Arturia Microbrute User manual

Arturia Microbrute User’s Manual 1
USER’S MANUAL

Arturia Microbrute User’s Manual 2
PRODUCT AND PROJECT MANAGEMENT
Glen T. DARCEY
Bruno PILLET
ELECTRONICS
Yves USSON
Bruno PILLET
François BEST
Laurent BARET
Ro ert BOCQUIER
DESIGN
Axel HARTMANN (Design Box)
Morgan PERRIER
INDUSTRIALIZATION
Nicolas DUBOIS
MANUAL
Glen DARCEY
Morgan PERRIER
SPECIAL THANKS TO:
Frank Orlich, Jean-Michel Blanchet, Michael Hosker, Sé astian Rochard,
Boele Gerkes, Antonio Rodriguez, Katsunori Ujiie, Howard Jones, Alex
Theakston, Jim Cowgill, Drew Anderson, Ray Bar ee, Keith Shocklee, Kevin
Lam , Jim Norman, Ryan Wood.
1
st
edition: Ju y 2013
Information contained in this manual is su ject to change without notice and does not represent a
commitment on ehalf of ARTURIA. The hardware unit and the software product descri ed in this manual are
provided under the terms of a license agreement or non-disclosure agreement. The license agreement
specifies the terms and conditions for its lawful use. No part of this manual may e produced or transmitted in
any form or y any purpose other than purchaser’s personal use, without the explicit 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.
© ARTURIA S.A. 1999
-2013, all rights reserved.
ARTURIA S.A.
30, chemin du vieux chêne
38240 Meylan
France
http://www.arturia.com

Arturia Microbrute User’s Manual 3
TABLE OF CONTENTS
1 Introduction .......................................................................................................................5
2 Insta ation..........................................................................................................................9
Usage Precautions..........................................................................................................................9
Register your Instrument ..............................................................................................................11
Connecting the MicroBrute to the Wor d ...................................................................................11
Warm-Up and Genera Tuning ....................................................................................................13
3 Quickstart.........................................................................................................................14
Create your first sound: the “basic patch” ................................................................................14
Introducing The Osci ator ...........................................................................................................15
More Oscillator options ................................................................................................................15
Com ine sounds ...........................................................................................................................15
Introducing The Fi ter....................................................................................................................16
Low Pass Filtering ...........................................................................................................................16
High Pass Filtering ..........................................................................................................................16
Band Pass Filtering.........................................................................................................................17
Filter Resonance ............................................................................................................................17
FILTER as an OSCILLATOR? ...........................................................................................................18
Brute Factor....................................................................................................................................18
Introducing The Enve ope............................................................................................................19
ENVELOPE TO VCA........................................................................................................................20
Introducing The LFO......................................................................................................................21
Introducing the Mod Matrix.........................................................................................................22
Introducing The Sequencer .........................................................................................................23
Recording A Basic Pattern...........................................................................................................23
Inserting Rests .................................................................................................................................23
Moving On.....................................................................................................................................24
4 Synthesis Basics ...............................................................................................................25
Ana og synthesizer architecture.................................................................................................25
Osci ators......................................................................................................................................25
Signa Modifiers.............................................................................................................................26
The Ultrasaw ...................................................................................................................................26
The Pulse Width Modulator..........................................................................................................27
The Metalizer ..................................................................................................................................27
Fi ter................................................................................................................................................28
What is a filter?...............................................................................................................................28
Filter types on MicroBrute: Low-pass, Band-pass, and High-pass .........................................28
Resonance or emphasis...............................................................................................................29
Vo tage Contro er Amp ifier........................................................................................................30
Modu ators ....................................................................................................................................30
Low Frequency Oscillator (LFO)..................................................................................................31
Envelope Generator.....................................................................................................................31
Human Interface ...........................................................................................................................32
5 Front Pane Features........................................................................................................33
OSCILLATOR...................................................................................................................................33
The oscillator and its signal mixer................................................................................................33
Saw and Ultrasaw..........................................................................................................................33
Square and Pulse Width...............................................................................................................33
Triangle and Metalizer..................................................................................................................34
The Overtone oscillator ................................................................................................................34

