Arturia MatrixBrute User manual

USER MANUAL

Special Thanks
DIRECTION
Frederic Brun Adrien Courdavault
ENGINEERING
Bruno Pillet
Thierry Chatelain
Robert Bocquier
Vivien Henry
Nadine Lantheaume
Pierre-Lin Laneyrie
Yves Usson
Nicolas Dubois
MANUAL
Nick Batzdorf Glen Darcey Sebastien Rochard Morgan Perrier
DESIGN
Glen Darcey
Bruno Pillet
Sebastien Rochard
Daniel Vester
DesignBox
Frederic Brun
© ARTURIA SA – 2016 – All rights reserved. 11 Chemin de la Dhuy 38240 Meylan
FRANCE http://www.arturia.com
Information contained in this manual is subject to change without notice and
does not represent a commitment on the part of Arturia. The software described
in this manual is provided under the terms of a license agreement or non-
disclosure agreement. The software license agreement specifies the terms and
conditions for its lawful use. No part of this manual may be reproduced or
transmitted in any form or by any purpose other than purchaser’s personal use,
without the express written permission of ARTURIA S.A.
All other products, logos or company names quoted in this manual are
trademarks or registered trademarks of their respective owners.
Revision date: 27 December 2016

Thank you for purchasing the Arturia
MatrixBrute!
This manual covers the features and operation of Arturia’s MatrixBrute.
In this package you will find:
• One Matrixbrute analog synthesizer, with a serial number on the
bottom. You will need this information in order to register your
MatrixBrute online.
• One IEC AC power cord.
Be sure to register your MatrixBrute as soon as possible! There is a sticker on
the bottom panel that contains the serial number of your unit. This is required
during the online registration process. You may want to record these elsewhere
or take a photo of the sticker in case it becomes damaged.
Registering your MatrixBrute provides the following benefits:
• It enables you to download the MatrixBrute user manual and the latest
version of the MIDI Control Center software
• It allows you to receive special offers restricted to MatrixBrute owners.

Special Message Section
Specifications Subject to Change:
The information contained in this manual is believed to be correct at the time
of printing. However, Arturia reserves the right to change or modify any of the
specifications without notice or obligation to update the hardware that has been
purchased.
IMPORTANT:
The product and its software, when used in combination with an amplifier,
headphones or speakers, may be able to produce sound levels that could cause
permanent hearing loss. DO NOT operate for long periods of time at a high level
or at a level that is uncomfortable.
If you encounter any hearing loss or ringing in the ears, you should consult an
audiologist.
NOTICE:
Service charges incurred due to a lack of knowledge relating to how a function
or feature works (when the product is operating as designed) are not covered
by the manufacturer’s warranty, and are therefore the owner's responsibility.
Please study this manual carefully and consult your dealer before requesting
service.
Precautions include, but are not limited to, the following:
1. Read and understand all the instructions.
2. Always follow the instructions on the instrument.
3. Before cleaning the instrument, always remove the USB cable. When
cleaning, use a soft and dry cloth. Do not use gasoline, alcohol,
acetone, turpentine or any other organic solutions; do not use a liquid
cleaner, spray or cloth that's too wet.
4. Do not use the instrument near water or moisture, such as a bathtub,
sink, swimming pool or similar place.
5. Do not place the instrument in an unstable position where it might
accidentally fall over.
6. Do not place heavy objects on the instrument. Do not block openings or
vents of the instrument; these locations are used for air circulation to
prevent the instrument from overheating. Do not place the instrument
near a heat vent at any location with poor air circulation.

7. Do not open or insert anything into the instrument that may cause a
fire or electrical shock.
8. Do not spill any kind of liquid onto the instrument.
9. Always take the instrument to a qualified service center. You will
invalidate your warranty if you open and remove the cover, and
improper assembly may cause electrical shock or other malfunctions.
10. Do not use the instrument with thunder and lightning present;
otherwise it may cause long distance electrical shock.
11. Do not expose the instrument to hot sunlight.
12. Do not use the instrument when there is a gas leak nearby.
13. Arturia is not responsible for any damage or data loss caused by
improper operation of the instrument.

