators, heat registers, stoves, or
other apparatus (including amplifiers) that produce heat.
9. Do not defeat the safety purpose of the polarized or grounding plug. A polarized
plug has two blades with one wider than the other. A grounding plug has two
blades and a third grounding prong. The wide blade or the third prong is provided
for your safety. If the provided plug does not fit into your outlet, consult an
electrician for replacement of the obsolete outlet.
10. Protect the power cord from being walked on or pinched particularly at the plugs,
convenience receptacles, and at the point where they exit from the apparatus.
11. Only use attachments/accessories specified by the manufacturer.
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12. Use only with the cart, stand, tripod, bracket, or table specified by the
manufacturer, or sold with the apparatus. When a cart or rack is used, use
caution when moving the cart/ apparatus combination to avoid injury from tipover.
13. Unplug the apparatus during lighting storms or when unused for long periods of
time.
14. Refer all servicing to qualified personnel. Servicing is required when the
apparatus has been damaged in any way, such as power supply cord or plug is
damaged, liquid has been spilled or objects have fallen into the apparatus, or the
apparatus has been exposed to rain or moisture, does not operate normally, or
has been dropped.
15. The apparatus shall be connected to a mains socket outlet with a protective
earthing connection.
16. The mains plug/appliance inlet is used as the disconnect device, the socket-outlet
shall be installed near the equipment and shall be easily accessible.
17. WARNING: To reduce the risk of fire or electric shock, do not expose this
apparatus to rain or moisture. The apparatus shall not be exposed to dripping or
splashing and that no objects filled with liquids, such as vases, shall be placed
on apparatus.
18. Use the equipment in moderate climate.
19. Do not expose the instrument to hot sunlight. The operating temperature range
of the instrument should be 15°-35° C (59°-95° F).
20. The ventilation should not be impeded by covering the ventilation openings with
items, such as newspapers, table-cloths, curtains, etc. This equipment is not
intended to be used on soft support.
21. No naked flame sources, such as lighted candles, should be placed on the
apparatus.
22. If Safeguard Fuse for internal AC input wire needs to be replaced, swap the fuse
with the following technical characteristics : F3.15A, 250v AC.
23. CAUTION: These servicing instructions are for use by qualified service personnel
only. To reduce the risk of electric shock do not perform any servicing other than
that contained in the operating instructions unless you are qualified to do so.
IMPORTANT SAFETY INSTRUCTIONS BY COUNTRIES
DENMARK
Apparatets stikprop skal tilsluttes en stikkontakt med jord, som giver forbindelse til
stikproppens jord.
FINLAND
Laite on liitettävä suojakoskettimilla varustettuun pistorasiaan.
NORWAY
Apparatet må tilkoples jordet stikkontakt.
SWEDEN
Apparaten skall anslutas till jordat uttag.
Page 7
Introduction
Congratulations on your purchase of the Arturia PolyBrute 12!
The PolyBrute took the world by storm, with its six killer analog voices, two luscious filters,
and much, much more. It made a huge number of fans, but there was room to do even
more... which brings us to the PolyBrute 12.
This new powerhouse synthesizer not only includes a bunch of new features and upgrades
that can be shared by the original PolyBrute, but it delivers them in a package with double
the polyphony and an amazingly expressive and innovative FullTouch MPE technology
keyboard, giving rise to a whole new set of performance possibilities.
Overview
• 12-voice polyphonic analog synthesizer with split/layer capability
• 5-octave, velocity-sensitive, FullTouch MPE technology keyboard with adjustable
curves
• Continuous deep/subtle sound transformations through a global morphing
feature
• Poly, Mono, and Unison modes with selectable voice allocation
• Multiple aftertouch modes for new ways to play and articulate melodies and
harmonies
• Chord memory mode for triggering a chord from a single note
• Support for MPE (MIDI Polyphonic Expression)
• 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 menu: 15 different types including chorus, phaser, flanger,
ring mod, bitcrusher, downsampler, distortions...
• Dedicated digital delay and digital reverb
• Effects can be used as insert or send effects (with user-configurable ordering),
or bypassed for a pure analog signal path
• Eight EQ presets
• Multiple stereo voicing modes for wide and animated soundstaging
• Two independent displays provide real-time feedback on edits to envelopes, filter
curves, and many other parameters
• 768 preset memories, including 480 already designed presets. Theses presets
are 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 Connect
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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
• Continuous soft > hard oscillator sync (2 > 1)
• Morph: Every patch has two sounds (A+B); most parameters can morph between
• Three syncable, multi-waveform LFOs per voice
• Three loopable envelopes: VCF/VCA (ADSR), Mod (DADSR)
• Multi-color noise generator
• Powerful, easy-to-use modulation matrix
• Variable “Analog Accuracy” to recreate the character of vintage synthesizers
Performance controls
• Morphée, a 3D left-hand controller that can modulate parameters along the X, Y,
• Keyboard with velocity and FullTouch MPE technology
• 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 not included)
Sequencer/Arpeggiator
• Polyphonic up to 12 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 and time division settings
• Multiple playback modes and directions, including powerful Pattern mode
• Convert arpeggios to sequences
• Step record/editing
• Matrix Arpeggiator mode for constructing complex arpeggios
• Tempo range 30-240 BPM
PolyBrute Connect
• Free, downloadable editor/librarian app (macOS, Windows) for registered
• Two-way editing: turn a knob, the editor follows, and vice versa
• Adjust internal settings quickly, such as envelope curves, timbrality settings, etc.
• Preset Management features (organize, search by type and style, export, import,
• Can act as a plug-in for DAW control of the synthesizer in real time
◦ Steiner: 12dB per octave (continuous multimode), plus our famous
Brute Factor for extra grit
◦ Ladder: 24dB per octave with adjustable output 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)
an A and B setting. Details are here.
and Z axes simultaneously
PolyBrute owners
share with other users)
Page 9
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 PolyBrute Connect
• 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 12.
One more thing: Be sure to visit our website to grab the latest firmware, download the
PolyBrute Connect software, and check out the tutorials and FAQs.
Musically yours,
The Arturia team
Page 10
Table Of Contents
1. Overview............................................................................................................................................................................ 6
1.1. 12-Voice Polyphony ............................................................................................................................................................... 6
1.2. Front panel................................................................................................................................................................................. 6
1.2.1. FullTouch Polyphonic Keyboard.......................................................................................................................................................................... 6
1.2.2. Left side .............................................................................................................................................................................................................................. 7
1.2.3. Right side ........................................................................................................................................................................................................................... 8
1.2.4. The Matrix panel ........................................................................................................................................................................................................... 8
1.3. Rear panel .................................................................................................................................................................................. 9
1.3.1. Connections ................................................................................................................................................................................................................... 10
1.4. About this manual.............................................................................................................................................................. 10
2. PolyBrute 12 Basics.................................................................................................................................................... 11
2.1. User interface ......................................................................................................................................................................... 11
2.2. Master controls ..................................................................................................................................................................... 11
2.3. Auto-calibrate PolyBrute 12.......................................................................................................................................... 12
2.4. What is digitally-controlled analog? ..................................................................................................................... 12
2.5. Load a preset ........................................................................................................................................................................ 13
2.6. Try this!...................................................................................................................................................................................... 14
2.6.1. Sweep the filters ......................................................................................................................................................................................................... 14
2.6.2. Start the arpeggiator............................................................................................................................................................................................... 14
2.6.3. Move Morph from A to B....................................................................................................................................................................................... 14
3. Create a Patch ............................................................................................................................................................. 15
3.1. Subtractive synthesis........................................................................................................................................................ 15
3.2. Create a new patch .......................................................................................................................................................... 15
3.2.1. Initialize the patch..................................................................................................................................................................................................... 16
3.2.2. VCO 1 ................................................................................................................................................................................................................................. 16
3.2.3. VCF 1 (Steiner) ............................................................................................................................................................................................................. 18
3.2.4. VCA ENV ........................................................................................................................................................................................................................ 20
3.2.5. Enter the Matrix .......................................................................................................................................................................................................... 21
3.2.6. Add Effects.................................................................................................................................................................................................................... 22
3.3. Save the patch..................................................................................................................................................................... 22
3.4. That was only sound A.................................................................................................................................................. 22
4. Voice Architecture ..................................................................................................................................................... 23
4.1. A note about tuning........................................................................................................................................................... 23
4.2. Morph basics ........................................................................................................................................................................ 23
4.3. VCOs 1 and 2 ........................................................................................................................................................................ 23
4.3.1. Similar features.......................................................................................................................................................................................................... 24
4.3.2. Tune................................................................................................................................................................................................................................... 24
4.3.3. VCO 1 ................................................................................................................................................................................................................................ 25
4.3.4. VCO 2............................................................................................................................................................................................................................... 26
4.3.5. Noise generator.......................................................................................................................................................................................................... 27
4.4. Mixer........................................................................................................................................................................................... 27
4.5. LFOs ........................................................................................................................................................................................... 27
4.5.1. LFOs 1 and 2 ................................................................................................................................................................................................................. 28
4.5.2. LFO 3 ................................................................................................................................................................................................................................ 29
4.5.3. Unipolar vs. bipolar................................................................................................................................................................................................. 29
4.5.4. LFO sync division..................................................................................................................................................................................................... 29
4.5.5. Rate control for synced LFOs ......................................................................................................................................................................... 30
4.6. Filters ........................................................................................................................................................................................ 30
4.6.1. Shared features........................................................................................................................................................................................................... 31
4.6.2. VCF 1 (Steiner) ............................................................................................................................................................................................................ 32
4.6.3. VCF 2 (Ladder)........................................................................................................................................................................................................... 33
4.7. Filter FM.................................................................................................................................................................................... 33
4.7.1. VCO 2 > VCF 1 ............................................................................................................................................................................................................... 33
4.7.2. Noise > VCF 2............................................................................................................................................................................................................... 33
4.8. Envelopes................................................................................................................................................................................ 34
4.8.1. Envelope curves.......................................................................................................................................................................................................... 35
4.8.2. VCF/VCA velocity modes .................................................................................................................................................................................... 35
4.8.3. Envelope loop modes ............................................................................................................................................................................................ 35
4.8.4. Envelope Retriggering ........................................................................................................................................................................................... 35
4.9. Stereo spread....................................................................................................................................................................... 36
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4.10. FX routing selector ......................................................................................................................................................... 37
5. Performance Controls............................................................................................................................................ 38
5.1. Wheels....................................................................................................................................................................................... 38
5.1.1. Pitch..................................................................................................................................................................................................................................... 38
5.1.2. Wheel................................................................................................................................................................................................................................ 38
5.2. Octave buttons.................................................................................................................................................................... 39
5.3. Morphée................................................................................................................................................................................... 39
5.4. Voice/control mode buttons...................................................................................................................................... 40
5.4.1. Polyphony ..................................................................................................................................................................................................................... 40
5.4.2. Timbrality........................................................................................................................................................................................................................ 41
5.4.3. Wheel modes ............................................................................................................................................................................................................. 42
5.4.4. Morphée modes ........................................................................................................................................................................................................ 43
5.4.5. Aftertouch modes .................................................................................................................................................................................................... 43
5.5. Glide ........................................................................................................................................................................................... 44
5.5.1. Glide in Split mode ................................................................................................................................................................................................... 44
5.6. Morph knob ........................................................................................................................................................................... 45
5.7. Ribbon controller................................................................................................................................................................ 45
5.8. Expression pedals ............................................................................................................................................................. 45
5.9. Motion recorder .................................................................................................................................................................. 46
5.9.1. The Stretch factor...................................................................................................................................................................................................... 46
5.9.2. Exceptions ..................................................................................................................................................................................................................... 46
5.10. Voice allocation modes............................................................................................................................................... 47
5.10.1. Polyphonic allocation............................................................................................................................................................................................ 47
5.10.2. Unison / Mono allocation ................................................................................................................................................................................. 48
6. Working with Presets ............................................................................................................................................. 49
6.1. Selecting a preset ............................................................................................................................................................... 49
6.2. Snapshots............................................................................................................................................................................... 49
6.3. Random patch generation ......................................................................................................................................... 50
6.4. Panel mode .......................................................................................................................................................................... 50
6.5. Saving a preset .................................................................................................................................................................. 50
6.5.1. Quick Save.................................................................................................................................................................................................................... 50
6.5.2. Save to another location ...................................................................................................................................................................................... 51
6.5.3. Use PolyBrute Connect.......................................................................................................................................................................................... 51
7. Working with Mods.................................................................................................................................................. 52
7.1. Creating a mod route....................................................................................................................................................... 52
7.1.1. Select the source......................................................................................................................................................................................................... 52
7.1.2. Assign a destination................................................................................................................................................................................................. 52
7.1.3. One source to many destinations / many sources to one destination ................................................................................. 53
7.1.4. Less-obvious destinations.................................................................................................................................................................................... 53
7.2. Edit an existing modulation ........................................................................................................................................ 54
7.3. Modulate a mod route .................................................................................................................................................... 54
7.4. Erase all mod routes........................................................................................................................................................ 55
7.5. Mod source list..................................................................................................................................................................... 55
7.5.1. What is the Voices source?................................................................................................................................................................................ 56
8. The Sequencer and Arpeggiator ..................................................................................................................... 57
8.1. Common features .............................................................................................................................................................. 57
8.1.1. The Home page ........................................................................................................................................................................................................... 58
8.1.2. Hold mode...................................................................................................................................................................................................................... 58
8.1.3. Metronome..................................................................................................................................................................................................................... 58
8.1.4. Time divisions.............................................................................................................................................................................................................. 58
8.1.5. Swing percent.............................................................................................................................................................................................................. 58
8.1.6. Rate..................................................................................................................................................................................................................................... 58
8.1.7. Gate..................................................................................................................................................................................................................................... 58
8.1.8. Transport controls..................................................................................................................................................................................................... 59
8.1.9. Tap....................................................................................................................................................................................................................................... 59
8.2. The Arpeggiator.................................................................................................................................................................. 59
8.2.1. ARP home page.......................................................................................................................................................................................................... 59
8.2.2. Octave range............................................................................................................................................................................................................... 59
8.2.3. Copy to Seq.................................................................................................................................................................................................................. 59
8.2.4. Play Mode: Arp.......................................................................................................................................................................................................... 60
8.3. The Sequencer ................................................................................................................................................................... 60
8.3.1. Sequence playback................................................................................................................................................................................................... 61
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8.3.2. Live edits ......................................................................................................................................................................................................................... 61
8.3.3. SEQ home page ........................................................................................................................................................................................................ 63
8.3.4. Play Mode: Seq .......................................................................................................................................................................................................... 64
8.3.5. Sequence length ....................................................................................................................................................................................................... 64
8.3.6. Real-time recording ................................................................................................................................................................................................ 65
8.3.7. Step recording ............................................................................................................................................................................................................ 65
8.3.8. The Modulation tracks........................................................................................................................................................................................... 66
8.4. Matrix Arpeggiator ............................................................................................................................................................ 66
8.4.1. Matrix Arp home page ............................................................................................................................................................................................ 67
8.4.2. Polyphonic arpeggios............................................................................................................................................................................................. 67
8.4.3. Approach notes ......................................................................................................................................................................................................... 68
8.4.4. Play Mode: Matrix Arp ........................................................................................................................................................................................... 68
8.5. Sequence Management ................................................................................................................................................ 69
8.5.1. Copy current sequence ......................................................................................................................................................................................... 69
8.5.2. Paste sequence ......................................................................................................................................................................................................... 69
8.5.3. Paste sequence + automation ......................................................................................................................................................................... 69
8.5.4. Clear current sequence........................................................................................................................................................................................ 69
8.5.5. Erase notes................................................................................................................................................................................................................... 69
8.5.6. Erase automation..................................................................................................................................................................................................... 69
8.5.7. Transpose sequence............................................................................................................................................................................................... 69