Arturia Microbrute User’s Manual 4
The Fi ter.........................................................................................................................................35
Filter Modes ....................................................................................................................................35
Cutoff ..............................................................................................................................................35
Resonance .....................................................................................................................................35
Brute Factor....................................................................................................................................36
ENV Amt (envelope amount) .....................................................................................................36
KBD Tracking...................................................................................................................................37
Enve ope........................................................................................................................................37
Envelope Amount .........................................................................................................................37
VCA switch .....................................................................................................................................37
Attack slide.....................................................................................................................................38
Decay slider ...................................................................................................................................38
Sustain slider ...................................................................................................................................38
Release slider .................................................................................................................................38
Envelope Settings via the MicroBrute Editor.............................................................................38
LFO .................................................................................................................................................38
Wave Select ...................................................................................................................................39
Amount ...........................................................................................................................................39
Rate .................................................................................................................................................39
Sync .................................................................................................................................................39
LFO Settings via the MicroBrute Editor .......................................................................................39
Mod Whee ....................................................................................................................................40
Mod to Cutoff ................................................................................................................................40
Mod to LFO Amt ............................................................................................................................40
G ide ..............................................................................................................................................40
Mod Matrix ....................................................................................................................................41
Modulations Sources.....................................................................................................................41
Modulation Destinations ..............................................................................................................41
Genera Contro s ..........................................................................................................................42
Key oard........................................................................................................................................42
Wheels.............................................................................................................................................42
Octave............................................................................................................................................42
Master Volume ..............................................................................................................................43
Sequencer.....................................................................................................................................43
Pattern.............................................................................................................................................44
Play Mode ......................................................................................................................................44
Rate .................................................................................................................................................44
6 Rear pane .......................................................................................................................46
Power supp y.................................................................................................................................46
USB..................................................................................................................................................46
MIDI ................................................................................................................................................46
Audio In .........................................................................................................................................47
Fine Tune........................................................................................................................................47
Audio Outputs ...............................................................................................................................47
CV / GATE I/O ..............................................................................................................................47
Get MicroBrute Connection ........................................................................................................48
7 Lega Notes ......................................................................................................................49
No iabi ity for consequentia damages.....................................................................................49
FCC Information (USA) .................................................................................................................49
Canada .........................................................................................................................................50
Europe............................................................................................................................................50

Arturia Microbrute User’s Manual 5
1 Introduction
Congratulations, and thank you for your purchase of the ARTURIA MicroBrute analog
synthesizer.
The MicroBrute is ased on the award winning analog designs of its ig rother, the
MiniBrute. The MiniBrute ecame a modern classic y ringing excellent sound quality,
user features and craftsmanship to the market with a price point that no others were
a le to match. The MicroBrute uilds on this legacy and is designed to e another
modern classic for anyone from the first time synth uyer to the experienced pro with a
studio full of gear.
Since the late 1990s, ARTURIA has received acclaim from players and reviewers alike for
designing state-of-the-art software emulations of the venera le analog synthesizers from
the 1960s to the 1980s. From the Moog Modular V, ack in 2004, to Origin, a modular
system of a new generation that we introduced in 2010; from Analog Factory
Experience, the first hy rid synthesizer ever (de uted in 2008), to the O erheim SEM V
released at the end of 2011, our passion for synthesizers and sonic purity has given
demanding musicians the est software instruments for professional audio production.