Introduction
Congratulations on your purchase of the Arturia MatrixBrute!
The MatrixBrute is designed to be a supremely powerful, modern analog classic
synthesizer.
The roots of this product stem from the greatest synthesizers of all time, all
enhanced with Arturia’s own modern touch and character. The now famous
‘Brute’ style oscillators, paired with the classic sounds of both the Steiner Parker
filter and Dr. Bob Moog ladder filter, and our own analog effects section, give you
a wealth of tools and amazing sonic character to build your own sounds up.
The center point of the MatrixBrute is the impressive Matrix Modulation, that
the name is derived from. This matrix allows you to take control and route
modulation sources in a near endless amount of ways. Couple this with the
preformance features of the sequencer, arpeggiator, assignable macro knobs
and the vast CV connectivity and you have a product the will be the center piece
in your studio or stage set up.
We are proud and thrilled to bring you this iconic synthesizer. It is the fusion
of the programable analog synthesizer wants and dreams of our entire
development team.
Be sure to visit the www.arturia.com website and check for the latest firmware,
download the MIDI Control Center and check out the tutorials and FAQs. Get
ready to explore synthesis in a whole new way.
Musically yours, The Arturia team

Table Of Content
1. Connections ........................................................................................................................................... 3
2. Getting Started with MatrixBrute ............................................................................................ 5
3. Guided Tour........................................................................................................................................... 9
3.1. Subtractive synthesis overview ..................................................................................................... 9
3.2. Initializing a Preset ............................................................................................................................. 10
3.3. Hands On................................................................................................................................................... 10
3.3.1. VCO 1............................................................................................................................................................................................... 11
3.3.2. VCF 1.............................................................................................................................................................................................. 12
3.3.3. ENV 2 ............................................................................................................................................................................................ 13
3.3.4. LFO/Aftertouch/Matrix ...................................................................................................................................................... 14
3.3.5. Analog Effects Section ....................................................................................................................................................... 17
4. Operation.............................................................................................................................................. 18
4.1. Master Controls........................................................................................................................................ 18
4.2. Utility Commands ................................................................................................................................. 18
4.3. VCOs .............................................................................................................................................................. 19
4.3.1. VCOs 1 and 2 .......................................................................................................................................................................... 20
4.3.2. Sub oscillator......................................................................................................................................................................... 20
4.3.3. Mixable waveforms .......................................................................................................................................................... 20
4.3.4. VCO 3 - LFO 3 ......................................................................................................................................................................... 21
4.3.5. Noise Generator .................................................................................................................................................................... 21
4.4. Audio Mod................................................................................................................................................. 22
4.5. VCO Sync.................................................................................................................................................. 23
4.6. Voice Mode............................................................................................................................................... 23
4.6.1. Monophonic.............................................................................................................................................................................. 23
4.6.2. Paraphonic............................................................................................................................................................................... 23
4.6.3. Duo Split mode...................................................................................................................................................................... 23
4.7. Wheels........................................................................................................................................................ 24
4.8. Keyboard Performance Controls.............................................................................................. 25
4.8.1. Glide............................................................................................................................................................................................... 25
4.8.2. Play Control............................................................................................................................................................................. 26
4.9. Macro Knobs........................................................................................................................................... 26
4.10. Mixer........................................................................................................................................................... 28
4.11. LFOs 1 and 2........................................................................................................................................... 29
4.12. Filters......................................................................................................................................................... 30
4.13. Envelopes ................................................................................................................................................ 33
4.14. Analog Effects ...................................................................................................................................... 35
5. The Matrix ........................................................................................................................................... 37
5.1. PRESET mode........................................................................................................................................... 37
5.1.1. Panel .............................................................................................................................................................................................. 38
5.1.2. Recalling internal presets................................................................................................................................................ 38
5.1.3. Saving a preset ...................................................................................................................................................................... 38
5.2. MOD mode................................................................................................................................................ 38
5.2.1. Create a modulation path............................................................................................................................................... 39
5.2.2. Setting the modulation amount ................................................................................................................................. 39
5.2.3. User assignable destinations ..................................................................................................................................... 40
5.3. SEQUENCER Mode ................................................................................................................................ 41
5.3.1. Arpeggiator mode................................................................................................................................................................ 47
5.3.2. Matrix Arpeggiator Mode................................................................................................................................................ 48
6. MIDI ....................................................................................................................................................... 50
6.1. MIDI Continuous Controller Assignments........................................................................... 50
6.2. MIDI Control Center settings ......................................................................................................... 51
7. Software License Agreement................................................................................................. 55
8. FCC Information............................................................................................................................. 58