9. Sequencer Step Record and Step Edit ....................................................................................................... 70
9.1. What’s the difference?................................................................................................................................................... 70
9.2. Overdub ON vs. Overdub OFF................................................................................................................................... 70
9.3. Step Record ........................................................................................................................................................................... 70
9.3.1. Enter / edit one step .................................................................................................................................................................................................. 71
9.3.2. Enter / edit many steps.......................................................................................................................................................................................... 71
9.4. Step edit: Notes .................................................................................................................................................................... 72
9.4.1. Add / delete notes...................................................................................................................................................................................................... 72
9.4.2. Change the duration ............................................................................................................................................................................................... 73
9.4.3. Select a purple step ................................................................................................................................................................................................. 73
9.4.4. Exit step edit.................................................................................................................................................................................................................. 73
9.5. Step record: Mods .............................................................................................................................................................. 73
9.5.1. Enter / edit one mod step ..................................................................................................................................................................................... 74
9.5.2. Enter / edit many mods........................................................................................................................................................................................ 74
9.5.3. Delete a Modulation track.................................................................................................................................................................................... 74
10. Morph Mode ............................................................................................................................................................... 75
10.1. What is Morph Mode? .................................................................................................................................................. 75
10.1.1. Morph vs. crossfade................................................................................................................................................................................................ 75
10.2. The [Morph] knob ............................................................................................................................................................. 76
10.3. Morphing with Morphée .............................................................................................................................................. 76
10.4. Morph and mod routes ................................................................................................................................................ 77
10.5. Morphing sounds ............................................................................................................................................................. 77
10.5.1. Editing sounds A and B........................................................................................................................................................................................ 77
10.5.2. Morph utilities............................................................................................................................................................................................................ 79
10.6. What can morph?......................................................................................................................................................... 80
10.6.1. Mixer destinations (filter routing)................................................................................................................................................................ 80
10.6.2. LFO 1 / LFO 2 waveforms ................................................................................................................................................................................. 81
10.6.3. LFO 1-3 Retrig modes........................................................................................................................................................................................... 81
10.6.4. LFO 1-3 Sync .............................................................................................................................................................................................................. 81
10.6.5. LFO 3 Single.............................................................................................................................................................................................................. 82
10.6.6. LFO 3 X LFO 1 ........................................................................................................................................................................................................... 82
11. The Effects..................................................................................................................................................................... 83
11.1. FX routing................................................................................................................................................................................ 83
11.1.1. Mod FX Insert Routing............................................................................................................................................................................................ 83
11.1.2. Mod FX Send Routing............................................................................................................................................................................................. 83
11.2. Modulation Effects............................................................................................................................................................ 84
11.3. Distortion Effects ............................................................................................................................................................... 84
11.4. EQ................................................................................................................................................................................................ 85
11.5. Delay ......................................................................................................................................................................................... 85
11.5.1. Delay controls ............................................................................................................................................................................................................. 85
11.5.2. Delay sync options ................................................................................................................................................................................................. 86
11.5.3. Delay filter options.................................................................................................................................................................................................. 86
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11.6. Reverb ...................................................................................................................................................................................... 86
11.6.1. Reverb filter options................................................................................................................................................................................................ 86
11.7. Effects preset shortcut .................................................................................................................................................... 87
12. Settings........................................................................................................................................................................... 88
12.1. Settings overview.............................................................................................................................................................. 88
12.1.1. Preset settings ............................................................................................................................................................................................................ 88
12.1.2. Preset > Synth Voice settings........................................................................................................................................................................... 88
12.1.3. Preset > Out Section settings............................................................................................................................................................................ 89
12.1.4. Preset > Expression Control settings........................................................................................................................................................... 89
12.1.5. Preset > Preset settings....................................................................................................................................................................................... 90
12.1.6. Global settings .......................................................................................................................................................................................................... 90
12.2. Preset>Synth Voice .......................................................................................................................................................... 91
12.2.1. Synth Voice>VCO....................................................................................................................................................................................................... 91
12.2.2. Synth Voice>Envelopes ....................................................................................................................................................................................... 95
12.2.3. Synth Voice > LFO/Voices.................................................................................................................................................................................. 96
12.2.4. Synth Voice>Voicing ............................................................................................................................................................................................... 97
12.3. Preset>Out section ...................................................................................................................................................... 100
12.3.1. Out>Preset volume............................................................................................................................................................................................... 100
12.3.2. Out>Stereo modes .............................................................................................................................................................................................. 100
12.3.3. Out>EQ Preset........................................................................................................................................................................................................ 100
12.3.4. Modulation Settings.............................................................................................................................................................................................. 101
12.3.5. Out>Delay settings............................................................................................................................................................................................... 102
12.3.6. Out>Reverb Settings............................................................................................................................................................................................ 103
12.4. Preset>Expression control ........................................................................................................................................ 104
12.4.1. Expression>Bend range ..................................................................................................................................................................................... 104
12.4.2. Expression>Vibrato Options........................................................................................................................................................................... 104
12.4.3. Expression>Keyboard ........................................................................................................................................................................................ 104
12.4.4. Expression>Morphée Modes .......................................................................................................................................................................... 107
12.4.5. Expression>Ribbon Modes .............................................................................................................................................................................. 108
12.4.6. Expression: Exp1, Exp2....................................................................................................................................................................................... 109
12.4.7. Expression>Hold..................................................................................................................................................................................................... 109
12.4.8. Expression>Duo Control.................................................................................................................................................................................... 109
12.5. Preset>Preset..................................................................................................................................................................... 110
12.5.1. Preset info>Init ......................................................................................................................................................................................................... 110
12.5.2. Preset info>Details ................................................................................................................................................................................................ 110
12.5.3. Preset info>Generate........................................................................................................................................................................................... 110
12.5.4. Preset info>Edit Sound designer.................................................................................................................................................................. 110
12.6. Global>Sync .......................................................................................................................................................................... 111
12.6.1. Sync>Source................................................................................................................................................................................................................. 111
12.6.2. Sync>Clock Type ...................................................................................................................................................................................................... 111
12.6.3. Sync>Metronome..................................................................................................................................................................................................... 111
12.6.4. Sync>Tempo Load.................................................................................................................................................................................................. 112
12.6.5. Sync>Clock Send..................................................................................................................................................................................................... 112
12.6.6. Sync>Transport Send ........................................................................................................................................................................................... 112
12.6.7. Sync>Transport Receive...................................................................................................................................................................................... 112
12.7. Global>Keyboard ............................................................................................................................................................. 113
12.7.1. Keyboard>Curves..................................................................................................................................................................................................... 113
12.7.2. Keyboard>Aftertouch Max Sens.................................................................................................................................................................... 114
12.7.3. Keyboard>Pedals.................................................................................................................................................................................................... 114
12.7.4. Keyboard>Knob catch.......................................................................................................................................................................................... 114
12.8. Global>MIDI........................................................................................................................................................................ 115
12.8.1. MIDI>Channels.......................................................................................................................................................................................................... 115
12.8.2. MIDI>Input src.......................................................................................................................................................................................................... 116
12.8.3. MIDI>Output dest.................................................................................................................................................................................................... 116
12.8.4. MIDI>Arp/Seq MIDI out...................................................................................................................................................................................... 116
12.8.5. MIDI>Local control................................................................................................................................................................................................. 116
12.8.6. MIDI>Program change ....................................................................................................................................................................................... 116
12.8.7. MIDI>Enable CC on Knobs................................................................................................................................................................................ 116
12.8.8. MIDI>MPE..................................................................................................................................................................................................................... 117
12.9. Global>Misc .......................................................................................................................................................................... 119
12.9.1. Misc>Compare ........................................................................................................................................................................................................... 119
12.9.2. Misc>Factory reset ................................................................................................................................................................................................. 119
Page 14
12.9.3. Misc>Voice auto-tuning....................................................................................................................................................................................... 119
12.9.4. Misc>Ctrl calibration.............................................................................................................................................................................................. 119
12.9.5. Misc>FW version ..................................................................................................................................................................................................... 121
12.9.6. Misc>LED Brightness............................................................................................................................................................................................. 121
12.9.7. Misc>Sleep Time....................................................................................................................................................................................................... 121
13. Specifications........................................................................................................................................................... 122
13.1. MIDI Continuous Controller assignments ...................................................................................................... 123
14. Legal Information................................................................................................................................................. 125
15. Software License Agreement........................................................................................................................ 127
Page 15
1. OVERVIEW
This chapter provides a quick map of the PolyBrute 12's features, as presented on the front
and rear panels. Links are included to many sections for further reading.
1.1. 12-Voice Polyphony
As the name implies, PolyBrute features 12 voices of polyphony allowing you to play up to
12 notes concurrently. This offers a range of advantages for musicians and composers who
rely on complex and expressive chord progressions, as well as enabling dynamic melodies
and sonic layering - for a totally rich and immersive sound.
Combined with the innovative FullTouch MPE technology keyboard, 12 voices of polyphony
also translates into advanced expressivity, where u p to 12 notes at a time can convey
an independently modulated sound, depending on the style of your play and modulation
parameters.
1.2. Front panel
1.2.1. FullTouch Polyphonic Keyboard
Number Section Description
1 Keyboard Velocity-sensitive, FullTouch MPE technology [p.43]
2 Ribbon [p.45] Routes to any parameter via Mod Matrix
3 Aftertouch button Cycles through aftertouch modes [p.43]
PolyBrute 12 redefines the boundaries of expressiveness that, unlike conventional
keyboards, allows polyphonic aftertouch to be triggered seamlessly across the entire
movement range of each key. From the most delicate touch to dynamic forte keystrokes,
this pioneering keybed gives you the ability to modulate and shape notes independently,
with unparalleled sensitivity.
Arturia - User Manual PolyBrute 12 - Overview 6
Page 16
With 5 aftertouch modes to choose from, add depth, movement and nuance to your
composition like never before.
to discover our new innovative modes, check this page [p.43]
1.2.2. Left side
Number Section Description
1 Performance controls Wheels [p.38], Octave buttons [p.39], Morphée [p.39]
2 Headphone jack Stereo headphone connector
3
4
5 Voice parameters [p.23] VCOs, Filter FM, Noise, Mixer, VCFs, Envelopes, LFOs
7 Arturia - User Manual PolyBrute 12 - Overview
Voice management / Control
routing [p.40]
Morph control knob [p.45] and Glide
[p.44]
Polyphony, Timbrality, Wheel/Morphée routing,
AfterTouch modes
Adjusts balance between sounds A and B, and adjusts
Glide amount
Page 17
1.2.3. Right side
Number Section Description
1 Matrix panel Select presets, Mod Matrix, Seq/Arp, Morph/Matrix editing
2 Motion recorder [p.46] Capture motion of one control, play back at 1/8x to 8x speeds
3 Master controls [p.11]
4 Digital effects [p.83] Modulation (chorus, phaser, etc.), Delay, Reverb, plus controls
5
Sequencer/Arpeggiator
[p.57]
Stereo spread [p.36], FX routing [p.83], Fine Tune, Phones Level, Master
Volume
Arpeggiator, real-time/step-time sequencer, step editing, hybrid
mode
1.2.4. The Matrix panel
The Matrix panel is an 8 x 12 (96-button) grid that can operate in four modes. It is used
to select Presets [p.49], to work with the Sequencer / Arpeggiator [p.57], and to manage
the Modulation Matrix via the Mods [p.52] button. The Morph [p.75] button accesses the
Modulation Matrix with a focus on one or both of the morphing sounds in each patch.
Arturia - User Manual PolyBrute 12 - Overview 8
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1.3. Rear panel
Number Section Connections
1 Master Out Right (Stereo), Left (M ono)
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
or powered speakers, or to an audio interface or mixer. Use the left channel for mono
operation.
2. Sync In/Out - These 3.5mm connectors enable the PolyBrute 12 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 12 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 12 to other MIDI
devices.
6. USB - USB Type B port for connecting PolyBrute 12 to a Mac or PC. This lets you
use Arturia's PolyBrute Connect software (available from the Arturia website), and it also
exchanges MIDI data with your computer. We recommend using a USB cable that is no
longer than 3 meters (10 feet).
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. The
power supply will automatically accept the voltage and frequency in your area, as long as
they are within the above limits.
9 Arturia - User Manual PolyBrute 12 - Overview
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1.3.1. Connections
1.3.1.1. 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.
1.3.1.2. USB
Next, connect the PolyBrute 12 to your computer with a USB cable. Then go to the Arturia
website, register your PolyBrute, and download the PolyBrute Connect software.
PolyBrute Connect 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 clear and easy to use. It's also used to upgrade the PolyBrute 12
firmware.
But that's not all – PolyBrute Connect can be used as a VST plug-in inside a DAW, which in
turn can record the movements of the controls either in the software or on the PolyBrute
itself. As long as the PolyBrute 12 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 12, if you want
those tracks to be stored in your DAW project.
1.3.1.3. MIDI
Almost everything you can touch on the PolyBrute 12 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.123].
1.4. About this manual
We want this manual to be easy to read, so whenever possible we've done the following:
• The names of physical 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: for example, "
Tuning > 1-4
Auto-Tuning [Assign button 4], and select option 1, 2, 3, or 4."
• Some sections of the manual 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.
Arturia - User Manual PolyBrute 12 - Overview 10
" means "Press [Settings], select Misc [Assign button 8], select Voice
Settings > Misc > Voice Auto-
Page 20
2. POLYBRUTE 12 BASICS
2.1. User interface
Here are some general notes about working with PolyBrute 12. 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 outlined circle by a control means "shortcut": Hold [Settings] and activate the
control to access its menu.
• The menu for a button with an outlined circle 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 triggered 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.37] 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 up to ±1 semitone from the knob's center detent.
11 Arturia - User Manual PolyBrute 12 - PolyBrute 12 Basics
not
stored with the preset:
Page 21
2.3. Auto-calibrate PolyBrute 12
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-calibration, 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, or 3 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.
• Restore resets the PolyBrute to the calibration values measured at the factory.
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 12 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 12 has three modes
that allow you to specify how these controls respond when they are first moved. These
settings are available in the software and at
• 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 on the front panel. This process is described in
the Panel mode section [p.50].
Arturia - User Manual PolyBrute 12 - PolyBrute 12 Basics 12
Settings > Misc > Knob Catch
and
smooth changes. This is the default
.
Page 22
2.5. Load a preset
To start exploring the presets, press the large [Presets] button. It turns purple when selected.
PolyBrute 12 has 8 banks of 96 presets (for a total of 768). Select the banks with [Assign 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 Assign 1, assuming 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 [Program >] under the LED display also can be used to select adjacent
patches.
13 Arturia - User Manual PolyBrute 12 - PolyBrute 12 Basics
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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.30].
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
• For hands-free fun, activate the [Hold] button. Then you can tweak the controls
while PolyBrute 12 keeps playing.
• Try other Arp settings: [Play Mode], [Time Div], [Swing], and [Gate]. There are a lot
of possibilities right there.
When you're done, press the [ARP] button to turn off the Arpeggiator. There's more
information about the entire SEQ/ARP section here [p.57].
is set to Auto.
2.6.3. Move Morph from A to B
Part of the reason PolyBrute 12 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.
Try this: Turn the [Morph] knob to position B, do an extreme edit, then turn the knob 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 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 12 on your
own. Now let's have some fun!
Arturia - User Manual PolyBrute 12 - PolyBrute 12 Basics 14
and
sound B.
Page 24
3. CREATE A PATCH
This chapter walks through the basics of sound design on the PolyBrute 12, 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 12 is an
generating raw waveforms, and then uses filters to remove (subtract) unwanted harmonics
to achieve the desired sound.
However, PolyBrute 12 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 (
the pitch frequency
• VCF (
• 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 12 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 VCA (
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.
analog subtractive synthesizer
voltage-controlled oscillators
voltage-controlled filters
) [p.30] shapes the harmonic content
. This method of synthesis starts by
) [p.23] generate the waveforms and control
voltage-controlled amplifier
) section, takes a
3.2. Create a new patch
The following example uses VCO 1, VCF 1, LFO 1, and an envelope. PolyBrute 12 has two or
three of each, but let's keep it simple for now.
15 Arturia - User Manual PolyBrute 12 - Create a Patch
Page 25
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 [Program <] and press [Presets], or
• Navigate to
♪ 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.
Settings > Preset Info
and select Init with [Assign 1].
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 "Steiner" LED is lit. VCO
1 is now routed to the Steiner filter.
Arturia - User Manual PolyBrute 12 - Create a Patch 16
Page 26
Adjust the VCO 1 Tune knob up, down, and back to center. This is how to set its basic pitch.
3.2.2.1. VCO 1 waveform mix
PolyBrute 12 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 [Saw/Triangle] 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 this [Sigma/Square] knob gradually to the right. The square wave begins to
be heard.
6. When the [Sigma/Square] knob is 100% right, only the square wave is heard. To
prove this, move the [Saw/Triangle] knob through its full range. You should hear
no change to the sound.
7. Turn the [Sigma/Square] 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.
wavefolding
.
17 Arturia - User Manual PolyBrute 12 - Create a Patch
Page 27
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.
♪ The Metalizer can also affect all waveforms, not just the triangle, if its mode is set to "Level (All
waves)" in the PolyBrute 12’s settings. See the Metalizer mode [p.93] entry in Chapter 12 for details.
Now return those four knobs to 100% left (pure sawtooth wave) and let's explore the Steiner
filter.
3.2.3. VCF 1 (Steiner)
The Steiner filter defaults to
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 up) and sweep the filter again. Notice how the
frequencies disappear from the bottom up, and at the maximum cutoff value there is no
sound. HP (
and filters out the lower frequencies.
4. Turn the [Filter type] knob to BP (100% right) and sweep the filter again. BP (
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
filter, which is the opposite of bandpass: the LP and HP filters work together to
frequencies in the middle. Resonance emphasizes the corner frequencies. As the filter
sweeps through its range, the notch moves up and down through the audio spectrum.
Arturia - User Manual PolyBrute 12 - Create a Patch 18
highpass
) is the opposite of LP (
lowpass
mode in the Init patch, which means that anything
lowpass
): HP allows high frequencies to pass
bandpass
notch
remove
)
Page 28
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.
♪ The [Master Cutoff] knob can be used for the above example instead. However, remember that 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 to be found in VCF 1, with
details in the Filters section [p.30] of the Voice Architecture chapter [p.23].
• 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 in the VCF 2 (Ladder Filter) section is 50-100% to the left.
The sound has a basic tone now, but it needs more of a
we'll cover that next.
shape
. That's what envelopes do, so
19 Arturia - User Manual PolyBrute 12 - Create a Patch
Page 29
3.2.4. VCA ENV
PolyBrute 12 has three envelopes. We'll use the VCA ENV to learn what envelopes do, and
describe the other two later.
The VCA is the final output stage prior to the Effects, and the 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 go from the full level to 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.
! Note that Attack, Decay, and Release are time values, while Sustain is a level value.
These steps show the function of each stage. If needed, initialize the sound as described
here [p.16].
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.
Arturia - User Manual PolyBrute 12 - Create a Patch 20
Page 30
The other two envelopes are described in this section [p.34]. 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.52].