Arturia Microbrute User’s Manual 6
Overview of some of ARTURIA’s software, hardware and hybrid instruments
After recreating so many legendary analog synthesizers y translating these classic
instruments into sophisticated DSP algorithms, the time was right for ARTURIA to
introduce an analog synth of its own, the MiniBrute. But reproducing analog circuitry is
not the same as designing great-sounding analog circuits, so we enlisted the aid of Yves
USSON — an extremely talented analog circuit designer and synthesizer enthusiast
whose work spans three decades.
Besides eing a talented researcher in io-molecular microscopy, his clones of the
Moog modules, as well as ARP or EMS and his own designs, are highly renowned in the
“modular” world and continuously produced under license y specialty manufacturers.
What’s more, he’s always willing to share his considera le experience, and pass along
his knowledge to others. All his schematics stay open to the D.I.Y.1 community; most of
his works can e found on the “Yusynth” project we site2, and he casts a long, and
welcome, shadow on the major Internet forums devoted to analog fanatics.
1 D.I.Y. = “Do It Yourself”

Arturia Microbrute User’s Manual 7
2 http://yusynth.net
Yves USSO and a couple of wired friends
Com ining ARTURIA’s acclaimed savoir-faire in designing innovative musical
instruments, and Yves’ deep knowledge and experience, oth the MiniBrute and
MicroBrute analog synthesizers have their roots in the 1970s yet incorporates the est of
the 21st century.

Arturia Microbrute User’s Manual 8
We uilt the MicroBrute with the idea that many people need an easy to use synth
for live and studio purposes. But an easy to use synth must still retain excellent sound
quality and enough features to keep a sound designer usy for years. It is true that
MicroBrute is simple to use and allows anyone to tweak sounds and make music
without having to delve too deep into synthesis ut it does not mean that the
experienced user will not e impressed with the sound possi ilities that this little
powerhouse has.
The pure analog oscillators with the newly designed OVERTONE PLL offer more raw
tone generation options than many synthesizers in the $1000+ price range.
The multimode Steiner-Parker filter is the same design that is found on the MiniBrute.
The inventor, Nyle Steiner himself looked over our design and gave his stamp of
approval. Many synthesizers with large price tags only give you one filter mode;
MicroBrute gives you three. Add the MOD MATRIX patch ay, the multi wave LFO,
USB, MIDI and CV/Gate interfaces and the exciting new STEP SEQUENCER and you
have a product that meets or exceeds any other synthesizer in this price range,
EVER!
MicroBrute is all a out top shelf sound quality, ut with a musical interface that will
not intimidate and a price that will not reak the ank.
MicroBrute is truly a musical instrument. We loved designing it, uilding it, and now,
playing it. We hope you will share our enthusiasm, and find inspiration in its sounds.

Arturia Microbrute User’s Manual 9
2 Insta ation
Usage Precautions
The MicroBrute uses an external power adapter. Do not use any power supply or
adapter other than the one provided y Arturia and specified in this manual. ARTURIA
accepts no responsi ility for damage caused y use of an unauthorized power supply.
WARNING
Do not place this product in a place or position where one might walk on, trip over, or
roll anything over power cords or connecting ca les.
The use of an extension cord is not recommended. However if you must use one, make
sure that the cord has the a ility to handle the maximum current needed y this
product. Please consult a local electrician for more information on your power
requirements.
This product should e used only with the components supplied or recommended y
ARTURIA. When used with any components, please o serve all safety markings and
instructions that accompany the accessory products.
SPECIFICATIONS SUBJECT TO CHANGE
The information contained in this manual is elieved to e correct at the time of
printing. However, ARTURIA reserves the right to change or modify any of the
specifications without notice or o ligation to update existing units.
IMPORTANT
Always follow the asic precautions listed elow to avoid the possi ility of serious injury
or even death from electrical shock, damages, fire or other risks.
The product used either alone or in com ination with an amplifier, headphones or
speakers, may e a le to produce sound levels that could cause permanent hearing
loss. DO NOT operate for long periods of time at a high level, at a level that is
uncomforta le, or a level that exceeds prevailing safety standards for hearing exposure.
If you encounter any hearing loss or ringing in the ears, consult an audiologist
immediately. It is also a good idea to have you ears and hearing checked annually.