1. CONNECTIONS
Panel Release latch - Push, then use the hinged prop inside the case to set the
control panel at the most convenient angle. You can also leave the panel flat.
1. Master Out - 1/4" unbalanced +4dBu stereo line-level outputs, intended to go to
an amp and speakers, or to an audio interface or mixer. For mono use the left
channel only.
2. Insert Send/Return - +4dBu 1/4" TRS jack for sending the output of the synth
(mono) to an external processor and back in. This goes before the Master Out
in the signal path. It requires an insert cable, wired: Tip = Send, Ring = Return,
Sleeve = Ground.
3. CV Ins/Outs - 3.5mm control voltage outputs and inputs for being controlled/
controlling by modular synthesizers. 12 parameters are available (VCA, LFO 1
Amount, Ladder Filter Cutoff, Steiner Filter Cutoff, VCO 2 Metal, Pulse Width,
Ultra, Pitch; VCO 1 Metal, Pulse Width, Ultra, Pitch). The CV inputs are tolerant to
+/-15V
4. Input - External input. Run external instruments through the MatrixBrute's
synthesis engine.
5. Input Type (Inst/Line) - For external instrument, use Instrument level for Hi-Z
sources like an electric guitar or bass; use Line level for sources such as another
electronic instrument, mixer output. This is an unbalanced input. Line = 68kΩ.
Instrument = 1.1MegΩ
6. Gain - Level control for external instrument input, used in conjunction with the
Gate (#7). Line Gain = 0 -> 20dB. Instrument Gain = 0 -> 40dB
7. Audio Gate (Off/On) - A gate extractor that allows you to use external audio
signals, like a guitar, to trigger the envelope generators. The Gain control (#6)
adjusts the level of the instrument relative to this threshold.
8. Gate In/Out - Receives/sends a voltage trigger, usually to/from another analog
synthesizer. Use it to trigger the MatrixBrute from another source, such as an
analog drum machine.
9. Sync In/Out - Interfaces MatrixBrute with pre-MIDI instruments that were
capable of synchronization, such as early Korg and Roland drum machines. The
following types of clock signals work: 1 step (Clock - this is the default); 1 step
(Gate); 24 pulses per quarter note; 48 pulses per quarter note.
Arturia - MatrixBrute Manual - Connections 3

10. Expression 1, 2; Sustain - Pedal inputs. Expression 1 and 2 are for
continuously variable expression pedals (sometimes called volume pedals),
Sustain is for a momentary on/off pedal (i.e. a sustain pedal). Some
manufacturers reverse the polarity of their pedals; download the MIDI Control
Center software from www.arturia.com to correct the polarity of any of them.
These pedals are converted to MIDI, so they appear in the MIDI Out datastream.
Expression pedal wiring is Tip = pot center tap; Ring = 3.3V; Sleeve = Gnd
11. Memory Protection On/Off - When off, prevents the MatrixBrute's patch Preset
and sequencer Pattern memories from being overwritten.
12. MIDI In/Out/Thru - Standard 5-pin DIN jacks. Connect to MIDI interfaces and
other equipment.
13. USB - USB B jack for connecting MatrixBrute to a Mac or PC (which normally
have USB A connections; the cable is often called a "printer cable.") This lets you
use Arturia's MIDI Control Center software (available from www.arturia.com),
and it also sends/receives MIDI - no additional MIDI interface is required.
14. Power switch - Turn the instrument on and off.
15. AC jack 100-240Vac, 50-60Hz, 45W
4 Arturia - MatrixBrute Manual - Connections

2. GETTING STARTED WITH MATRIXBRUTE
With the MatrixBrute on a solid playing surface, push the Panel Release latch and
use the hinged prop inside to set the control panel at the most convenient angle
(or just leave it flat if that works better). Take care when lifting on the Matrixbrute
panel as it could cause the support to fall.
In order to hear the instrument, connect cables from the Master Out to your amp
and speakers. Use the left output for mono, i.e. if you're only using one cable.
(You can also just use headphones - the jack is on the left side of the front edge,
by the wheels.)
Register and update first: MatrixBrute is designed so it can work stand-alone, but
it also brings some very useful features to a computer environment.
Please use a USB-B to USB-A cable to connect it to a Mac or PC when you first
get it.
Arturia - MatrixBrute Manual - Getting Started with MatrixBrute 5

Then go to www.arturia.com and download the MIDI Control Center software for
Mac and PC. Arturia is constantly improving our instruments, so we ask that you
update to the latest firmware (which you do through this program).
MIDI Control Center is a librarian for presets and sequences, and it's used to
configure the instrument's MIDI settings.
MIDI: In addition to the keyboard, almost all the knobs and sliders send and
respond to MIDI, so you can record and edit them in a DAW. This also makes the
instrument useful as a hands-on controller for other instruments. MIDI can go in
and out the USB port, the 5-pin DIN ports, both, or neither.
For details about which MIDI Continuous Controllers each fader and knob
sends/receives, please see the section on MIDI [p.50].
Auto-Tuning MatrixBrute
Summary: Kbd Track + Panel auto-tunes the instrument. You'll need to do that
once in a while, more often before it warms up.
6 Arturia - MatrixBrute Manual - Getting Started with MatrixBrute