3.2.5. Enter the Matrix
The true power of PolyBrute 12 lies in how its parameters interact. For a glimpse of this we'll
set up a cou ple of modulation routes in the Matrix. But first an overview of the Modulation
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.16], 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. An unlit 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.16], press the large [Mods] button.
2. To assign the VCF 2 (Ladder Filter) cutoff as mod destination 4, hold [Assign 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.52]. But a great way to learn more is to peek inside your favorite patches and see how the
modulation routes were used.
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3.2.6. Add Effects
The Effects section [p.83] 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 Level] and [Reverb Level] 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.50]. 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.51].
3.4. That was only sound A...
As mentioned earlier, every preset is made up 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.15], 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.
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4. VOICE ARCHITECTURE
The PolyBrute 12 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 outlined circle 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 12
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 [p.12]. Navigate to
options 1-3, depending on the desired target.
4.2. Morph basics
The morphing aspect of the PolyBrute 12 is an essential part of its voice architecture. In a
nutshell, every patch is made up of two sounds (A and B), and PolyBrute 12 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 at the morphing features, see the Morph Mode chapter [p.75].
Settings > Misc > Voice Auto-Tuning
and then select
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.
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4.3.1. Similar features
Both VCOs have these parameters.
4.3.2. Tune
Each VCO has a Tune knob, and can be tuned with customizable knob ranges and octaves.
The default VCO Tune knob range is ±2 octaves, and its LED lights when set to an octave
increment (±2, ±1, or center).
To access and set the range of VCO Tuning (semitones and octaves) and VCO Tune Mod
(scales), simply hold [Settings] and move the corresponding Tune knob. Both options are also
found at
VCO Tuning:
VCO Tune Mod:
Settings > Voice > VCO
• Values for semitones: 1 (continuous), 7 (continuous), 12 (discrete), and 24
(discrete).
• Values for octaves: –2, –1, 0, or +1 octaves.
• VCO1 and VCO2 can be set to Continuous, Chromatic, or Octave Fifth.
• VCO1 has more options such as: Major, Minor, Phrygian Dom, Major 9th, and
Minor 9th.
• VCO2 can also follow VCO1.
.
4.3.2.1. Pulse Width
Pulse Width adjusts the distance between the rising and falling edges of a pulse 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 pulse wave sounds increasingly thin. At the maximum setting
the pulse wave disappears, and so does the sound.
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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.17]. It applies equally to both VCOs.
4.3.3. VCO 1
VCO 1 has two controls that VCO 2 does not:
4.3.3.1. Metalizer
What is
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.
wavefolding
♪ The Metalizer can also affect all waveforms, not just the triangle, if its mode is set to "Level (All
waves") in the PolyBrute 12’s settings. See the Metalizer mode [p.93] entry in Chapter 12 for details.
? Imagine the peak of a triangle folding over in the middle: now
those
peaks folding over, and so
4.3.3.2. Sync 2 > 1
Oscillator sync
(hard sync or soft sync), and the two oscillators are either synced or they aren't. But the way
PolyBrute 12 does this is unusual: its oscillator sync is continuously variable from no sync 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.
is a popular feature on analog synthesizers. Normally it takes two forms
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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.26]), modulate VCF 1 (VCO 2 > VCF 1 [p.33]),
and appear directly in the mixer, all at the same time. Plus it has a descendant: a
oscillator
VCO 2 has two controls that VCO 1 does not:
, described in the next section.
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%
sub-
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
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.
Arturia - User Manual PolyBrute 12 - Voice Architecture 26
) is when the frequency of one oscillator is used to modulate the
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4.3.5. Noise generator
A
noise generator
fundamental frequency, there's no specific pitch. [Noise Colour] changes the character from
red noise (dark) to white noise (bright) and every possible shade between the two.
Noise can provide a breathy or percussive element, or it can be used on its own to emulate
wind or water sounds, etc. It also can modulate VCF 2 [p.33] when the sound needs a bit of
"rasp" or timbral chaos.
produces a random series of frequencies and amplitudes. With no
4.4. Mixer
Use the knobs to set the relative levels of the VCOs and the noise generator. The buttons
select the filter routing for each source. When both LEDs are dark, neither filter is selected
and the source is muted.
The setting of the [Series/Para] knob in the Ladder Filter module also affects filter response.
Full details are here [p.31], but it's important to know that when that knob is set to 100% left
(Series), VCF 1 is routed completely through VCF 2. If the VCF 2 Cutoff is too low, you won't
hear the output of VCF 1.
4.5. LFOs
LFO stands for
range than VCOs, and are used as modulation sources to affect other parameters. The
PolyBrute 12 LFOs can run as slowly as one cycle every 50 seconds all the way up to 100Hz
(the audible range). To be "heard" they must be routed to a destination using the Mod Matrix
[p.52].
Each LFO has its own features: LFOs 1 and 2 are very similar, and LFO 3 is in a class by
itself.
27 Arturia - User Manual PolyBrute 12 - Voice Architecture
Low-Frequency Oscillator
. LFOs generate waveforms in a lower frequency
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4.5.1. LFOs 1 and 2
LFOs 1 and 2 are identical exce pt for one knob in each module: Phase and Fade In. Here's
what the controls do:
• Phase (LFO 1 only) adjusts where the LFO wave cycle starts relative to the note
trigger. Use the leftmost position to start the LFO at the beginning.
• Fade In (LFO 2 only) offsets the start of LFO 2 and also fades it in gradually.
• Sync locks the LFO to the Seq / Arp tempo (see Sequencer Mode [p.57]), which
can be synced to external sources.
• Rate sets the LFO frequency. An LED in the right corner of each LFO module
flashes to indicate the rate.
• Waveform buttons move left and right through the waveforms. An LED shows the
current choice.
• Mode cycles through three options for the way the LFOs respond to note triggers
and retriggers:
◦
Mono
- The LFO oscillates on its own. The wave could be anywhere in
its cycle when a note is triggered, and all notes share the same LFO.
◦
Poly
- Each voice has an independent, free-running LFO. If a voice is
retriggered, the LFO does not reset.
◦
Poly>Retrig
voice is retriggered, the LFO resets.
- Each voice triggers an independent LFO. If the same
♪ There is also a "hidden" Mono Retrigger mode. When the Mode button here is set to Mono and the
Global Retrig [p.96] for either or both LFOs is activated in
voices will retrigger at the beginning of its phase upon each key press.
There are seven waveforms available for LFOs 1 and 2: sine, triangle, square, reverse
sawtooth, sawtooth, sample & hold, and slewed random. Their images show what to expect:
the square wave jumps instantly from low to high, the triangle ramps u p and back down,
etc. The differences are most obvious at slower rates.
Arturia - User Manual PolyBrute 12 - Voice Architecture 28
Settings > Voice
, a Mono LFO shared by all
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4.5.2. LFO 3
LFO 3 shares some features with LFOs 1 and 2, and has some that are unique and unusual.
• Curve changes the LFO shape from logarithmic (100% left) to linear (halfway) to
exponential (100% right).
• Symmetry alters the ratio between the rising and falling times of the LFO without
affecting the rate.
• Rate sets the LFO frequency. An LED in the right corner of the LFO module flashes
to indicate the rate.
• Retrig toggles LFO response between Mono (dark) and Poly>Retrig (lit). See the
previous section for descriptions.
• Single means the LFO runs through one cycle and stops. LFO3 is unipolar when
Single mode is active, and this interacts with [Retrig] in useful ways. With [Retrig]
off, LFO3 can be used as a simple attack-decay (AD) envelope. With [Retrig] on,
LFO3 “freezes” at the end of its rising phase and begins its falling phase only
when the key is released, behaving like an attack-hold-release (AHR) envelope.
• Sync locks LFO 3 to the Seq / Arp tempo (see Sequencer Mode [p.57]), which can
be synced to external sources.
• x LFO 1 modulates LFO 3 with the output of LFO 1. For example, if LFO 1 is a
square wave, the amplitude of LFO 3 is low while the square wave is low, and its
amplitude is high when the square wave is high. This enables LFO 3 to generate
some very unusual waveforms. Try various rates and waveforms to see what
happens. For the most predictable results, activate the [Sync] button for both
LFOs. When [x LFO 1] and [Single] are active, LFO 1 triggers LFO 3 each time LFO
1 begins its cycle.
4.5.3. Unipolar vs. bipolar
All three LFOs can operate as
the LFOs are rectified, moving from zero to their maximum positive value and back to zero
with each cycle. When they are bipolar they move between their positive and negative
maximums, crossing zero with each cycle.
To access these settings for LFO 1 or LFO 2, hold [Mode] for 1 second. For LFO 3, hold [Retrig]
for 1 second.
unipolarorbipolar
modulation sources. When set to unipolar
4.5.4. LFO sync division
Hold an LFO [Sync] button to reveal the Sync Division menu for that LFO. Each LFO can have
its own setting: Binary (straight time), Triplet, or Dotted. These take effect when [Sync] is
active for an LFO.
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4.5.5. Rate control for synced LFOs
When an LFO [Sync] button is active, moving the LFO's [Rate] knob selects different time
divisions for the LFO. The display shows the value as the knob is turned.
4.6. Filters
Filters define subtractive synthesis: they remove harmonic content generated by the
oscillators. High levels of resonance can drive filters into self-oscillation, so they are potential
sound sources. When modulated their timbre varies over time, which adds motion to the
sound.
The PolyBrute 12 filter modules
PolyBrute 12 features two types of Voltage-Controlled Filters (VCFs): a 12 dB/octave Steiner
filter and a 24 dB/octave Ladder filter. Each has its own features which will be described
separately, but first let's take a look at what they have in common.
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4.6.1. Shared features
Both PolyBrute 12 filter modules have the following controls:
• Cutoff sets the corner frequency individually for each filter.
• Resonance emphasizes the corner frequency. Higher resonance levels can cause
a filter to
• VCF Env Amt controls the level of cutoff frequency modulation caused by the
VCF ENV. It's a bipolar control, so positive and negative envelopes are possible.
• Level adjusts the output of the filter.
4.6.1.1. Master Cutoff
Both filters are affected by the Master Cutoff knob, which sweeps the cutoff frequencies of both VCFs at the same time. To reset the Master Cutoff value to 0, hold the Panel left arrow and turn the Master Cutoff knob.
4.6.1.2. Key Track
This determines how much the cutoff frequencies of both filters change based on the key
that is played. Values range from no change (100% left) to maximum change (100% right),
in which the cutoff frequency increases or decreases relative to the distance of a note from
middle E (MIDI note 64). The filters are gradually opened above that note and gradually
closed below that note.
4.6.1.3. Series/Para
self-oscillate
(create a sound on its own).
The [Series/Para] knob is located in the Ladder filter module, but it affects both filters. It
achieves the desired balance between running the filters in parallel or in series, where the
output of VCF 1 is fed into VCF 2. This is better than "the best of both worlds": this is a blending
of two worlds to make the world you want.
In case these terms are unfamiliar, here are two examples of what this means:
• Filters in series use each other's strengths. VCF 1 can cut the lows with its 2-pole
HP mode, and then VCF 2 can roll off the highs with its 4-pole LP curve. The result
is like one filter with two different slopes. The whole is greater than the sum of
the parts, as they say.
• Parallel mode allows stereo synthesis, where the left and right channels can
have different evolving sounds. This is an ideal feature to combine with the
morphing features of PolyBrute 12.
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Here's a simple diagram of the relationship between the filters.
The PolyBrute 12 filter modules
4.6.2. VCF 1 (Steiner)
VCF 1 is an enhanced version of the Steiner filter that featured prominently in the Brute
series synthesizers. Whereas the earlier versions allowed the selection of one filter mode at
a time (lowpass, highpass, bandpass or notch), this one is continuously variable between
those four modes – so a mix of highpass and bandpass is possible, for example.
The Filter mode knob blends seamlessly between these curves:
• LP (Lowpass) allows low frequencies to pass while high frequencies are
attenuated.
• Notch isn't written on the front panel, but it resides halfway between LP and HP.
A Notch filter carves out a middle band of frequencies between its dual cutoff
points.
• HP (Highpass) allows high frequencies to pass while low frequencies are
attenuated.
• BP (Bandpass) is the opposite of a Notch filter: it allows a band of frequencies
to pass while tapering off the harmonic content on either side of its dual cutoff
points.
♪ The Steiner filter tracks the keyboard fairly well, but the Ladder filter tracks the keyboard more
accurately. This distinction is important when using a self-oscillating filter as a third oscillator.
4.6.2.1. Brute Factor
Brute Factor is a proprietary filter feedback circuit that does everything from warming up the low end to creating a monstrous growl. The exact effect depends on its interaction with other settings: Mixer levels, cutoff, resonance, etc.
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4.6.3. VCF 2 (Ladder)
VCF 2 is similar in design to the most well-known ladder filter on this planet. But unlike
the original, VCF 2 is
accompanies higher resonance levels.
♪ The Steiner filter doesn't need gain compensation, because its unique architecture doesn't reduce
low frequencies in the first place. This design gave the rare Steiner-Parker synthesizers of the 1970s
their unique sound, and was the basis for Arturia's Brute filter (which Nyle Steiner helped design)!
All of the controls in VCF 2 were described in the Shared features section [p.31] except for
this one:
gain-compensated
to prevent the reduction of lower frequencies that
4.6.3.1. Disto
Disto is short for "distortion". This adjusts the output of the Ladder filter into its VCA (the Level control). The harder it hits its VCA, the more distortion you'll hear.
4.7. Filter FM
Two of the PolyBrute 12 sound sources have hardwired modulation routes to the filters.
4.7.1. VCO 2 > VCF 1
This knob allows VCO 2 to modulate VCF 1. Try various tunings, wave shapes, the suboscillator, and different settings for cutoff and resonance, etc. This can coax the most
delicious results from the Steiner filter!
4.7.2. Noise > VCF 2
This knob routes the Noise Generator to VCF 2. The Noise Colour [p.27] knob determines the
frequency content of the Noise Generator, and thus controls the character of the modulation
fed to VCF 2. Again, try various levels for cutoff and resonance, etc. The more extreme
settings are not for the fainthearted!
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4.8. Envelopes
VCF ENV is identical to VCA ENV so it is
not pictured.
Envelopes are adjustable modulators that shape voltage over time when a note is triggered.
PolyBrute 12 has two 4-stage envelopes (ADSR), plus a third with a delay stage (DADSR).
Each envelope has an LED to indicate the current level of the envelope; it changes quickly or
slowly depending on the settings.
VCF ENV can also serve as a mod source in the Matrix, but by default:
• VCF ENV shapes the VCF cutoff frequency, depending on the [VCF Env Amt]
setting for each VCF. It can also be assigned in the Matrix.
• VCA ENV controls the overall volume level of the patch.
• MOD ENV is freely assignable in the Matrix.
The following graphic shows which segment of an envelope is affected by each parameter.
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Parameter Envelope
Velo
Delay MOD only
Attack All
Decay All
Sustain All Zero – Max
Release All
VCF, VCA
only
Min / Max
Range
None / Full Envelope response to velocity
0-18
seconds
2 ms - 18
sec
2 ms - 18
sec
2 ms - 18
sec
Description
Controls the onset of the MOD envelope.
The time the voltage takes to reach maximum
The time the voltage takes to reach the Sustain level from
maximum
Voltage target for the Decay stage. If set to maximum the Decay
setting has no effect.
The time the voltage takes to return to zero after the key is
released.
4.8.1. Envelope curves
Hold [Settings] and move an [Attack] or [Decay] slider to access the curves for that envelope.
Attack has its own curve setting, and the Decay and Release stages share another curve.
Several preset options are available. For a list of the presets, see the Settings chapter [p.88].
4.8.2. VCF/VCA velocity modes
Velocity can modulate the envelope times. For example, strings can have a slow attack with
low velocities and a fast attack with high velocities. Hold [Settings] and move the [Velo] slider
for VCF ENV or VCA ENV to access that envelope's velocity modes. A descriptive list of the
settings is in the Settings chapter [p.88].
4.8.3. Envelope loop modes
Each envelope can play once, loop two or three times, or loop indefinitely. To access the loop
modes:
• VCF/VCA envelopes: hold [Settings] and move the [Velo] slider.
• MOD envelope: hold [Settings] and move the [Delay] slider.
A list of the settings is in the Settings chapter [p.88].
4.8.4. Envelope Retriggering
When a voice is retriggered, you can select whether its envelope starts a new Attack from
its current level (
triggering
is Off (envelopes retrigger from their current level), and setting it On causes envelopes to
reset on retriggering.
35 Arturia - User Manual PolyBrute 12 - Voice Architecture
single triggering
), or drops to 0 and starts the envelope over again (
multiple
). To set this behavior, hold [Settings] and move the VCA [Sustain] slider. The default
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4.9. Stereo spread
There are four selectable options for Stereo spread, which are accessed by holding [Settings]
and turning the [Stereo] knob:
• 1. Voice pan: Each voice has a given position in the stereo field
• 2. Voice + Filter pan: The "Voice pan" effect described above takes place when the
[Series/Para] knob is set to Series. At the other extreme, Parallel mode pans the
Ladder filter to the left and the Steiner to the right.
• 5. Distrib: Centered:
◦ Voice 1 sends a zero value
◦ Voice 2 sends a +1 value (maximum positive)
◦ Voice 3 sends a -1 value (maximum negative)
◦ Voice 4 returns to zero
◦ Voice 5 sends a +0.5 value (50% positive)
◦ Voice 6 sends a -0.5 value (50% negative)
◦ Voice 7 sends a zero value
◦ Voice 8 sends a +1 value (maximum positive)
◦ Voice 9 sends a -1 value (maximum negative)
◦ Voice 10 returns to zero
◦ Voice 11 sends a +0.5 value (50% positive)
◦ Voice 12 sends a -0.5 value (50% negative).