Arturia Microbrute User’s Manual 10
NOTICE
•Use only the provided AC adapter, as specified y ARTURIA.
•Read and understand all the instructions.
•Always follow the instructions on the instrument.
The manufacturer’s warranty does not cover service charges incurred due to a lack of
knowledge relating to how a function or feature works (when the unit is operating as
designed); reading the manual is the owner's responsi ility. Please study this manual
carefully and consult your dealer efore requesting service.
PRECAUTIONS INCLUDE, BUT ARE NOT LIMITED TO, THE FOLLOWING:
•Before cleaning the instrument, always remove the electrical plug from the outlet,
as well as the USB ca le. When cleaning, use a soft and dry cloth. Do not use
gasoline, alcohol, acetone, turpentine or any other organic solutions; do not use
liquid cleaner, spray or cloth that’s too wet.
•Do not use the instrument near water or moisture, such as a athtu , sink,
swimming pool or similar place.
•Do not place the instrument in an unsta le position where it might accidentally
fall over.
•Do not place heavy o jects on the instrument. Do not lock openings or vents of
the instrument; these locations are used for ventilation to prevent the instrument
from overheating.
•Do not place the instrument near a heat vent or any place of poor air circulation.
•Make sure the line voltage in your location matches the input voltage specified
on the AC power adapter.
•Do not open and insert anything into the instrument, as this could cause a fire or
electrical shock.
•Do not spill any kind of liquid onto the instrument.
•In the event of a malfunction, always take the instrument to a qualified service
center. You will invalidate your warranty if you open and remove the cover, and
improper testing may cause electrical shock or other malfunctions.
•Do not use the instrument when thunder and lightning is present.
•Do not expose the instrument to hot sunlight.
•Do not use the instrument when there is a gas leak near y.
•ARTURIA is not responsi le for any damage or data loss caused y improper
operations to the instrument.
• ARTURIA recommends the use of shielded and less than 3 meters long ca les
for Audio, and ferrite equipped CV/Gate and USB ca les.

Arturia Microbrute User’s Manual 11
Register your Instrument
Registering your instrument esta lishes your legal ownership, which entitles you to
access the Arturia Technical Support service, and e informed of updates.
Additionally, you can su scri e to the ARTURIA newsletter to e informed of ARTURIA-
related news as well as promotional offers.
Connect to your Arturia account via this URL: http://www.arturia.com/login
If you do not have an account, create a new one.
Once you have your account and are logged in, go to the section “My Registered
Products”, and add the MicroBrute synthesizer y entering its serial num er, as printed
on the sticker located under the machine:
Connecting the MicroBrute to the Wor d
Always power-off all audio gear efore making any connections. Failing to do so may
damage your speakers, the MicroBrute synthesizer, or other audio equipment.
After completing all connections, set all levels to 0. Power on the various devices,
with audio amplifier or monitoring system last, then raise the volumes to a
comforta le listening level.

Arturia Microbrute User’s Manual 12
Here is an overview of the MicroBrute synthesizer’s connectors:
•Audio Input & Outputs..........6.35 mm (1/4'') mono jacks
•Headphone Output…………3.5 mm (1/8'') miniature stereo jack
•CV/Gate.................................3.5 mm (1/8'') miniature mono jacks
•MIDI Input................................Standard MIDI DIN-5
•USB...........................................Standard USB type B
•Power DC Input......................12 Volt, 1Amp, Center pin positive

Arturia Microbrute User’s Manual 13
Warm-Up and Genera Tuning
As with all true analog synthesizers, after eing powered-on the MicroBrute needs a
warm-up period of approximately five to ten minutes.
This allows the oscillator to reach a sta le operating temperature, which insures
accurate oscillator pitch. Warm-up time depends on the external temperature; a colder
am ient temperature will require longer warm-up times, while a hotter am iance will
result in shorter times.
Once the synthesizer has reached its running temperature, tune it to pitch. Use an
external tuner to check the instruments tuning; if needed, tweak the Fine Tune kno on
the rear panel to tune the MicroBrute to the desired pitch.
The MicroBrute has een designed for rock-solid pitch sta ility when operated in normal
temperature and humidity conditions, at external temperatures etween 20°C and
32°C in temperate areas. In practice, the MicroBrute provides satisfactory operation
over a much wider temperature range, although extreme external temperatures or
fluctuations can lead to longer sta ilization time or erratic tuning.