Part of the beauty of analog synths like the MatrixBrute is that the voltage
running through their circuitry drifts a small amount, giving them a slightly
random character. It also takes a while for the voltage to stabilize when you first
turn the synth on; the warmer the temperature, the shorter the time it takes, but
you'll still need to auto-tune the instrument from time to time.
Hold down Kbd Track and Panel to initiate the auto-tuning process.
Understanding Digitally-Controlled Analog
Summary: The knobs and sliders don't necessarily reflect the underlying
settings. There are some different behavior settings in the MIDI Control Center
software, but in the default mode you must sweep the knob past its actual
setting to "hook" it.
Unlike early analog synths, MatrixBrute has the advantage of digital control
over its analog circuitry. It's the best of both worlds: the warmth and hands-on
control of real analog, with the ability to save and recall patches and settings
- to say nothing of the Matrix (electronic patchbay), MIDI, and other modern
conveniences.
Because of that, the instrument's knobs and sliders aren't actually controlling
voltages directly, they are knobs that instruct the digital circuitry how to control
the analog voltages. So the positions you see on the panel don't necessarily
reflect where they're really set, for example after you load a Preset sound.
The MIDI Control Center software has three modes. In Hook mode you must
sweep the knob until it catches its actual position before it has any effect. Jump
mode means the voltage jumps to the knob position as soon as you move it; and
Scaled mode scales the range of the knob based on the stored value and the
physical distance to either extreme.
The Panel button mentioned above will bypass the current preset and give you
a sound that is based on the actual positions of the knobs and sliders.
Load a Preset, Play, and Adjust the Output Level
Arturia - MatrixBrute Manual - Getting Started with MatrixBrute 7

Press PRESET, and the button will turn purple.
Push a button to load a Patch so you can play the instrument. Adjust the output
and/or headphone levels, and fine-tune the pitch.
( Be sure the Panel button mentioned above isn't lit, or you won't be listening to
the Preset .)
MatrixBrute stores 16 banks of 16 Presets (total 256). The banks are rows A - P
on the left, Presets within each bank are in columns 1-16. To select, say, patch B3,
go two rows down and three columns across; B 03 will appear in the numeric
display.
(The Matrix is also used for the 64-step pattern sequencer/arpeggiator, and when
you push MOD it becomes the electronic patchbay.)
8 Arturia - MatrixBrute Manual - Getting Started with MatrixBrute

3. GUIDED TOUR
The following walkthrough will give you a solid foundation for the MatrixBrute.
After this you'll have a good understanding of what you're doing when you
create and shape sounds.
3.1. Subtractive synthesis overview
MatrixBrute is an analog subtractive synthesizer. Subtractive synthesis starts
by generating basic waveforms, and then you remove what you don't want to
sculpt the timbre you're after. MatrixBrute can also use external sounds as basic
waveforms, and then process them through its engines.
The basic signal flow is simple:
Arturia - MatrixBrute Manual - Guided Tour 9

•VCO (voltage-controlled oscillators) [p.19] generate various kinds of
waveforms. These are on a black background on the MatrixBrute
panel;
•VCF (voltage-controlled filters) [p.30] shape the harmonic content, but
they can also self-oscillate to become sound sources. For that reason,
they're also on a black background;
• An extensive list of modifiers, identified by a charcoal-colored
background, move the other parameters around over time in various
ways. In some cases, modulators can control other modulators.
One of the main features in the MatrixBrute is... its Matrix (hence the name).
This is an electronic modulation-routing patchbay, so everything that could be
a source can be routed to any and all possible destination parameters. Some
modulation sources you move physically, such as the modulation wheel; others
can either run freely or lock to the internal sequencer's clock. Or they can lock to
MIDI.
Triggers from the 4-octave keyboard and the sequencer/arpeggiator - as well as
incoming MIDI notes - could also be considered modifiers when they're doing
more than just playing notes.
The final module in the MatrixBrute's audio path is an analog effects section, and
the output levels and master tuning are separate from the synthesis engine.
Throughout an analog synthesizer, frequencies are controlled by voltage.
MatrixBrute uses 1V per octave, so for example from C3 to C4 is a 1V increase,
and from C3 to F#3 is a 0.5V increase.
3.2. Initializing a Preset
Start with an initialized sound: Panel + Preset.
3.3. Hands On
MatrixBrute has more than one of every type of module, but it's only necessary
to go through one of each for this bird's-eye view. So we'll just use one VCO, one
VCF, one LFO, one envelope.
10 Arturia - MatrixBrute Manual - Guided Tour