• 6. Distrib: Gradual:
◦ Voice 1 sends a -1 value (maximum negative)
◦ Voice 2 sends -0,6 value
◦ Voice 3 sends -0,2 value
◦ Voice 4 sends +0,2 value
◦ Voice 5 sends +0,6 value
◦ Voice 6 sends +1 value (maximum positive)
◦ Voice 7 sends -1 value maximum negative)
◦ Voice 8 sends -0,6 value
◦ Voice 9 sends -0,2value
◦ Voice 10 sends +0,2 value
◦ Voice 11 sends +0,6 value
◦ Voice 12 sends +1 value (maximum positive)
Since the Series/Para parameter is continuous, intermediate settings and crossfades of the
first two settings are possible.
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4.10. FX routing selector
The [FX] button controls the routing of the Effects section.
• Insert runs the entire signal through the effects
• Send uses the Delay and Reverb as a side chain (Modulation is always an insert
effect)
• Bypass removes all effects from the output.
Note that when the signal is dry (effect levels at zero) the signal path is pure analog.
More routing o ptions are available by pressing the [Settings] button at the same time as the [FX]
button.
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5. PERFORMANCE CONTROLS
One of Arturia's goals for PolyBrute 12 was to place a wide variety of performance options
at your fingertips, and we are proud of what we have accomplished; there are dozens of
controls and features that respond instantly when inspiration strikes.
Some controls will be familiar to any synth player: pitch/mod wheels, channel aftertouch,
sustain/expression pedals. Others will be more unusual or downright unconventional:
various polyphonic aftertouch modes enhanced by our new innovative keyboard
proprietary technology, the ribbon controller, the motion recorder, and the Morphée, our
triple-axis controller.
5.1. Wheels
PolyBrute 12 offers a set of pitch bend and modulation wheels called [Pitch] and [Wheel].
These are often used to liven up a solo, help with the emulation of acoustic instruments, or
to do things other instruments cannot. [Pitch] springs back to the center/zero position, while
[Wheel] stays where you put it.
5.1.1. Pitch
The default [Pitch] range is ±2 semitones, but there are seven other ranges available. Hold
[Settings] and move the Pitch wheel to open the Bend Range page. Then use the Assign
buttons to select the range you want. The maximum range is ±24 semitones, or 2 octaves.
5.1.2. Wheel
The Wheel is not just for vibrato anymore. It can control almost anything via the Mod Matrix:
Effects, LFO speed, envelope decay, etc.
It has four options that can be selected instantly using the [Wheel] button, which is the third
of five buttons located to the right of the Wheel itself. The options are Matrix, Cutoff, Vibrato,
and LFO1 Amp. These are described in the Wheel modes section [p.42].
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5.2. Octave buttons
Use [Octave < / >] to transpose the keyboard by octaves. These extend its range to a total of
nine octaves. Transposition occurs locally and over MIDI.
Press both buttons at once to reset the transposition to zero. In Split mode this must be done
for each half of the keyboard.
If you hold [Settings] while using the Octave buttons, the keyboard will transpose in semi
tones. A pop-up display showing the amount of transposition will appear briefly when this is
done, and the Octave button(s) will blink as long as the keyboard is transposed. Press both
buttons at once while holding [Settings] to reset to zero.
♪ The u pper and lower keyboard zones can be transposed independently [p.41]. MIDI output is
transposed. Transposition does not affect the placement of the split point on the keyboard itself.
5.3. Morphée
You may never have encountered anything like Arturia's Morphée controller. It's more than
an X/Y touchpad; it's also pressure-sensitive, so it operates on the Z axis as well. All three
axes are available as sources in the Mod Matrix and can be routed to as many destinations
as you like (up to the maximum of 32).
Morphée has three options that can be selected instantly using the [Morphée] button, which
is the fifth of the five buttons above the [Glide] knob. The options are Matrix, Arp / Seq, and
Morph.
Morphée also has a dedicated Settings page, with two shortcuts: hold [Settings] and touch
the Morphée surface, or hold the [Morphée] button for about 1 second. These options define
the Morphée response, and are described here [p.43]. The settings are stored per Preset.
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5.4. Voice/control mode buttons
The five buttons near the wheels allow instant configuration of the voice engine and two of
the most-used performance controls. The top two buttons select Voice modes; the bottom
three select Control modes.
5.4.1. Polyphony
PolyBrute 12 has three voice modes that are selected using [Polyphony].
• Poly (polyphonic) allows all twelve voices to be triggered independently by
different keys.
• Unison stacks multiple voices on a single key. Learn how to set voice count
number here [p.40].
• Mono (monophonic) limits the keyboard to playing only one dual-oscillator voice.
In Split mode [p.41] the upper and lower keyboard zones can have different voice modes. To
set the two zones' voice modes:
• Upper: use the [Polyphony] button as normal.
• Lower: hold [Timbrality] and press [Polyphony] to change the voice mode for the
lower half.
The LEDs show the status of the selected half.
There are several variations of each voice mode: Cycle, Reset, Note Priority, Legato on/off,
etc. To access these options, hold [Settings] and press [Polyphony]. To access these settings
for the lower half when in Split mode, hold [Timbrality] for 1 second. The page you'll see
depends on the current mode: Poly mode takes you to the Poly Allocation page [p.47]; Unison
or Mono mode takes you to the Uni/Mono Allocation page [p.48].
5.4.1.1. Unison voice count
You can define the number of voices used by each zone in Unison mode. To do this, navigate
to
Settings > Synth Voice > Voicing > Unison Voice Count
Use [Assign 1-4] to set the value for the lower zone (Two, Three, Six and Twelve voices) and
[Assign 5-8] to set the value for the upper zone (Two, Three, Six and Twelve voices).
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.
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5.4.2. Timbrality
The Timbrality modes change the keyboard layout for sounds A + B. Here's what they do:
• Single: the keyboard has one zone; each note triggers one voice that can morph
between sounds A + B.
• Layer: you can choose from the Morph Layer mode and from the Stereo Layer
mode:
◦ Morph Layer: the keyboard has one zone, with two morphing voices
per note. If the Morph control is at zero, sound A is doubled. When it
is at maximum, sounds A + B are layered.
◦ Stereo Layer: in this mode, two voices are allocated for each note
played, and it pans them Left and Right. Please note that only 6 voices
can be played. This mode can be used in conjunction with the "Stereo"
knob."
• Split: the keyboard has two zones. The lower zone is always sound A; the upper
zone can morph between sounds A + B.
When Timbrality is set on Layer or Split, Morph internally jumps on B, so that you can immediately
hear the expected behavior.
The lower zone can trigger the Sequencer or Arpeggiator, so you can play a pattern or
arpeggio using the lower zone while playing more notes in the upper zone.
♪ The lower zone sends/receives on MIDI channel 2 by default. Change this at
Channels
: select [Assign 3] (Input Channel Lower) or [Assign 4] (Output Channel Lower), then use the
[Assign] buttons to set the value to 1-16 or None.
Settings > MIDI >
5.4.2.1. Set the split point
Hold [Timbrality] and play a key to set the split point.
5.4.2.2. Transpose the zones
In Split mode the upper and lower keyboard zones can be transposed independently.
• Upper: use [Octave < / >] as normal
• Lower: hold [Timbrality] and press [Octave < / >] to transpose the lower half.
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5.4.2.3. Chord memory
The PolyBrute 12 can memorize and play back chords triggered from one note. To create a
chord, hold the [Polyphony] button and play some notes. Release the button when you have
entered the desired notes.
Now, all three lights next to the [Polyphony] button will illuminate, indicating you’re in Chord
mode. Pressing any single key will play the chord you entered and transpose it across the
keyboard.
Some things to know:
• The first note pressed is the root note.
• Notes do not have to be entered legato. As long as the Polyphony button is held,
you can press keys and shift octaves to add notes to the chord. This can result in
some pretty big chords!
• Short-press the [Polyphony] button to exit Chord mode and clear the stored
chord.
• To change the number of notes in a stored chord, you must re-enter the chord
from scratch.
• The chord, and whether Chord mode is on or off, can be saved per preset.
• In Split mode, you can set the chord to be in either zone by playing the first note
above or below the split point. After that first note is pressed, you can add any
other notes to the chord in the usual way.
5.4.3. Wheel modes
Press the [Wheel] button repeatedly to select the Wheel assignment:
• Matrix allows it to be routed to multiple parameters at the same time.
• Cutoff gives it control of the master cutoff frequency, so it's the same as turning
that knob.
• Vibrato connects an LFO to both VCOs, so the Wheel can add vibrato to the patch
without using the Mod Matrix.
• LFO 1 Amp lets the Wheel control the modulation amount of any mod route that
uses LFO 1 as a source.
Hold the [Wheel] button to access the Vibrato Options page. This allows you to set the Vibrato
range and specify whether the source will be LFO1 or a dedicated Vibrato LFO. For details,
see Settings [p.88].
! Because basic vibrato is by far the most common use of the mod wheel on synthesizers, the
PolyBrute 12 provides the separate Vibrato LFO so you don't have to waste one of the three main LFOs
on just creating vibrato.
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5.4.4. Morphée modes
Press the Morphée button repeatedly to select the Morphée assignment:
• Matrix allows each of the axes to be routed to multiple parameters at the same
time.
• Arp / Seq lets Morphée randomize the sequence or arpeggio with Spice, Dice,
and Ratchet:
◦ Spice (X axis) alters velocity and octave without transposing the pitch.
◦ Spice (Y axis) alters gate time.
◦ Ratchet (Z axis) subdivides the steps with multiple triggers as
pressure increases.
◦ Dice: Touch with 3 fingers to "roll the dice" and randomize all the Spice
parameters at once.
• Morph enables morphing on the X/Y axis between sounds A + B. Several response
settings are available: hold [Settings] and touch the Morphée surface, or hold the
Morphée button for about 1 second. Descriptions are here [p.107].
5.4.5. Aftertouch modes
The PolyBrute 12 keyboard is sensitive to pressure on the keys after they're played and held,
a function known as Aftertouch – but the PolyBrute 12 can use aftertouch to do things no
other keyboard can.
On most keyboards with aftertouch, there is a single sensor under the entire keybed: if you
press hard on any key, aftertouch modulation will be applied to every note you're playing.
This is called
However, the PolyBrute 12 has
independent of all the others, so you can bring out expressivity on every note you play.
While the PolyBrute 12 can provide conventional monophonic and polyphonic aftertouch
response, its keyboard can also interact with sounds in a variety of new ways, all new and
all unique thanks to the FullTouch MPE technology – no analog synthesizer has ever offered
anything like them before!
With FullTouch, the notes are triggered at the slightest touch of a key, the aftertouch uses its
entire range, and it is polyphonic.
43 Arturia - User Manual PolyBrute 12 - Performance Controls
Monophonic
(or Channel) aftertouch.
Polyphonic
aftertouch: every key has its own pressure sensor
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Check out how our FullTouch technology works in more details in the section dedicated to Aftertouch
settings [p.104].
The [Aftertouch] button cycles through three settings:
• Mono: monophonic aftertouch, which remains useful and might even be
preferable for some patches
• Poly: polyphonic aftertouch, which applies modulation as set up in the
Modulation Matrix to each key separately
• Alt: opens a menu to access the FullTouch MPE technology keyboard, revealing
the new unique PolyBrute 12's Aftertouch mode. You can choose from FullTouch
Envelope, FullTouch, and FullTouch + Z.
You can read more about these in the Settings chapter under Expression Control > Keyboard
[p.104].
5.5. Glide
When the Glide knob is set to a non-zero value the pitch sweeps from one note to the next.
The maximum glide time is 10 seconds. Set the Glide knob 100% to the left to disable glide.
There are several ways to define the glide behavior (time vs. rate, smooth or quantized, etc.).
To access that page, hold [Settings] and turn the Glide knob. The options are described in this
section [p.94].
5.5.1. Glide in Split mode
When PolyBrute 12 is in Split mode the glide setting is shared between the two zones. But
since S plit mode assigns the A+B morphing feature to the upper zone, independent glide
times are possible: sound A glide time can be zero, and sound B glide time can be non-zero
(or vice-versa).
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5.6. Morph knob
The [Morph] knob lets you morph manually between sounds A + B. Its position is visible in
each mode (Presets, Mods, Sequencer, and Morph): when the knob is turned, a graphic on
the left side of the display goes up and down.
The current position of the [Morph] knob is stored with the patch, and that becomes the
starting point for the morph mods. For more information, see the Morph Mode chapter [p.75].
5.7. Ribbon controller
That smooth groove in the front panel just above the keyboard provides a unique way of
controlling a sound. It's like a cross between a paint brush and the fingerboard of a violin;
you can add color by touching the surface and then sliding or trilling. Use it to unlock your
own "smooth groove".
As with other controls, hold [Settings] and touch the ribbon to access its settings page. Then
configure as desired: Should modulation start from where your finger lands, or jump to a
certain value based on ribbon dimensions and the modulation amount? Should the mod
level return to zero when released or stay where it was? It's up to you. These settings are
stored with the patch, so the ribbon can work differently for different situations as needed.
5.8. Expression pedals
Let your feet have some fun, too. Each expression pedal can have a setting for every patch:
filter control, modulation, etc. To select them, navigate to
Settings
master Volume, and Pedal 2 can be a mod source in the Matrix.
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(or
Exp2 Settings
). The options are identical except for one: Pedal 1 can control the
Settings > Expression Control > Exp1
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5.9. Motion recorder
The Motion Recorder (MOTION REC) can record the relative movements of any one control
(knob, fader, ribbon, etc.), with only a few exceptions [p.46]. Try this:
1. Activate the [REC Arm] button. This puts the recorder in recording mode.
2. Hold down a key to start the recording, and keep it down for now.
3. Sweep the Master Cutoff knob in an obvious pattern.
4. Release the key to stop the recording.
5. Deactivate the [REC Arm] button.
6. Set the [Play] button to Once.
7. Play one note. The filter sweep plays back once and stops.
8. Set the Play button to Loop.
9. Play one or more notes. The filter sweeps for each voice until its key is lifted.
10. Release all keys to stop playback.
Each patch can store its own motion recording and the status of the [Play] button (Off, Once,
Loop).
Here's how it works:
• A Note On starts the recording, and if you play a chord, the first Note Off stops it.
• The first control you move after the Note On is the one being recorded.
• The original value of the control becomes the "zero point" for playback.
• The relative motion of the control is captured, not the actual parameter values.
• When recording is finished, the parameter returns to its original value (the zero
point).
• If the parameter value is edited, the new value becomes the zero point for
playback.
• If the motion recording is longer than the duration of the note, playback may
continue during the release stage.
5.9.1. The Stretch factor
The [Rate] control adjusts the playback speed of the captured control movements. Its range
is from 1/8th of the original speed to 8 times the original speed. Normal speed is at the center
detent position.
5.9.2. Exceptions
There are a few controls which the Motion Recorder will not capture:
• Sequencer parameters (Gate, etc.)
• Motion Recorder Rate
• Fine Tune
• Phones
• Master Volume
• The Mod amount knob
• Buttons
And on the "plus" side, the Motion Recorder will capture all three axes of the Morphée
controller (X, Y, and Z).
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5.10. Voice allocation modes
When a note is triggered the PolyBrute 12 can play as many as twelve voices on a single key.
The Voice allocation modes let you define this response for each patch. They are accessed
by holding [Settings] and pressing one of the Voice mode buttons [p.40].
The page you'll see depends on the Polyphony mode for the current zone: Poly mode takes
you to the Poly Allocation page [p.47]; Unison or Mono mode takes you to the Uni/Mono
Allocation page [p.48]. All options are described in the following sections.
5.10.1. Polyphonic allocation
The Poly Allocation options are identical for the upper and lower zones regardless of the
Timbrality mode (Single, Layer, or Split). The lower zone settings can be accessed even
when the keyboard is not split.
To access these settings when the Single/u pper zone is in Poly mode, hold [Settings] and
press [Polyphony]. To access these settings for the lower half when it is in Poly mode, hold
[Timbrality] for 1 second.
Choose one setting from the Poly column and one from the Steal column:
• Poly Cycle uses the first available voice, then the next higher-numbered voice,
and so on.
• Poly Reset uses the first available voice and keeps using it until it is stolen.
• Poly Unison allocates voices for unison playing in polyphonic mode. See Poly
Unison Mode [p.47] below for details.
• Poly Reassign cycles through the voices as different notes are triggered, but
reuses an existing voice if the same note is played again.
• Steal Oldest tells PolyBrute 12 to steal the note that has been held the longest
first.
• Steal Lowest tells PolyBrute 12 to steal the note with the lowest velocity played in
a chord first.
• Steal None tells PolyBrute 12 not to steal a voice when no voices are available.
5.10.1.1. Poly unison mode
When Poly Unison is selected, the PolyBrute 12 dynamically allocates voices for playing in
unison but still polyphonically, offering the best of both worlds within the PolyBrute 12’s total
voice count.
• The first key played uses all twelve available voices.
• The second key played splits voices evenly between the two notes: 6 for each
note.
• The third key played splits voices evenly between the three notes: 4 for each note.
• The fourth key played reassigns voices that were allocated first to the last
triggered key: 1 voice for the first note, 1 for the second, then 2 and 2 for the next
notes, respectively.