Arturia Microbrute User’s Manual 14
3 Quickstart
This chapter provides the asic instruction that you will need to create your very first
sounds with the MicroBrute. In su sequent chapters, we’ll get deeper into the sound
design process so you can create more animated and complex sounds.
Create your first sound: the “basic patch”
Once your MicroBrute has een correctly connected to your sound system, set all the
controls to the positions shown in Figure 1 . This is going to e referenced many times
over as the BASIC PATCH.
Figure 1
Switch on your MicroBrute, there will e a out a 5 – 10 second time with no sound.
Once it is ooted up, let it warm up to sta ilize the pitch. You can of course use it
efore it is warmed up ut the pitch WILL drift for the first few minutes.
These settings (also called a PATCH) are very useful. This patch makes a good
reference point to start doing sound design. Remem er it and refer to it often. This
will help you gain a etter understanding of what each control does and how they
interact with each other so that you will grow more rapidly in your skills.
Now try playing some notes and listen to the sound. The sound of the asic patch is
just that; BASIC. What you are hearing is the raw SAWTOOTH WAVE from the
OSCILLATOR.

Arturia Microbrute User’s Manual 15
Introducing The Osci ator
The oscillator is the tone-generating center of the MicroBrute. The asic patch has
the Sawtooth Wave turned up fully. Try turning the Sawtooth Wave down to 0 and
turning up the Square Wave as shown in Figure 2
Figure 2
You will hear the sound go from a righter, uzzy sound to a more rounded and
hollow tone.
Now try turning the Square Wave down and turn up the Triang e Wave. The sound
will e even darker now.
Turn the Triang e Wave down and turn up the Overtone level and listen to it.
More Osci ator options
The kno s directly a ove each of the waveform level kno s, adjust aspects of the
sound of each waveform itself. Turn up one waveform level at a time and then try
turning the kno directly a ove to hear how the sound changes. You can hear how
varied the sounds can e.
Combine sounds
Now try turning up more than one level kno and mixing the sounds of different
waveforms together. When you start mixing waveforms and adjust the wave
modifiers a ove them, you start to hear the great variation of sounds that you can
generate on the MicroBrute.

Arturia Microbrute User’s Manual 16
Introducing The Fi ter
Now that you have een playing with the OSCILLATOR and are familiar with some of
the things it can do, return the kno s to the BASIC PATCH settings so that we can
explore the FILTER section.
The FILTER is just what it implies. It filters, or removes, aspects of the signal that is put
into it. The Steiner-Parker filter, originally designed y Nyle Steiner, allows for wide
ranging sounds and many sonic possi ilities.
Low Pass Fi tering
The BASIC PATCH has the FILTER set to full open in LOW PASS mode. This means that it
is not affecting the sound of the OSCILLATOR at all. In LOW PASS mode, having the
CUTOFF kno in the full clockwise setting, means that all frequencies will ‘pass’
through it. See Figure 3
Figure 3
With the BASIC PATCH set, play a note and listen to the sound as you turn the
CUTOFF KNOB counter clockwise. You will hear the sound get darker and darker until
it goes away totally.
High Pass Fi tering
With the CUTOFF kno still all the way counter clockwise, move the MODE SWITCH to
HP; See Figure 4 . You should now hear the sound come ack.
This changes the filter to a High Pass Filter. Just as the name implies, it allows the
HIGH frequencies to pass though. With the kno in the full counter clockwise
position, the filter is allowing all frequencies a ove that setting to pass through it.
Figure 4