3.3.1. VCO 1
Play the keyboard, and you'll hear a buzzy sound. If you don't, push Preset to
toggle to the initialized sound.
Turn VCO 1 up all the way, everything else all the way down in the mixer. These
are all the waveforms available for processing, and we're only working with VCO
1.
Keep pressing VCO 1's Filter button until it's only routed to the red one, the Steiner
filter. Oscillators must be routed to a filter to be audible.
Arturia - MatrixBrute Manual - Guided Tour 11

Now that you're hearing VCO 1 on its own, move the Coarse knob to hear what it
sounds like at different pitches.
There are four different waveforms in this VCO - a Sub oscillator that sounds
an octave below the other three. Each wave generator has a level knob on the
bottom row and an enhancer for it on the top.
Turn all four down, then bring each one in one at a time so you can hear the
different waveforms. Try the enhancers to hear their effects on the waveforms.
For now, leave everything at 12 o'clock. It doesn't matter that this isn't a great
sound.
3.3.2. VCF 1
Now to shape the sound's timbre with VCF 1.
Sweep the Master Cutoff knob while playing. (VCF 1's Cutoff knob has the same
effect when you're only listening to one filter; the Master controls both together.)
With the initialized setting, the filter is set to lowpass, meaning it removes
high frequencies. Cutoff selects the corner frequency , which is where it starts
operating. This has a radical effect on the timbre of the sound.
Notice that there's no sound when you turn the way down (because you're
blocking all the frequencies from passing). You'd think the VCO, the sound
waveform generator, would be what turn the sound on and off - and it does - but
sounds can also be controlled by opening up a filter.
12 Arturia - MatrixBrute Manual - Guided Tour

Bring up the Brute Factor knob, and experiment it, and with Drive. It's not
necessary to point out that you're adding some real testosterone to the sound.
The Resonance control adds more brightness. You can leave VCF 1 set where it
sounds good.
The sound in its present state is just on/off, which is what you want for, say,
organ sounds. We'll adjust that next.
3.3.3. ENV 2
Envelopes shape voltage levels over time while you're triggering a note on the
keyboard. While it can be routed to additional places in the MOD Matrix (see
below), ENV 2 is always hardwired to control the MatrixBrute's VCAs. VCA stands
for voltage-controlled amplifiers, which means all the sound sources that appear
in the Mixer, i.e. the VCOs and/or any external signals plugged into the back of
the instrument.
• Start by raising ENV 2's Attack slider all the way up and down to "catch"
the fader's actual position. Play the keyboard while gradually raising
it. This has the effect of fading in the note. A quarter of the way seems
like a reasonable setting.
• The middle two stages of the envelope, Decay and Sustain, are set to
one-size-fits-all settings in the initialized patch we started from. Attack
is how long it takes the voltage to fade in to its initial level. From there,
Decay sets how long it takes to glide to its Sustain level.
• Now for the Release stage of this 4-stage envelope (Attack/Decay/
Sustain/Release, or ADSR). This sets how fast the note fades out when
you release the key. Again, a quarter of the way up might be a
reasonable setting.
Arturia - MatrixBrute Manual - Guided Tour 13

• Notice how every note plays at the same volume, no matter how
hard you play the keyboard? The Velo/VCA fader lets you dial in
how responsive the envelope is to keyboard velocity , which is what
electronic keyboards use to determine how hard you intended to play.
When the slider is all the way down, every note plays at full volume; all the way
up, and you have to slam the keyboard to get it to speak up. See whether you
like three quarters of the way up.
The MatrixBrute has two other Envelopes. ENV 1 is hardwired to the two filters'
Cutoffs. It works the same way, so you can experiment with its effect.
3.3.4. LFO/Aftertouch/Matrix
Next, how to route modulation sources in the Matrix, including the LFOs.
Low Frequency Oscillators (LFOs) are periodic waveforms just like VCOs, only
they're very low - which by definition means they're very slow. Rather than being
used as sound sources, LFOs 1 & 2 are used as modifiers to add movement
to other parameters. (However, VCO3 is intended to be used as both a sound
source and a modifier.)
Press the MOD button. The Matrix becomes an electronic patchbay.
We're going to route LFO 1 to VCO1's pitch. Depending on the settings, this can
create anything from a vibrato effect, to subtle movement, to some really crazy
stuff.
Like all modifiers (other than the hardwired envelopes), LFO 1 has to be routed
before it does anything. Modulation sources are on the rows on the left of the
Matrix, destinations are columns across the top.
14 Arturia - MatrixBrute Manual - Guided Tour