• Playing five keys similarly reassigns the first allocated voices: 1 voice for each of
the first four notes, then 2 voices for the final note.
• Playing six keys assigns the voices at 1 per note, such that no note is actually
playing a unison.
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5.10.2. Unison / Mono allocation
The Uni/Mono Allocation options are identical for the upper and lower zones regardless of
the Timbrality mode (Single, Layer, or Split). The lower zone settings can be accessed even
when the keyboard is not split.
To access these settings when the Single/upper zone is in Unison or Mono mode, hold
[Settings] and press [Polyphony]. To access these settings for the lower half when it is in
Unison or Mono mode, hold [Timbrality] for 1 second.
♪ To define the number of voices used by a zone in Unison mode, read this section [p.40].
Choose one setting from the Priority column and one from the Legato column:
• Priority Lower: The lowest note is played and higher notes are ignored.
• Priority Higher: The highest note is played and lower notes are ignored.
• Priority Last: The held note can be stolen by a higher or lower note.
• Legato On: Only retriggers the envelopes after all notes have been released, so
successive notes will slur.
• Legato Off: Every note played retriggers the envelopes.
• Legato Glide: If glide is active, playing legato notes glides from one pitch to the
next and also does not retrigger the envelopes.
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6. WORKING WITH PRESETS
The focus of this chapter is preset management: loading, saving, comparing, etc. Follow
these links to learn how to initialize a preset [p.16], create a preset from scratch [p.15], or to
edit an existing preset [p.23].
6.1. Selecting a preset
The process of selecting one of the 768 internal presets was covered here [p.13]. But it's easy:
Select the [Presets] mode button, select a bank with an Assign button (1-8), then select one
of the Matrix buttons (A1-L8).
If you're looking for a preset in a particular category, such as a Brass preset, hold the
[Presets] button and turn the [Amount] knob. As you scroll through each category, it will be
displayed onscreen and the Matrix buttons for the presets in the current bank that belong to
that category will light up.
6.2. Snapshots
PolyBrute 12 can save up to 5 Snapshots of edited presets for instant comparison. Here's
how it works:
• To save a Snapshot of an edited patch, press [Save] once.
• To recall a Snapshot or compare it to the current preset, hold [Settings] and press
[Save]. The display looks like this:
• The Snapshots are listed chronologically (hours:minutes:seconds), with the most
recently selected Preset in location 1.
• Use [Assign 2-6] to audition a specific Snapshot of a previous edit.
• To exit Snapshot mode, press [Settings] or one of the large Mode buttons.
Here are a few things to know about Snapshots:
• All previous Snapshots are erased only when a new preset has been loaded and
a new Snapshot has been saved.
• A Snapshot can't be taken if no edits have been made since taking the previous
Snapshot, or since loading the most recent preset.
• A Snapshot is taken automatically of the previous state when a preset is loaded
(unless no edits were made, as mentioned above).
Snapshots allow you to view the stored presets while editing the current preset. This is useful
in two ways:
• To compare the edited state of the preset to the unedited (stored) version, or to
any other preset
• To preview another preset location before overwriting it with an edited preset.
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6.3. Random patch generation
PolyBrute 12 can generate a random patch for you by choosing sounds A and B from
different patches, changing the morph knob value, moving the result to sound A, and then
repeating most of that process a random number of times. The generated patch can then
be tweaked, saved as a Snapshot, or saved as a new preset.
This feature is found at
Settings > Preset Info > Generate
. Press [Assign 3] to generate the
random patch. The name of the random patch will change to “Generated”.
6.4. Panel mode
In Panel mode the position of each knob determines the sound. This is the mode to use if
you want 1:1 feedback between the parameters and the sound you are editing: what you see
is what you get.
If you've edited the current patch, you might want to take a Snapshot [p.49] before entering
Panel mode so you can get back to that edit. To do this, press [Save] once. Then press
[Program <] and [Program >] at the same time to load the panel settings. This replaces the
current preset with the actual positions of the knobs and sliders. To restore the edited preset,
hold [Settings], press [Save], and use [Assign 1-6] to select the most recent Snapshot.
6.5. Saving a preset
The [Save] button is used to take Snapshots, do a "Quick Save" to the current location, or save
an edited Preset to a new location. Summary first, then the details:
Function Action Description
Snapshot Press [Save] once
Quick
Save
Save
Preset
Press [Save] three times Edited preset is saved to current location
Hold [Save] + Press [Assign 1-8] (optional) +
Press [Matrix A1-L8]
Temporary buffer for comparing an edited
preset with others
Save preset to another location
Snapshots were described in the previous section [p.49].
6.5.1. Quick Save
To save an edited preset quickly on top of the original version, press [Save] three times. This
overwrites the current preset location, so we made it a deliberate action to avoid accidents.
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6.5.2. Save to another location
This process allows you to save an edited patch to any one of the 768 internal memory
locations. It's basically the same as selecting a preset in the first place, except you hold the
[Save] button first:
1. Hold [Save] until step 4. After 1 second the display says "Hold Save and Press a
Matrix Cell to Save."
2. Use [Assign 1-8] if you want to store the patch to a different bank.
3. Use Matrix buttons A1-L8 to select a location (cell) within the selected bank.
4. Press the Matrix button. The target cell patch is loaded into memory so you can
hear it before overwriting it.
5. To exit Save mode without making a change, use [Assign 2] or select a different
mode.
6. To rename the patch you are saving and select its category, see the next two
sections.
7. If you like the current name and category, use [Assign 7] to confirm each choice.
8. The selected location is overwritten with the edited patch.
6.5.2.1. Give it a name
A patch can be renamed during the Save procedure if you want. [Assign 2-7] show the
options:
• Exit Save mode with [Assign 2] (or select a different mode).
• Select a specific character with the Amount knob.
• Press [Assign 3] or [Assign 4] to jump to the first character in a set ([blank], A, a,
0, [period]).
• Select another character field with [Assign 5 or 6]. Max. length: 20 characters.
• Use [Assign 7] to confirm the name and proceed to the Category window.
6.5.2.2. Select a category
A patch can be assigned a category during the Save procedure. [Assign 2-7] show the
options:
• Revert to previous section with [Assign 2], or select a different mode.
• Select a category with the Amount knob or use [Assign 3–6].
• Use [Assign 7] to confirm the category. The patch will be saved to the selected
location.
6.5.3. Use PolyBrute Connect
PolyBrute Connect offers a convenient alternative for saving, naming, and categorizing
presets. It can also be used to search for specific patches by name or category, and
its Projects feature can organize patches into different grou ps for live performances and
session work. In other words, if you haven't already done so, be sure to install the software
and try it out!
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7. WORKING WITH MODS
The Modulation Matrix is a wireless patch bay that can route the PolyBrute 12's modulation
sources to one or more destinations. Almost any parameter with a knob or fader can be a
destination, and each can be modulated positively or negatively.
The mod routes are arranged in a 12 x 8 grid: sources are in rows A-L, and destinations are
in columns 1-8. Four separate banks of mod routes can be selected with Assign buttons 1-4.
Each mod route can have its own destination, and the same destination can be used for
multiple mod routes. 32 routes are available, and up to 64 connections can be made within
those 32 routes.
7.1. Creating a mod route
Setting up a modulation route is quick and easy. Press the [Mods] button to enter Mods mode.
The display looks something like this:
The top row of the display provides basic information: For example, "Mods 1/4" means you're
on the first of four pages of mod routes. The patch name and current tempo are also shown.
The eight numbers below that show the current assignments for mod routes 1-8 on the first
page of mod routes. These numbers correspond to [Assign 1-8]. Keep that in mind as we
work through the following sections.
7.1.1. Select the source
This part is simple. The 12 modulation sources are printed on the front panel in rows A-L. If
you want to use LFO 3 as a mod source, for example, you'll use row F to set up the route.
7.1.2. Assign a destination
There are no "fixed" destinations: any mod route can modulate any available parameter.
Destinations are selected by holding [Assign 1-8] and activating a parameter control.
For the following example, set the Modulation Intensity in the Effects module to something
obvious. We'll use LFO 3 as a mod source.
1. To select Modulation [Intensity] as the destination, hold [Assign 1] and turn that knob.
2. The display shows "Fx Modul Intensity" as mod destination 1.
3. To connect LFO 3 to the Intensity level, press Matrix button F1. The button turns purple to
indicate the connection, and the display shows "Amount: 0%".
4. Set a mod level with the Amount knob. (LFO 3 is a bipolar source by default, so positive
or negative levels give the same result.)
5. Play a note and listen: the Intensity fluctuates according to the settings of LFO 3.
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6. Try various LFO 3 settings to change the mod speed and shape, etc.
7. To break the mod connection, press button F1 again. A dark button means there is no
connection.
8. Press F1 again to reconnect the route, then press any other Matrix button. F1 turns blue to
indicate an active mod route, and the purple button indicates the current selection.
After the eight routes in a mod bank have been used, select another bank with [Assign 1-4].
Then connect the sources and destinations as shown in the previous example.
7.1.3. One source to many destinations / many sources to
one destination
To route the same source to two or more destinations, trace your finger down from the first
destination until it reaches the desired row (F, for example). Activate the route and give it an
amount as in steps 3 and 4 above. Then do the same for the second destination, even if it's
in a different mod bank. Repeat the process for as many destinations as you like.
To route two or more sources to a single destination, trace your finger down from the
destination until it reaches the row that belongs to the first source. Activate the route and
give it an amount as in steps 3 and 4 above. Then do the same for the second source, and
so on.
7.1.4. Less-obvious destinations
7.1.4.1. No hardware control
Some destinations don’t have a hardware control, such as the main VCA, LFO amplitudes,
Global Pitch (VCOs 1+2 combined), Filter Pan, and Voice Pan. To view the list, hold [Assign 1-8]
and turn [Mod Amount], then release the Assign button when you see the desired destination
appear in the appropriate line of the PolyBrute 12 display. Here is a list of the possible
destinations:
1. VCA
2. LFO1 Amp
3. LFO2 Amp
4. LFO3 Amp
5. Pitch Global
6. Steiner (Filter) Pan
7. Ladder (Filter) Pan
8. Voice Pan
9. Vibrato Depth
10. Vibrato Speed
7.1.4.2. Right-side controls
Some destinations could be overlooked because they're on the other side of the Matrix panel.
But most of those can be modulated, too. For example, hold [Assign 1-8] and turn these
controls:
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• [Stereo] Spread
• [Fine Tune] assigns VCOs 1 + 2 as a single destination labeled "Pitch Global"
• Every knob in the Effects section, plus the Motion Recorder [Rate] control
The only output levels that
Volume.
can't
be assigned as destinations are the Phones and Master
7.1.4.3. What's the limit?
You can use these methods to set up as many as 64 connections between sources and
destinations. If you try to add a 65th mod connection, the message “No More Slots Available”
lets you know you’ve reached the limit.
Descriptions of each source are here [p.55]. For information on a particular destination, refer
to its section in the manual.
♪ To delete a modulation destination, hold the Panel left arrow and press the Assign button. The
destination name will be replaced with the word "Empty".
7.2. Edit an existing modulation
If you want to adjust the level of an existing modulation, that's easy too. If you're not already
there, enter Mods mode and locate the source on the front panel and the destination in the
display. Use [Assign 1-4] to locate the destination if it isn't on the current Mod page. The Matrix
button that controls the mod route is lit blue unless it's already selected, in which case it's
purple.
It's easy to be sure you've found the right mod route: just disable it by pressing it once. Then
re-enable it and use the Amount knob to dial in the right level.
♪ To reset a mod level to zero immediately, hold [Program <] and turn [Amount].
7.3. Modulate a mod route
You can use a mod route to modulate another mod route. For example, if you want LFO 2 to
modulate the mod route “LFO 3 > Pitch Vco1”:
1. Initialize a patch [p.16] and enter Mods mode. The [Assign 1] column shows “1.Pitch
Global” by default.
2. Press F1 (button F in column 1) to connect “LFO 3 > Pitch Global” and give it an
amount.
3. Hold [Assign 2] and press F1. The [Assign 2] column shows “Amount 1.F1” in the
display. This means “Mod bank 1, Matrix cell F1” is now a destination.
4. Press button E2 to connect LFO 2 to mod route 1.F1 and give it an amount.
5. Hold a note: LFO 2 modulates the amount of “LFO 3 > Pitch Global”. Try various
settings for LFOs 2 and 3 to make the results more obvious.
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To summarize, after step 4 you can use the [Assign 2] column to route any of the other 12
sources to modulate the destination assigned to Matrix cell F1.
It’s also possible to modulate a mod route from a different page. To do this,
• Locate the target mod route: be sure it is active (lit) and has an amount assigned.
• Select a different [Assign 1-4] button: this is the modulation bank where the new
mod route will be.
• Hold the new Assign button until the last instruction.
• Press the original Assign button (the one with the target mod route that you want
to modulate).
• Press the Matrix button that contains the mod route (D3, or whatever). The
connection is made.
! This method cannot be used to connect two mod routes under the same destination (i.e., under the
same Assign button in the same modulation bank). This will show an error message: “Cannot Assign
Mod Amount on the Same Column.”
7.4. Erase all mod routes
To clear the Modulation Matrix, hold [Program <] and press the [Mods] button.
7.5. Mod source list
MOD
Row
source
A VCF Env Output voltage of the VCF envelope
B Mod Env Output voltage of the Mod envelope
C Voices Output voltage based on voice number
D LFO 1 Output from LFO 1 (unipolar or bipolar, depending on the LFO setting)
E LFO 2 Output from LFO 2 (unipolar or bipolar, depending on the LFO setting)
F LFO 3 Output from LFO 3 (unipolar or bipolar, depending on the LFO setting)
G Key / Seq Triggers from the keyboard, the sequencer/arpeggiator, and incoming MIDI notes
H Velocity Output voltage based on MIDI velocity value
I Aftertouch Output voltage based on key pressure
J Wheel + X
K Ribbon + Y Output voltage of the ribbon controller summed with Morphée axis Y
L Exp 2 + Z Output voltage of Expression pedal 2 summed with Morphée axis Z
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Notes
Output voltage of the Wheel summed with Morphée axis X (must assign the Wheel to
Matrix)
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7.5.1. What is the Voices source?
The Voices mod source provides certain values based on the voice number. As with any
source, it can be used on any parameter (VCO tuning, stereo position, filter cutoff, etc.), with
the modulation range set by the mod amount.
There are eight settings for the Voices source.
• Follows Stereo: The Voices source uses the same signal as the Stereo Voices
Mapping [p.36]
• Gradual:
◦ Voice 1 sends a -1 value (maximum negative)
◦ Voice 2 sends -0,8 value
◦ Voice 3 sends -0,6 value
◦ Voice 4 sends -0,5 value
◦ Voice 5 sends -0,3 value
◦ Voice 6 sends -0,1 value
◦ Voice 7 sends +0,1 value
◦ Voice 8 sends +0,3 value
◦ Voice 9 sends +0,5 value
◦ Voice 10 sends +0,6 value
◦ Voice 11 sends +0,8 value
◦ Voice 12 sends +1 value (maximum positive)
• Binary: alternates between +1 and –1 as each voice is played
• Constant: fixed at +1
• Random: sends a random value between –1 and +1
• Random Binary: randomly sends either –1 or +1
• Unipolar Rise:
◦ Voice 1 sends a 0 value (maximum negative)
◦ Voice 2 sends +0,1 value
◦ Voice 3 sends +0,2 value
◦ Voice 4 sends +0,3 value
◦ Voice 5 sends +0,4 value
◦ Voice 6 sends 0,5 value
◦ Voice 7 sends +0,55 value
◦ Voice 8 sends +0,6 value
◦ Voice 9 sends +0,7 value
◦ Voice 10 sends +0,8 value
◦ Voice 11 sends +0,9 value
◦ Voice 12 sends +1 value (maximum positive)
• VCA Env: uses the VCA envelope signal for each voice
You can access those different settings through this menu : Settings > Synth Voice > LFO/
Voices > Voices Mod Source
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8. THE SEQUENCER AND ARPEGGIATOR
This chapter covers the features of the Seq/Arp section, which includes the Sequencer, the
Arpeggiator, and their hybrid, the Matrix Arpeggiator. Here's a brief overview of each:
• Sequencer mode [p.60] contains a sequence of adjustable length (up to 64 steps)
that can trigger notes, modulation events, or both. Each step in the sequence can
contain up to 12 notes.
• In Arpeggiator mode [p.59] the notes you hold down are stepped through in a
variety of orders, and repeated in higher octaves.
• Matrix Arpeggiator mode [p.66] lets you construct a 16-step framework that can
generate complex arpeggios.
When a preset is saved, the data for all three modes is saved with it.
♪ The Timbrality Split LED flashes if [SEQ] is active when a preset is loaded. This tells you that the
keyboard has been split, and that the lower part of the keyboard will transpose the sequence.
The Timbrality you set stays active even when the sequencer is active.
PolyBrute 12 doesn't need to be in Sequencer mode to record or play sequences, but
you must enter Sequencer mode to edit them. So when you're ready, press the round
[Sequencer] mode button to enter Sequencer mode.
8.1. Common features
The Sequencer, Arpeggiator, and Matrix Arpeggiator have several common features, so we'll
cover them once in this section.
♪ The Matrix buttons provide good visual feedback as the various Seq/Arp parameters change. This
can be very helpful as you learn about the features.
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8.1.1. The Home page
Press the [Sequencer] button and the PolyBrute 12 takes you to the top level of Sequencer
mode. We'll refer to this as the
the Sequencer or Arpeggiator is active.