Arturia Microbrute User’s Manual 17
Now press a key and try turning the kno clockwise and listen to the result. You will
hear the sound get thinner and thinner sounding until it goes away completely at
the top of the range. See Figure 5
Figure 5
Band Pass Fi tering
Now move the MODE switch to BP = Band Pass.
If you move the CUTOFF kno you will hear the effects of the Band Pass Filter. This
filter allows a range of frequencies oth a ove and elow the cutoff point to e
passed. See Figure 6
Figure 6
Fi ter Resonance
The RESONANCE control on the filter is one that emphasizes the frequencies that the
CUTOFF is set to.
If you reset your filter controls to the BASIC PATCH settings, we can do some sonic
experiments to see how this affects the sound. Play a sound and turn the
RESONANCE control to the position shown in Figure 7. You will pro a ly not hear too
much of a change to the sound. But with the resonance set as shown, play a sound
and turn the CUTOFF kno counter clockwise. You will hear that famous ‘analog’
filter sweep type of sound.
Experiment with different settings of the RESONANCE and CUTOFF controls to hear
the sounds you can create.
Once you have a good feel for the range of sounds you can get with this setting,
change the MODE to HP and to BP and experiment with the CUTOFF and
RESONANCE settings to see how varied the sounds ecome.

Arturia Microbrute User’s Manual 18
Figure 7
FILTER as an OSCILLATOR?
As you may have found out in the last section, turning the RESONANCE control up
too high can produce some other pitches. This is called FILTER OSCILLATION. It is
when the filter actually ecomes an oscillator. With the RESONANCE at the
maximum clockwise position, turning the CUTOFF control will vary the pitch that you
hear. See Figure 8 . Be careful as it can result in some high volume sounds coming out.
Figure 8
Brute Factor
The BRUTE FACTOR control can add some su tle grunge to warm up the low end on
a sound or it can e cranked up to create some nasty, Brutal, sounds. BE CAREFUL
AND TURN DOWN THE OUTPUT VOLUME BEFORE TURNING THE BRUTE FACTOR UP!!
You will find that the BRUTE FACTOR kno and the influence it has on the sound will
vary greatly ased on the settings of the CUTOFF and RESONANCE kno s as well as
the MODE switch.
Figure 9

Arturia Microbrute User’s Manual 19
Introducing The Enve ope
The ENVELOPE will allow you to shape the FILTER CUTOFF, the VCA(output volume),
and other parameters via the MOD MATRIX.
Setup the BASIC PATCH again and we will experiment with the ENVELOPE and the
FILTER CUTOFF.
Now, change the FILTER and ENVELOPE setting to e the same as you see in Figure
10.
Figure 10
The BASIC PATCH has the SUSTAIN value at the maximum setting which asically turns
the envelope on full. Start off y moving SUSTAIN to the minimum setting and the DECAY
slider to the maximum setting.
To have the ENVELOPE affect the FILTER CUTOFF, you need to turn up the ENV Amt kno
in the FILTER section. The ENV Amt kno can go either positive or negative. Let’s go with
positive for now.
You will want to turn the CUTOFF kno down to hear the effect. In Figure 10 , we have
the RESONANCE control up part way to make the effect more interesting.
Press a key and listen to how it seems that the FILTER CUTOFF is eing moved y itself.
Reducing the DECAY slider will make the effect of the filter sweep go faster.
If the DECAY is set too low, it is moving the CUTOFF so fast that you might just hear a
click.

Arturia Microbrute User’s Manual 20
ENVELOPE TO VCA
The BASIC PATCH has the VCA (Voltage Control Amplifier) set to GATE, which means
that the sound will come on when you press a key and will shut off when you release it.
To control the LEVEL of audio using the ENVELOPE, move the VCA switch to the ENV
position. Figure 11
Figure 11
Since the SUSTAIN slider is at the maximum setting and the ATTACK, DECAY and RELEASE
settings are at the minimum settings, you will hear the same thing that you would hear
with the VCA set to GATE. Now let’s shape the sound’s amplification envelope, which
determines how the level changes over time when you play a note. Until now the
Sustain level has een set to maximum, which results in an “electronic organ” sound
that has no dynamics.
By changing the ATTACK, DECAY and RELEASE parameters we can control how the
sound fades in, sustains, and fades out. Set the SUSTAIN to the minimum setting, play
with the ATTACK, DECAY and RELEASE settings, and listen to how they affect the sound.
Figure 12
Figure 12