• With [SEQ] active, the Matrix view options and several track operations are
available.
• With [ARP] active, the Octave range and Copy to Seq options are available.
home page
. What the home page shows depends on whether
8.1.2. Hold mode
Enable [Hold] and the Seq/Arp pattern continues playing after the keys are released.
8.1.3. Metronome
Press [Metro] to activate the metronome. To set the metronome level and pre-count mode,
hold [Metro] for 1 second.
8.1.4. Time divisions
Press [Time Div] to access the Time Division menu. This sets the underlying step duration
on which sequences and patterns are based. Settings range from 1/2 notes to 1/32nd notes,
and include binary (straight time), dotted, and triplet note value options.
[Assign 1-5] select the step duration and [Assign 6-8] select the note value option. Press [Time
Div] repeatedly to step through the time divisions for the selected note value.
8.1.5. Swing percent
Hold [Swing] to select the swing percentage. This only affects playback; it does not alter the
location of the original notes.
8.1.6. Rate
[Rate] dials in the sequencer tempo, from 30 to 240 beats per minute. The tempo appears
in the u pper-right corner of the display in every mode. When locked to an external clock,
the rate is given in exact divisions of time (e.g. quarter note or 16th-note triplet) based on the
incoming clock.
To adjust the tempo in finer increments of 0.10 beats per minute, hold [SEQ] while turning
the [Rate] knob.
8.1.7. Gate
The [Gate] knob controls the duration of each step. At minimum, notes are so staccato that
they may not be audible at all. At maximum, each note overlaps the following step by 195%
of the Time Div setting.
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8.1.8. Transport controls
The Seq/Arp section offers standard transport controls: [Record], [Stop], and [Play]. There is
one button that is not as common, though: [Tap]. It is explained in the next section.
! To send an All Notes Off
and
All Sounds Off command, press the [Stop] button quickly three times.
8.1.9. Tap
Use this button to tap in the tempo. You'll see the tempo change in the display. The sequencer
engine u pdates with every tap, so you can keep tapping if you need to follow a drifting
tempo.
8.2. The Arpeggiator
The [ARP] button activates the Arpeggiator, which steps automatically through the notes
being held. Each note of the arpeggio becomes a red step in the Matrix, and a purple step
shows the current playback position.
When [Hold] is active you can keep adding notes to the arpeggio as long as one key is held
down. An arpeggio can play up to 32 notes.
The arpeggiator responds to key velocity, so individual notes can be more or less prominent
depending on how hard a key was played. Results depend on the [Velo] slider settings for
VCF ENV and VCA ENV.
8.2.1. ARP home page
Enter Sequencer mode and press [ARP]. You'll see the Arpeggiator mode home page, where
the Octave range can be set and an arpeggio can be converted into a sequence for
Sequencer mode. Other pages are shown temporarily while changing Arpeggiator mode
settings, but the Arpeggiator returns to the home page after 1 second.
8.2.2. Octave range
Use [Assign 1-4] to set the Arpeggiator Octave range between 1 and 4 octaves. When you
hold notes that span more than an octave, the overall range of an arpeggio can be much
greater.
8.2.3. Copy to Seq
Whatever the Arpeggiator is doing can be converted into a sequence for additional editing
in Sequencer mode, or simply to preserve a moment of pure musical magic. Use [Assign 8]
to transfer the Arpeggiator output into the Sequencer.
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8.2.4. Play Mode: Arp
Hold [Play Mode] to view the Arp Play Mode page, and use [Assign 1-7] to select an option.
These set the playback direction for an arpeggio.
You can also press [Play Mode] repeatedly to step through the various options.
• Up steps through the notes from lowest to highest and repeats.
• Down steps through the notes from highest to lowest and repeats.
• Inclusive plays from lowest to highest and back down, repeating the highest and
lowest notes.
• Exclusive plays from lowest to highest and back down,
or lowest notes.
• Order plays the notes in the order they were input.
• Random plays the held notes in random order.
• Pattern generates repeating patterns at random (see below).
8.2.4.1. Pattern mode
There is a staggering range of potential outcomes with the Arpeggiator Play Mode set to
Pattern. Here are the basic concepts, but experimentation will teach you the most.
• Notes that are held are used to generate a pattern with a default length of 16
steps.
• The pattern can pick notes from any octave within the Octave range settings.
• When the number of held notes changes, a new random array of notes is
generated.
• The lowest held note is twice as likely to be heard as the other notes. This helps
to emphasize the root note.
• To define the length of the pattern, hold [Seq Length] and press a Matrix button.
(They are grouped in sets of three.) The purple buttons show the current length.
• The maximum pattern length for this mode is 32 steps.
Remember, if the Arpeggiator generates a pattern you want to keep, use Copy to Seq [p.59]
to transfer it to Sequencer mode.
not
repeating the highest
8.3. The Sequencer
The [SEQ] button activates the Sequencer, with which you can create a polyphonic sequence
of up to 64 steps, including velocity, accents, slides, and three parallel modulation tracks.
Sequences can be recorded in real time, and every step can be entered and edited
manually.
♪ Notes from the sequencer can be used as a modulation source through Matrix row G.
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8.3.1. Sequence playback
When [SEQ] is active, the Split LED flashes to indicate that a sequence is ready to go; just
play a key on the lower zone and it will start, or press the Play button.
♪ A sequence plays its original pitches when the second C from the left is triggered, but it transposes
if a different note is triggered. It's easier to know what you'll hear if you record a sequence thinking of
C as the root note; for example, if you want to hear an E minor sequence when you play an E, record
the sequence in C minor.
8.3.1.1. Single/Split modes
The keyboard is split in Sequencer mode, with the lower zone triggering and transposing the
sequence and the upper zone open for playing live. Hold [Timbrality] and press a key to set
the split point.
8.3.1.2. Split mode: Mono vs. Poly
When [Timbrality] is set to Split and the lower zone is set to Mono, the playback of a
polyphonic sequence is affected: only the lowest note in the sequence is played. However,
the sequencer still transmits polyphonic data via MIDI.
8.3.1.3. Layer mode
When [Timbrality] is set to Layer, every note is doubled in the lower and upper zones. The
lower zone triggers and transposes the sequence and the upper zone can be played live.
Hold [Timbrality] and press a key to set the split point.
8.3.2. Live edits
8.3.2.1. Matrix row labels
Each row of Matrix buttons has a specific function in Sequencer mode. The labels on the
right side of the Matrix panel tell you what they do when lit:
• Sld means a slide is active for this step. When active it follows the Glide value.
When off (dark) there is no Glide. The Glide setting must be high enough for a
Slide to be heard.
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• Acc adds an accent to that step.
• Key is where the note events live. A red step means you'll hear a note; a dark
step means you won't, even if the other two buttons for that step are lit.
8.3.2.2. Mute/unmute steps
You can mute or unmute any step in the sequence without entering Step edit mode. Just
find its location in the Key row, and press that button to mute and unmute the step.
You can mute several steps at one time by holding the last button of the range to be disabled
and then pressing the first button (i.e., hold the right one, press the left one). All of the
included events are disabled. This works whether a sequence is looping or not.
8.3.2.3. Accents and slides
Use the buttons in the Acc row to toggle Accents on and off for specific steps.
Likewise, use the buttons in the Sld row to toggle Slides on and off for specific steps. The
Slide happens
selected note. Remember, the Glide setting must be high enough for a Slide to be heard.
You can add or remove several Accents or Slide events at the same time. It's sort of like tying
notes together:
For these and more sequencing tips see the Step Record / Edit chapter [p.70].
into
the selected note; i.e., from the note
• To add them, hold the first Accent or Slide button and press another of the same
type further to the right (hold
an event for any active notes.
• To remove them, reverse the order: hold the last Accent or Slide button in the
desired range and press another of the same type further to the left (hold
press
left
). All of the included events are disabled.
left
, press
right
before
the selected note to the
). All of the included buttons will gain
right
,
8.3.2.4. Change step length (tie notes)
There are two ways to change the length of a step (i.e., tie a note): the Bracket way and the
Knob way.
The Bracket way
To make a step longer, hold its Matrix button for less than 1 second and press a button to the
right. You have just put "brackets" around the length of the note. The button LEDs indicate the
note duration: the brightest step is the original note, and the buttons to the right are lit more
dimly to show that the note is tied. It's okay for notes to overlap, if polyphony allows.
To shorten a step, hold its Matrix button for less than 1 second and press a button that is
closer to the source note (i.e., make the bracket smaller). This method can't be used to return
the note duration to a single step, though. To do that requires the Knob method.
The Knob way
To make a step longer or shorter, hold its Matrix button and turn the Amount knob within
1 second. If you hold the Matrix button for 1+ seconds before turning the Amount knob, the
Record light turns red and the Matrix buttons change colors. This means you've entered step
edit mode. The full details about step editing are here [p.72].
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• Turn the Amount knob clockwise to lengthen the step and more red LEDs appear
to the right, with the first one brighter than the tied steps. Notes can be extended
to the end of the sequence.
• Turn the Amount knob counter-clockwise; fewer red LEDs means the note or
chord has been shortened. If the notes are extra long, keep turning the knob until
you see some red LEDs go dark; then adjust the step as needed.
8.3.2.5. Step length, 12 voices and MIDI
The sequencer and the voices are independent. So a legato type of playback might not
sound the same depending on the voice allocation mode [p.47]. As with note stealing [p.97],
this is not handled within the sequencer.
There can be up to 6 notes per step, and their individual lengths are stored within each step.
For example, if you have a sequence like this:
• Step 1: [C0; D0; E0; F0; G0; A0], each with a note length of 10 steps
• Step 2: [C1; D1; E1; F1; G1; A1], each with a note length of 10 steps
During playback, on step 3 you’ll have all 12 notes On over MIDI, and the 6 playing voices
will depend on the voice allocation mode. In other words, legato voice-playing isn’t recorded
with the sequence.
8.3.3. SEQ home page
Enter Sequencer mode and press [SEQ]. You'll see the Sequencer mode home page, where
the Matrix view options and several track operations are found. Other pages are shown
temporarily while changing Sequencer mode settings, but the Sequencer returns to the
home page after 1 second.
8.3.3.1. View steps 1-32, 33-64
A sequence can contain u p to 64 steps, which is more than the Matrix panel can display at
one time. Use [Assign 1 + 2] to switch the view between steps 1-32 and steps 33-64. You can
use this during playback, recording, or editing.
8.3.3.2. Notes: Overdub ON/OFF, mute
[Assign 3] selects the Notes view in the Matrix panel, and also provides different options for
[Assign 7+8] than are shown in the Modulations view (see below).
• [Assign 7] toggles Record mode between Overdub ON and Overdub OFF.
• When not recording, [Assign 8] can temporarily mute the sequence note data.
• While recording, [Assign 8] becomes "Erase Current Step." Hold [Assign 8] and
press a step to erase it.
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8.3.3.3. Modulations: Mod ID, Erase mods
[Assign 4] selects the Modulation track view in the Matrix panel, and also provides different
options for [Assign 5-8] than are shown in the Notes view (see above).
• [Assign 8] is alone on the right side if a mod track has not been recorded yet. It is
used to erase a mod track: Hold [Assign 8], press [Assign 5-7], and that mod track
will be erased.
• [Assign 5-7] show the names of the controls that are recorded on the three mod
tracks.
8.3.3.4. Mute the notes
In case you missed this earlier [p.63]: When the sequence is not in a Record mode, the
[Assign 8] button (Toggle Mute) is also active in Modulations view (even though you can't see
it). Use it if you want to hear what the Modulation tracks are doing while holding some keys.
8.3.4. Play Mode: Seq
Hold [Play Mode] to view the [SEQ] Play Mode page, and use [Assign 1-4] to select an option.
These set the playback direction for the sequence.
• Forward plays the sequence from the first step to the last, then starts at the
beginning again.
• Pendulum plays the sequence forward and then backward, repeating the first
and last steps.
• Random can trigger any step inside the sequence length, even steps that contain
no data.
• Walk moves according to probability, not chance. On each step there is a 50%
chance that the next step will be the one to the right, a 25% chance the same
step will repeat, and 25% chance that the
Press [Play Mode] repeatedly to step through the various options.
previous
step will play.
8.3.5. Sequence length
A sequence can be as short as 1 ste p and as long 64 steps. The fastest way is to hold [Seq
Length] and use [Assign 1-4] to select one of the preset lengths. You can set a sequence to
any other length, though:
• For lengths from 1-32 steps, hold [Seq Length] and touch any of the three buttons
in the last step.
• For lengths over 33 steps, press [Assign 2] to access steps 33-64 on the Matrix
buttons, then touch any of the three buttons in the last step.
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8.3.5.1. Extend
The Extend feature doubles the length of the current sequence by copying the existing step
data and pasting it onto the steps outside the current sequence length. This can be done
repeatedly until the maximum length of 64 steps has been reached.
Hold [Seq Length] and press [Assign 5] to extend the sequence.
8.3.6. Real-time recording
Real-time recording remembers velocity levels, note duration, and legato playing for u p to
twelve voices, plus activity on the first three controls you move. You can record in real time
and edit the sequence in step time later.
You may want to configure the Metronome ahead of time: hold [Metro] for 1 second. On that
page you can set the metronome volume and enable or disable the count-in feature.
There are three ways to start a real-time recording:
1. Hold the Record button and press Play once. Both buttons flash, and recording
begins at the first step when you touch a key.
2. Press and release the Record button (it lights red), then press and release Play.
If count-in is enabled the metronome will give you four counts before recording
begins; otherwise recording starts when you release the Play button.
3. You can also enter real-time recording with a press/release of the Record button
while the sequencer is playing.
To record control movements, return to the home page and press [Assign 4]. Then follow the
steps in the Modulation track section [p.66].
♪ If a control is turned while recording in real time, the sequencer will exit Record mode after one
loop.
8.3.6.1. Spot erase
You can erase a note by pressing the [Tap] button at just the right time. Keep holding [Tap] to
erase several notes. For greater precision, try Step editing mode [p.72].
8.3.7. Step recording
There's a lot of overlap between step recording and step editing, so most of that information
is in the next chapter [p.70]. But to summarize, in Step mode you can:
• Enter, edit, or replace a phrase one step at a time, including tied notes.
• Turn the Amount knob to scroll through the sequence, or select a ste p manually
for editing.
• Use Modulation tracks to capture the movements of up to three controls on
specific steps.
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If you want to try it now and read later, stop the sequence (if it's playing). Then press the
Record button to enter step record mode.
8.3.8. The Modulation tracks
Controller changes can be recorded for up to three parameters, live in real time or in step
record. Here's how it works:
• During real-time recording the sequence normally loops indefinitely, but when
recording a Modulation track the record light turns off after one loop.
• When a control is moved during a record loop, Modulation track recording begins
on that step (e.g., step N). When the record loop reaches step N-1, the record light
turns off. This can be repeated for two other controls.
• Use [Assign 4] on the Sequencer home page to select the Modulations view. The
names of the recorded controls appear in the display at Assign slots 5-7.
• To delete a Modulation track, hold [Assign 8] and press the Assign button that
shows the name of the track to be deleted.
• While step recording, move one of those three parameter controls to enter or
change its value at the selected step.
• When the sequence is not playing, [Assign 8] "Toggle Mute" is active in
Modulations view (even though you can't see it). Use this when you want to hear
what the Modulation tracks are doing while holding a few notes.
♪ For details about editing the contents of a Modulation track, see Step record: Mods [p.73].
When SEQ mode is selected in the Seq/Arp section, pressing the round Sequencer button in
the Matrix Panel will cycle through useful Sequencer displays.
• First press: Keyboard graphic showing what notes are played.
• Second press: Modulation and automation lanes.
• Third press: Step edit view for the current step.
• Fourth press: Returns to Sequencer home page.
8.4. Matrix Arpeggiator
This mode is a hybrid of the Sequencer and the Arpeggiator. Hold up to six notes, and out
of those PolyBrute 12 plays the ones you enable on each step, in a specific octave for each
step, for up to 16 steps before repeating.
To enter the Matrix Arpeggiator, press the [SEQ] and [ARP] buttons at the same time. Both
should stay lit up.
The arpeggio rhythm is shaped by enabling and disabling the steps in each column, which
are then played back in order according to the Play Mode setting.
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The following graphic shows how a monophonic pattern might look. Here are some things
to know:
• Row A adds a slide to that step; Row B adds an accent to that step.
• Row C enables a step to play a note. This arpeggio has rests at steps 2, 6, and 7.
• Rows D-I represent held notes 1-6. If 5 notes are held, for example, row D does
not affect the pattern.
• Row J shifts a step +1 octave; Row K means no shift; Row L shifts a step -1 octave.
Color key: R = red, B = blue, P = purple
8.4.1. Matrix Arp home page
The home page provides viewing options and more:
• [Assign 1+2] switch between steps 1-8 and steps 9-16.
• [Assign 3+4] switch between Notes view and Modulations view [p.66].
• [Assign 8] activates Copy to Seq [p.59].
8.4.2. Polyphonic arpeggios
The Matrix Arpeggiator is polyphonic. Here are some things to know about that:
• Multiple cells can be enabled in each column.
• A long press on a cell will clear the others in the same column.
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• Pressing and holding two cells from different columns draws a "monophonic"
line between the two cells.
8.4.3. Approach notes
In Matrix Arpeggiator mode "chromatic approach" notes can be assigned:
• Lower approach note: If you turn the Amount knob counter-clockwise while
pressing a button in the voice assign section (rows D–I), the button turns red
instead of blue. This means the note is played one half step below the held note.
• Upper approach note: If you turn the Amount knob clockwise while pressing a
button in the voice assign section, the button turns purple instead of blue. This
means the note is played one half step above the held note.
• To restore the original pitch press the voice assign button twice. It turns blue
again.
♪ If you hold the Matrix button for 1+ seconds before turning the Amount knob, the other cells in the
same column will be cleared. You'll need to re-enable them if you want that step to be polyphonic.
8.4.4. Play Mode: Matrix Arp
Hold [Play Mode] and use [Assign 1-4] to select an option. These set the playback direction
for the pattern.
• Forward plays the pattern from the first step to the last, then starts at the
beginning again.
• Pendulum plays the pattern forward and then backward, repeating the first and
last steps.
• Random can trigger any step inside the sequence length, even steps that contain
no data.
• Walk moves according to probability, not chance. On each step there is a 50%
chance that the next step will be the one to the right, a 25% chance the same
step will repeat, and 25% chance that the
Press [Play Mode] repeatedly to step through the various options.
previous
step will play.
♪ All of the Common features [p.57] apply to Matrix Arpeggiator mode (Home page, Hold, Metro, Time
Div, Swing, Rate, Gate, Tap), as do the features specific to Sequencer mode (Play Mode [p.64] and Seq
length [p.64]).
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8.5. Sequence Management
Hold [Sequencer] to view the sequence editing features, then use [Assign 1-8] to select the
desired option. These are described in the following sections.
8.5.1. Copy current sequence
Hold [Sequencer] and press [Assign 1] to copy the current sequence into a temporary
memory buffer. You can then use the Paste Sequence or Paste Sequence + Automation
features to transfer part or all of the sequence data to a different patch.
8.5.2. Paste sequence
Hold [Sequencer] and press [Assign 2] to paste the notes in the copied sequence from
the temporary buffer into the sequence memory of the current patch, replacing the note
data previously in the current patch's sequence. This option only pastes the notes from the
sequence, not the automation data, and does not erase the automation data in the current
sequence.
8.5.3. Paste sequence + automation
Hold [Sequencer] and press [Assign 3] to paste the entire contents of the temporary buffer –
notes
and
of the data of the current sequence with the contents of the temporary buffer.
automation – into the sequence memory of the current patch. This will replace all
8.5.4. Clear current sequence
Hold [Sequencer] and press [Assign 4] to clear the current sequence.
8.5.5. Erase notes
Hold [Sequencer] and press [Assign 5] to erase only the notes inside the current sequence.
The Modulation tracks will not be affected.
8.5.6. Erase automation
Hold [Sequencer] and press [Assign 6] to erase only the Modulation tracks inside the current
sequence. The note data will not be affected.
8.5.7. Transpose sequence
Hold [Sequencer] and press [Assign 7] or [Assign 8] to transpose all the notes from the
sequence by -1 semitone or +1 semitone.
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9. SEQUENCER STEP RECORD AND STEP EDIT
9.1. What’s the difference?
The terms are sometimes used interchangeably. Here's what they mean in PolyBrute 12:
• Step
recording
• Step
editing
9.2. Overdub ON vs. Overdub OFF
On the Sequencer mode home page you can use [Assign 7] to toggle between Overdub ON
and Overdub OFF. This setting does not affect the Modulation tracks. It is active in both Notes
view and Modulations view (even when you can't see it).
• Overdub OFF: Step overdub OFF replaces all notes in the step, even if only one
note is played.
• Overdub ON: Steps can overdub additional notes up to the maximum polyphony
of 12 voices, and then no more notes can be added. You can delete individual
notes in Step Edit mode [p.72].
9.3. Step Record
Step recording lets you edit a real-time recording, and also offers a different way to work
with patterns. With it you are able to:
• Enter a phrase one step at a time, including tied notes.
• Capture the movements of up to three controls on the Modulation tracks.
To enter Step record mode, stop the pattern (if it's playing) and press the Record button. The
pattern locates to step 1. Here's some of what you can do:
• Play one or more keys to enter a note or chord on step 1.
• Use the Amount knob to scroll to a different ste p. The purple step is the record
cursor.
• Touch a Matrix button to select a step. A red step plays when selected.
• A dark step is silent (i.e., a rest) but may not be disabled. To be sure, exit Step
record mode (press the Record button) and touch that Matrix button. If it turns
red, it contains note data.
• As needed, use [Assign 1+2] to switch between steps 1-32 and 33-64, and use
[Assign 3-4] to switch between Notes view and Modulations view [p.73].
means entering data. The focus is on creating a sequence.
means editing an event (i.e., a Ste p). The focus is one event at a time.
◦ A red step has an active note or chord. That step plays when the
cursor reaches it.
◦ Dim red buttons are tied notes and do not trigger.
◦ To replace the note data of the selected red step, make sure that
Overdub OFF is set, and play one or more keys.
◦ Back in Step record mode, select that dark step with the Amount knob
or touch its Matrix button.
◦ To enter note data to the selected dark step, play one or more keys. It
becomes a red step.
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♪ In Step record mode, holding a red button for about 1 second enters step edit mode. Press that
button again to exit, or learn about it here [p.72].
9.3.1. Enter / edit one step
With Record On and the pattern not playing, your options include:
• Use [Assign 7] to select Overdub ON or Overdub OFF.
• Touch a red step to select it. You can also touch a Slide or Accent button.
• To enter or replace notes on the current step, play one or more keys.
• To enter or replace the notes of any step in the pattern, touch its step button to
select it. Now play one or more keys.
• To edit the length of a step or replace individual notes within a chord, see the
Step Edit: Notes section [p.72].
• To add or remove a slide or an accent at any step, press one of those buttons. A
slide affects the transition
hear the slide.
• Press [Assign 8] to erase the current step. It will take with it any tied steps.
• [Tap] can erase any step in the pattern. Select the step and press [Tap]; the step is
erased and the cursor advances to the next step.
into
the current step. Glide time must be sufficient to
9.3.2. Enter / edit many steps
With Record On and the pattern not playing, your options include:
• Use [Assign 7] to select Overdub ON or Overdub OFF.
• Touch a red step. You can also touch a Slide or Accent button.
• To add or replace a series of notes, play the keys. As each note is played the
cursor advances and selects the next step.
• Press [Tap] to enter a rest or erase the current step.
• To erase several steps in a row, touch the first step and press [Tap] repeatedly.
! When recording while a pattern is playing, holding [Tap] erases the notes and disables all events
until [Tap] is released.
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9.4. Step edit: Notes
Step editing lets you make precision edits to an individual event. You can enter Step edit
mode from Play mode (record off) or from Step record mode (record on). In this mode you
are able to:
• Play one or more keys to enter note(s) or to replace existing notes.
• Delete / replace a note in the middle of a chord.
• Use the Amount knob to lengthen / shorten the step.
• Switch to Modulations view to edit the control movements for a specific step. See
Step record: Mods [p.73].
Let's walk through the Step editing procedures. You can do this whether the sequence is
playing or not (you just won't see the cursor while it's playing).
To enter Step edit mode, hold a step button for about 1 second. (Slide or Accent buttons also
can be used.) The Matrix buttons now show three different colors: The current step is red,
nearby steps are purple, and blue shows the duration. Here you can add or delete notes to
the step and change its duration.
9.4.1. Add / delete notes
Use the keyboard to add notes to the step. As notes are added, the same number of Matrix
buttons are lit red, and they stay red as long as the notes are held. The duration of a red
button can be changed with the Amount knob. When a note is released its Matrix button
turns blue, and its length can't be changed unless all notes are released (or the same note is
played again).
The next part of the process is a bit different depending on the Overdub ON/OFF setting
[p.70].
9.4.1.1. Record mode: Overdub OFF
If you play a chord, release all notes, and then play another note, the first notes are
overwritten by the new note. As long as a note is held down you can continue to add more
notes, up to the maximum of 6.
9.4.1.2. Record mode: Overdub ON
You can enter two notes on a step, for example, then lift your fingers and add up to four
more notes without overwriting the first two. Pressing a note which is already in the step
will light it in red again, and then its length can be changed with the Amount knob.
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9.4.2. Change the duration
After all notes are released, the corresponding Matrix buttons turn blue. There are several
ways to change the duration of the notes.
9.4.2.1. All notes
With all notes released, turn the Amount knob clockwise to lengthen all of the notes in the
step. Those notes are now tied into the following steps. The blue LEDs to the right indicate
the length of the tied notes. This is also visible in playback mode.
Now turn the Amount knob counter-clockwise; fewer blue LEDs means the notes are shorter.
if a note is extra long you may need to keep turning the knob before anything changes.
9.4.2.2. One note
Press and hold a blue button, then turn the Amount knob to edit the length of a single note
in a chord.
9.4.2.3. Proportional changes
It's possible to add a note, extend it with the Amount knob, then add another note, etc., and
extend them proportionately.
9.4.2.4. Remove notes
Press the left-most blue button of a row to remove that note from the chord.
9.4.3. Select a purple step
Touch one of the purple buttons: it turns red to show it is the current step. Add one or more
notes and adjust their duration, or select another purple button instead.
9.4.4. Exit step edit
When you're done, you can press the red step or the Record button to exit Step record. This
returns you to the home page. To confirm the changes, re-enter Step record and press that
red step to hear it.
9.5. Step record: Mods
The movements of up to three controls can be recorded on the Modulation tracks, in real
time or in Step mode. The controller data can be added or edited on each step. Live
recording is covered here [p.66]; in this section the focus is Step recording. For this example,
start with a sequence that has no Modulation tracks recorded.
First, stop the pattern (if it's playing), then press the Record button to enter Step record mode.
Use [Assign 4] to select Modulation view. You can switch back to Notes view using [Assign 3]
at any time.
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The Modulation tracks are in sets of three, and are shown in rows A-C and rows D-F but
also in Rows G-I for the steps 17 to 24, and J-L for the steps 25 to 32. Modulation track steps
that contain a value are blue. Existing Modulation tracks are named in the display as Assign
buttons 5-7.
Up to three parameters can be recorded - there are three Modulation tracks. Here's how it
works:
• When the first parameter is touched, a step button in the first row is lit blue.
• When another parameter is touched, in this or another step, a step button in the
second row is lit blue.
• Once all three parameters are assigned to Modulation tracks, you won't be able
to create more Modulation tracks. Moving another control will not change the
current step. To delete one of the Modulation tracks, read this section [p.74].
• Turning a parameter knob that has been recorded to a Modulation track triggers
the notes that exist at the current step. The trigger can only occur once every
0.7s.
9.5.1. Enter / edit one mod step
Move one of the three chosen controls to edit its value at that ste p. If a mod event did not
exist for that control on that step, a button on its Modulation track turns blue. You can toggle
individual Modulation track steps on and off by pressing a specific blue button.
! [Tap] erase doesn't work with Modulation track steps.
9.5.2. Enter / edit many mods
You can record Modulation tracks while the pattern is looping, even inside the Modulations
view. For details, see the Modulation track section [p.66].
9.5.3. Delete a Modulation track
To delete a Modulation track, hold [Assign 8] and press the Assign button that shows the
name of the track to be deleted. It will disappear from the list in the display. Here are two
more things to know about the process:
• Deleting a Modulation track leaves that step row empty, but it does not
reorganize the rows.
• The next time a new parameter is recorded, the first empty Modulation track is
filled.
♪ With Record Off and the pattern not playing, the assigned Modulation track parameters can be
edited without affecting the Modulation tracks.
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10. MORPH MODE
10.1. What is Morph Mode?
Every PolyBrute 12 preset is made up of two sounds (A and B) that are available at the
same time. Both the [Morph] knob and Morphée controller are able to crossfade seamlessly
between the two sounds, each of which can have entirely different settings for the filters,
envelopes, and LFOs, to name a few things. Morphing is applied to these parameters as
if you were moving all the controls at once. And you are...but you're doing it with a single
control.
No other analog synthesizer has ever had this kind of power: two full-fledged sounds in a
single patch, with gobs of parameters on either side. It's tempting to think of them as layers,
except that PolyBrute 12 also has a Layer mode for stacking voices on top of each other, in
addition
Morph is not a crossfade; it's an infinite number of adjustments from one setting to the
next. Parameter values change gradually from one state to another state, hitting every
intermediate value between the two.
To illustrate the concept, we invite you to try this example:
This is what morphing the two values for VCO 2
them would work. To hear both pitches at the same time during a crossfade would require
four VCOs per voice, not two, so that both VCOs on either side could retain their pitch settings
and fade in/out as the knob is turned.
By the way, it's a lot of fun to watch this happen when using the PolyBrute Connect software.
Just a little hint there...please go get it if you don't already have it!
There are a few parameters that can't morph [p.80] due to their very nature: these are
mutually exclusive, contradictory, or binary/trinary settings between which no compromise
is possible.
One more thing: sounds A and B share the same set of 32 Mod Matrix routes and 64 mod
connections. But that's usually more than enough! All told, a PolyBrute patch is an animated,
lively thing.
to the morph capabilities.
10.1.1. Morph vs. crossfade
1. Initialize the patch and turn the [Morph] knob to its halfway point, so you can
modify sounds A and B equally.
2. In the Mixer section, set [VCO 1] level to zero and [VCO 2] level to maximum.
3. Set the [Morph] knob all the way to B and set VCO 2 [Tune] to maximum (+7
semitones).
4. Now play a note and turn the [Morph] knob from A to B: the pitch changes
gradually between the two.
should
do; it's not at all the way crossfading
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10.2. The [Morph] knob
This unassuming control is at the heart of the morphing feature. At its full counter-clockwise
position it allows only sound A to pass; at its full clockwise position it allows only sound B to
pass. It is continuously variable between the two settings, so an infinite number of blends is
possible between sounds A and B.
The position of the [Morph] knob is stored with each preset. This becomes the starting point
for the modulations affecting both sounds.
The position of the [Morph] knob also defines the way A and B are modified when a knob
or fader is moved: at its full counter-clockwise position only the sound A parameter will be
modified; the more it is turned clockwise, the more the sound B parameter will be modified
and the less the sound A parameter will be modified; at its full clockwise position, only the
sound B parameter will be modified.
10.3. Morphing with Morphée
When the Morphée button is set to “Morph”, the X axis will morph the “Level” parameters
(such as VCF Levels, or VCO waveform mix etc.) while the Y axis will morph the “Pitch”
parameters (such as VCO pitch or VCF cutoff)
When Morphée is swept to bottom left you hear sound A; when it is swept to upper right
you hear sound B.
In this mode, there is a strong interaction between the [Morph] knob and Morphée, as
moving the [Morph] knob will take over both X and Y morph axes. However, while the [Morph]
knob defines the way A and B sounds are modified when a knob or a fader is moved (see
10.2), Morphée does not affect this behavior. This means that if the [Morph] knob is at its full
counter-clockwise position and Morphée is swept to upper right, you will hear sound B, but
a knob or fader movement will only affect sound A.
For more information about the Morphée controller, read this section [p.39] in the
Performance controls chapter.
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10.4. Morph and mod routes
As mentioned earlier, sounds A and B share the same set of 32 Mod Matrix routes (and 64
mod connections). That means, for example, that for Mod page 1, route A 1, the selections
for the source and destination need to be the same. But the settings for the source can be
completely different for sound A and for sound B!
Here's a quick example:
1. Initialize the patch and turn the [Morph] knob to A.
2. Enter Mods mode, set u p a mod route from LFO 1 to Pitch Global, and give it a
positive amount.
3. Set the LFO 1 [Waveform] and [Rate] to something obvious like a slow downward
sawtooth.
4. Turn the [Morph] knob to B.
5. Give the LFO 1 to Pitch Global a positive amount and set the LFO 1 speed to
something different.
6. Press the [Morph] button (under the Amount knob) to enter Morph mode.
7. Select Edit B with [Assign 2]. Now two mode buttons are lit (Mods and Morph).
8. You can now set LFO 1 [Waveform] to something different.
9. Now play a note and turn the [Morph] knob from A to B: the LFO changes
gradually between the two.
As you can see, there's a lot of potential even when sounds A and B are sharing the same
modulation source.
10.5. Morphing sounds
The top level of Morph mode has eight options: three for sound editing and five utilities.
10.5.1. Editing sounds A and B
The Edit A / Edit B modes allow you to change settings that would otherwise set sounds A
and B to the same value.
For example, here's what happens when you try to change the VCO filter routing from
Ladder to Steiner at the Preset level, without using Edit A / Edit B.
• Initialize the patch [p.16].
• Press [Presets] to reach the top level, if you're not already there.
• In the Mixer section, the routing LED shows that VCO 1 is routed to the Ladder
filter.
• Turn the [Morph] knob from A to B: the filter routing does not change.
• Change the filter routing to the Steiner filter and turn the [Morph] knob again: the
filter routing does not change.
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To route VCO 1 to different filters for sounds A and B:
1. Enter Morph mode
2. Use [Assign 2] to enter Edit B
3. Press the filter routing button to route VCO 1 to the Ladder filter.
Now press [Presets] and turn the [Morph] knob. The VCO 1 filter routing LEDs will morph from
Steiner to Ladder routing, with both lit when the [Morph] knob is at its midpoint. This example
works on any patch.
10.5.1.1. Edit A
Use [Assign 1] to access and change the settings for sound A. Inside this mode you can:
• Change the values for any voice engine parameter except as noted here [p.80].
• Set the levels that sound A will use for the shared mod routes. The Mods button
will light in red and you'll be taken to the Mod Matrix. Edit the level to the desired
value.
10.5.1.2. Edit B
Use [Assign 2] to access and change the settings for sound B. Inside this mode you can:
• Change the values for any voice engine parameter except as noted here [p.80].
• Set the levels that sound B will use for the shared mod routes. The Mods button
will light in red and you'll be taken to the Mod Matrix. Edit the level to the desired
value.
10.5.1.3. Edit A+B
Use [Assign 3] when you want the parameters for sound A and B to have the same value.
Inside this mode you can:
• Change the values for any voice engine parameter except as noted here [p.80].
• Set the levels that sounds A and B will use for the shared mod routes. The mod
source settings can still be different; just the mod amount and polarity will be the
same. The Mods button will light in red and you'll be taken to the Mod Matrix. Edit
the level to the desired value.
♪ When In
shortcuts. For example, you can cause parts A and B to have different pitch bend ranges.
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Edit AorEdit B
you can access independent settings using the Settings button or Settings
Page 88
10.5.2. Morph utilities
10.5.2.1. Pick B
This option allows you to copy sound A or B from any preset into the edit buffer of the patch
you're creating. After selecting the Pick B option, use [Assign 1-8] and the Matrix buttons to
select the source patch for sound B.
After selecting the source patch, the display shows that sound A from the selected patch has
been copied into sound B of the patch being edited.
Push the Matrix button for the source patch again and the display changes to show that
sound B from the selected patch has been copied into sound B of the patch being edited.
10.5.2.2. Copy A->B
When creating a patch you might want to morph between two sounds that are similar in
some ways and drastically different in only a few ways. Use this option to copy sound A
into sound B, and then edit each sound as you see fit.
10.5.2.3. Current to A
If the current position of the [Morph] knob gives you exactly the sound you want for sound
A, you can transfer that to sound A and then focus on sound B.
10.5.2.4. Current to B
Likewise, if the current position of the [Morph] knob gives you exactly the sound you want
for sound B, you can transfer that to sound B and then focus on sound A.
10.5.2.5. Swap A/B
Here's a use case for this feature: Let's say you like what the Pick B function brought into
the patch but you're not so thrilled about sound A now. Swap A and B; now your sound B
resides in sound A. Now you can search for another complementary sound using the Pick B
function again.
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10.6. What can morph?
Nearly every PolyBrute 12 parameter can morph between its settings for sounds A and
B. These include the filters, the VCOs, the Envelopes, and the LFOs. Even some unusual
parameters like Sync and Noise Colour can be morphed.
Set A/B with [Morph] knob [1] Use Edit A / Edit B [2] Can't morph [3]
Front panel knobs, sliders
(Voice engine only)
Matrix modulation amounts LFO 1 / LFO 2 waveforms
Mixer destinations (filter routing)
LFO 1 / LFO 2 Retrig modes
LFO 1-3 [Sync] on/off Octave button settings
LFO 3 [Retrig] on/off
LFO 3 [Single] on/off Matrix destinations
LFO 3 [x LFO 1] on/off
Voice parameters accessed
via [Setting] + [knob/fader]
Voice settings accessed
with a long button press
Polyphony settings:
Poly / Mono / Uni
Timbrality settings:
Single / Layer / Split
Wheel assignment:
Matrix / Cutoff / Vibrato / LFO1 Amp
Glide settings:
Time/Rate, Continuous/Chromatic
FX routing:
Insert / Send / Bypass
Effect types
Sequences, Seq/Arp settings
Motion recorder
Ribbon settings
Other controller settings (Exp 1/2, etc.)
1. These values can be edited from the front panel. Set the [Morph] knob to A or B
as needed.
2. These must be set inside Edit A and Edit B in order for their values to be different.
3. These parameters can't morph because they affect sounds A and B equally
within each patch.
10.6.1. Mixer destinations (filter routing)
As mixer destinations do morph (use Edit A and Edit B for setting different routings between
A and B, see Editing sounds A and B [p.77]), you can actually set percentage amounts of
oscillator output passing to each of the filters.
To set VCO1 25% into Steiner and 75% into Ladder:
1. Follow the instructions from Editing sounds A and B [p.77] to set VCO1 to Steiner
in sound A, and to Ladder in sound B.
2. Turn the [Morph] knob to 75% : VCO1 is routed 25% into Steiner and 75% into
Ladder. The mixer LEDs reflect this state, as the VCO1 to Steiner LED is dimmed
(25%) and the VCO1 to Ladder is more lit (75%).
3. You can even use the Current to A utility [p.79] so that mixing is applied to the A
sound.
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10.6.2. LFO 1 / LFO 2 waveforms
Similarly to the Mixer destinations (see section above), you can set LFO1 / LFO2 to output
a mix of their waveforms by using different waveforms between the A and B sound, then
using the [Morph] knob and the Current to A [p.79] or Current to B [p.79] utilities. The LFO
waveform LEDs also reflect this state.
10.6.3. LFO 1-3 Retrig modes
Similarly to the Mixer destinations (see section 10.6.1), you can set LFO1 / LFO2 to a
percentage amount of Retrig modes (i.e. a state in between Mono, Poly Free and Poly Retrig
modes). The LFO 1 / LFO 2 Mono Retrig and LFO3 Retrig parameters are also continuous.
Morphing between a retrigged and a free LFO works as follows:
10.6.4. LFO 1-3 Sync
Similarly to the Mixer destinations [p.80], you can set LFO 1-3 to a percentage amount of
Sync modes (i.e. a state in between Synced and Unsynced).
From 0% to 50% Sync, the LFO rate will continuously morph between its Unsynced value
and its Synced value. The LFO phase remains free. Once the “Sync” parameter reaches 50%,
the LFO phase will smoothly lock into sync.
The Sync options are Binary, Triplet, and Dotted (see LFO Sync division [p.29]). These can
also morph, but not continuously. When the Sync Division parameter is between 0 and 33%
the division is Binary, from 33% to 66% it is Triplet, and from 66% to 100% it is Dotted.
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10.6.5. LFO 3 Single
Similarly to the Mixer destinations [p.80], you can set the LFO 3 [Single] parameter to other
values than 0% or 100%.
With the [Single] parameter from 100% to 1%, the number of LFO cycle repeats changes
linearly from 1 to 32. At 0% Single, the number of LFO cycle repeats is infinite.
The chart below shows the interaction of the [Retrig] and [Single] parameters.
10.6.6. LFO 3 X LFO 1
Similarly to the Mixer destinations [p.80], you can set the LFO 3 [X LFO 1] parameter to other
values than 0% or 100%.
LFO 3 X LFO 1 has both a modulation and a triggering action (see section 4.5.2 [p.29]), and
both have a continuous behavior.
With X LFO 1 modulation from 0% to 100%, the output of LFO 3 will be modulated with a
cross-fade between 1 (i.e. no modulation) and the value of LFO 1 (i.e. full LFO1 modulation).
With X LFO 1 trigger from 0% to 99%, LFO 3 will be retriggered by LFO 1 from 0 to 32 times
in a row. With X LFO 1 trigger at 100%, LFO 3 will be continuously retriggered by LFO 1.
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11. THE EFFECTS
PolyBrute 12 features a digital Effects section with all the classic effect types:
• Modulation: chorus, phaser, flanger, and lots of other interesting pitch-based
effects.
• Delay: everything from quick slapback, ping pong, and stereo delays are at your
disposal.
• Reverb: vintage effects like Bright Plate are available, plus lush options like
shimmering effect, etc.
♪ Note that all of the Effects section knobs can be modulation destinations in the Matrix.
11.1. FX routing
Insert routes the entire output signal through the effects in this order: Modulation > Delay >
Reverb.
Send uses the Delay and Reverb in a bus configuration that preserves the analog signal
path. The Modulation effect is always in Insert mode.
Bypass lets you silence all three effect units at the same time while leaving their output
levels intact for later recall.
Note that when the signal is dry (effect levels at zero) the signal path is pure analog, even in
Insert mode.
11.1.1. Mod FX Insert Routing
Pressing [Settings] and [FX] Routing in Insert or Bypass mode lets you place the Modulation
FX at different points in the signal chain. Options include:
• Pre Delay: Mod > Delay > Reverb (this is the default)
• Pre Reverb: Delay > Mod > Reverb
• Post Reverb: Delay > Reverb > Mod
11.1.2. Mod FX Send Routing
Pressing [Settings] and [FX] Routing in Send mode lets you place the Modulation FX at
different points in the send architecture.
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Options include:
• Pre Send: Mod FX is placed before the Delay and Reverb sends
• Send Wet: Mod FX is placed only on the wet returns
• Post Return: Mod FX is placed on the wet/dry mix of the returns
Note that in the latter two settings, the Mod FX is placed on a mix of the delay and reverb,
not one or the other.
11.2. Modulation Effects
Intensity controls the depth of the selected Modulation effect.
Modulation Type selects one of these options:
• Chor (Chorus) is an LFO-modulated delay, in the vicinity of 5 to 50ms. It's a rich,
thickening sound.
• Pha (Phaser) creates several versions of the incoming signal. The phase of each
version is altered by an Allpass filter, and the affected signals are then combined
with the original. The result is a lush modulation with a comb filtering effect, as
heard on many classic electric piano and string machine tracks.
• Alt (Alternate): Hold [Settings] and press [Modulation Type] to view the Alt Mod
FX Type. These eight variations are the ones that can be selected for (and saved
with) the patch you're creating:
◦ Flanger
◦ Soft Flanger
◦ Phase Flanger
◦ Phaser 12p
◦ RingMod
◦ Ensemble
11.3. Distortion Effects
If you press the Modulation Effects [Type] button repeatedly until all three LEDs light up, you
can apply a Distortion Effect rather than an Alt Modulation. The display shows your choices:
• Subtle Tape
• Classic Disto
• Soft Clip
• Worn Out Tape
• Germanium
• BitCrusher
• DownSampler
If you return to Alt, your last choice of Alt Modulation FX will be remembered. If you store a
patch, both your last Alt Modulation and last Distortion choices will be stored, although only
one is active at a time.
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11.4. EQ
The Modulation section contains a hidden EQ, which may be used alongside the modulation
effects at the same time. It is accessed by holding [Settings] and turning the [Intensity] knob.
This will bring up a menu with eight options to impart an EQ curve to the PolyBrute 12’s
sound:
• Bypass: No EQ.
• Presence: Midrange boost.
• Low boost: Boost of bass frequencies.
• High boost: Boost of treble frequencies.
• Hi-Fi Loudness: Emulation of Loudness setting on home hi-fi gear. Bass
frequencies are boosted.
• Mud Remover: Rolloff of very low frequencies to reduce rumble.
• Low Cut: Similar to Mud Remover but with a higher roll-off frequency.
• High Cut: Roll-ff of very high frequencies to reduce sibilance and “sizzle”.
11.5. Delay
11.5.1. Delay controls
Delay Level controls the output of the selected Delay effect.
Delay Time adjusts the time between repeats of the Delay.
Delay Type selects one of these options:
• BBD (Bucket-Brigade Device) emulates an analog delay that quickly degrades
the effect output.
• Ping (Ping-Pong) bounces back and forth in the stereo field.
• Alt (Alternate): Hold [Settings] and press [Delay Type] to view the Delay Custom
Type. These seven variations are the ones that can be selected for (and saved
with) the patch you're creating:
◦ Stereo Delay
◦ Long Delay
◦ BBD PingPong
◦ Karplus
◦ Stereo Spread
◦ Parallel
◦ BBD Spread
Regeneration controls the number of repeats the delay will produce.
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11.5.2. Delay sync options
Hold [Settings] and turn Delay Time to view the “Delay Time Mode” menu. Use [Assign 1-4] to
specify whether the delay is synced to the master clock or not, and which time division it
uses when synced.
• Hertz: not synced
• Binary, Triplet, or Dotted: synced
When one of the synced options is selected, the delay time division is displayed as the Delay
Time knob is turned.
11.5.3. Delay filter options
Hold [Settings] and turn Regeneration to view the “Delay Filters” menu. Highpass and
Lowpass options are available, and one selection can be made from each column. Use
[Assign 1-4] to select the HP option, and use [Assign 5-8] to select the LP option.
11.6. Reverb
Reverb Level controls the output of the selected Reverb effect.
Reverb Time adjusts the time it takes for the Reverb to decay.
Reverb Type selects one of these options:
• Hall recreates the reflections of a fairly large acoustic space.
• Plate simulates the famous reverberation units found in some famous studios.
• Alt (Alternate): Hold [Settings] and press [Reverb Type] to view the Reverb Custom
Type. These five variations are the ones that can be selected for (and saved with)
the patch you're creating:
◦ Bright Plate
◦ Room
◦ Dreamy
◦ Springy
◦ Delayed Plate
Damping controls how quickly the higher frequencies decay. A gradual roll-off is heard from
high to mid, with the low frequencies the last to disappear.
11.6.1. Reverb filter options
Hold [Settings] and turn Damping to view the “Reverb HP Filter” menu. Use [Assign 1-4] to
select the HP filter cutoff: Bypass, Low, Mid, or High.
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11.7. Effects preset shortcut
The Modulation, Delay, and Reverb effects all feature a shortcut to bring u p their respective
Alternate presets. Simply hold the [Type] button in any section to bring u p a menu of that
section’s Alt presets.
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12. SETTINGS
Press [Settings] to access the Settings pages. They are divided into two main categories:
Preset and Global. We'll assume in this chapter that you know to use [Assign 1-8] to select
the options on each page.
12.1. Settings overview
12.1.1. Preset settings
Synth Voice Out Section Expression Control Preset
VCO Preset Volume Bend Range Init
Envelopes Stereo Modes Vibrato Options Details
LFO/Voices EQ Preset Keyboard Generate
Voicing Modulation Settings Morphée Modes Edit Sound Designer
Delay Settings Ribbon Modes
Reverb Settings Exp1 Settings
Analog Accuracy Exp2 Settings
Hold Settings
12.1.2. Preset > Synth Voice settings
VCO Envelopes LFO Voicing
VCO1 Tuning VCF Velo/Loop LFO 1 Global Retrig Poly
VCO1 Tune Mod VCF Env Curves LFO 2 Global Retrig Uni/Mono
VCO2 Tuning VCA Velo/loop LFO 3 Global Retrig Poly Lower
VCO2 Tune Mod VCA Env Curves LFO 3 Curve Uni/Mono Lower
Metalizer Mode MOD Loop Mode LFO 1 Sync Division Layer Mode
Sub level Mode MOD Env Curves LFO 2 Sync Division Unison Voice Count
Morph pitch quantize All Env Reset LFO 3 Sync Division Unison Detune
Glide Settings Voices Mod Source Analog Accuracy
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12.1.3. Preset > Out Section settings
Preset Volume Stereo Modes EQ Preset Modulation Settings
Preset Level 1 Voice Pan Bypass Mod Alt (Modulations)
Preset Level 2 Voice+Filter Pan Presence Mod Alt (Distortions)
Preset Level 3 Distrib: Centered Low Boost Mod FX Insert Routing
Preset Level 4 Distrib: Gradual High Boost Mod FX Send Routing
Preset Level 5 Hi-Fi Loudness
Preset Level 6 Mud Remover
Preset Level 7 Low Cut
Preset Level 8 High Cut
Delay Settings Reverb Settings
Delay Time Mode Reverb HP Filter
Delay Filters Reverb Alt Preset
Delay Alt Preset
12.1.4. Preset > Expression Control settings
Bend Range Vibrato Options Keyboard Morphee Modes
1 Semitone Range: 1 semi Alt Aftertouch Modes Tap
2 Semitones Range: 2 semi Duo Bend Hold
3 Semitones Range: 7 semi Scan
4 Semitones Range: 12 semi Hold Scan
5 Semitones Source: LFO1
7 Semitones Source: Sine Slow
12 Semitones Source: Sine Mid
24 Semitones Source: Sine Fast
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Ribbon Modes Exp1 Settings Exp2 Settings Hold Settings
Tap Master Cutoff Master Cutoff Hold Upper
Hold Morphee X Morphee X Hold Lower
Scan Morphee Y Morphee Y
Slow Scan Morphee Z Morphee Z
Ribbon Ribbon
Modwheel Modwheel
Volume Matrix
Morph Morph
12.1.5. Preset > Preset settings
The four different options are:
• Init
• Details
• Generate
• Edit Sound Designer
12.1.6. Global settings
Sync Keyboard MIDI Misc
Source Curves Channels Compare
Clock Type Aftertouch Max Sens Input Src Factory Reset
Metronome Pedal Polarity Output Dest Voice Auto-Tuning
Tempo Load Knob Catch Arp/Seq MIDI Out Ctrl Calibration
Clock Send Local Control FW version
Transport Send Program Change LED Brightness
Transport Receive Enable CC on Knobs Sleep Time
MPE
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12.2. Preset>Synth Voice
The Settings / Synth Voice category has four main areas: VCO, Envelopes, LFO/Voices, and
Voicing.
12.2.1. Synth Voice>VCO
Use [Assign 1-7] to choose the item to configure.
12.2.1.1. VCO1 Tuning
You can tune VCO1 in semitones (from 1 to 24) and in octaves (from -2 to +1).
You can access VCO1 Tuning using this shortcut: Hold the [Settings] button, and turn the VCO1 [Tune]
knob.
12.2.1.2. VCO1 Tune Mod
These define the response when VCO 1 is a mod destination. It does not affect the VCO 1
Tune knob.
• Use [Assign 1-2] to select Continuous (smooth) or Chromatic.
• [Assign 3-8] select preset scales the VCO will follow when modulated.
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