Arturia minibrute 2 series User manual

USER MANUAL

Special Thanks
DIRECTION
Frederic Brun Nicolas Dubois Adrien Courdavault Philippe Vivancos
ENGINEERING
Fred’s Lab / Frédéric
Meslin (lead engineer)
Olivier Delhomme
Nadine Lantheaume
Nicolas Dubois
Benjamin Renard
Valentin Lepetit
Pierre-Lin Laneyrie
Luc Walrawens
Victor Morello
Bruno Pillet
Thierry Chatelain
Yves Usson
MANUAL
Sebastien Rochard Morgan Perrier Florian Marin Randy Lee
DESIGN
Sebastien Rochard DesignBox Sylvain Missemer Morgan Perrier
SOUND DESIGN
Victor Morello Jean-Baptiste Arthus Jean-Michel Blanchet
BETA TESTERS
Chuck Capsis
Terry Mardsen
Marco Correia
Adrien Kanter
Jean-Philippe Gross
Ken Flux Pierce
Andrew Capon
Gert Braakman
Tom Hall
Reek Havok
Randy Lee
Simon Gallifet
© ARTURIA SA – 2017 – All rights reserved.
11 Chemin de la Dhuy
38240 Meylan
FRANCE
www.arturia.com
Information contained in this manual is subject to change without notice and does not
represent a commitment on the part of Arturia. The software described in this manual is
provided under the terms of a license agreement or non-disclosure agreement. The software
license agreement specifies the terms and conditions for its lawful use. No part of this
manual may be reproduced or transmitted in any form or by any purpose other than
purchaser’s personal use, without the express written permission of ARTURIA S.A.
All other products, logos or company names quoted in this manual are trademarks or
registered trademarks of their respective owners.
Product version: 1.0
Revision date: 22 February 2018

Thank you for purchasing the Arturia MiniBrute 2/2S!
This manual covers the features and operation of Arturia’s MiniBrute 2 or MiniBrute 2S.
In this package you will find:
• One MiniBrute 2 series analog synthesizer, with a serial number on the bottom.
You will need this information in order to register your MiniBrute 2 online.
• One IEC AC power adapter
• One Eurorack cable set
• One preset catalog
Be sure to register your MiniBrute 2 as soon as possible! There is a sticker on the bottom
panel that contains the serial number of your unit. This is required during the online
registration process. You may want to record these elsewhere or take a photo of the sticker
in case it becomes damaged.
Registering your MiniBrute 2 series synthesizer provides the following benefits:
• It enables you to download the user manual and the latest version of the MIDI
Control Center software
• It allows you to receive special offers restricted to owners of MiniBrute 2 series
synthesizers.
Special Message Section
Specifications Subject to Change:
The information contained in this manual is believed to be correct at the time of printing.
However, Arturia reserves the right to change or modify any of the specifications without
notice or obligation to update the hardware that has been purchased.
IMPORTANT:
The product and its software, when used in combination with an amplifier, headphones or
speakers, may be able to produce sound levels that could cause permanent hearing loss.
DO NOT operate for long periods of time at a high level or at a level that is uncomfortable.
If you encounter any hearing loss or ringing in the ears, you should consult an audiologist.
NOTICE:
Service charges incurred due to a lack of knowledge related to how a function or feature
works (when the product is operating as designed) are not covered by the manufacturer’s
warranty, and are therefore the owner's responsibility. Please study this manual carefully
and consult your dealer before requesting service.
Precautions include, but are not limited to, the following:
1. Read and understand all the instructions.
2. Always follow the instructions on the instrument.
3. Before cleaning the instrument, always remove the electrical plug from the outlet
and remove the power cord and USB cable from the unit. When cleaning, use a
soft and dry cloth. Do not use gasoline, alcohol, acetone, turpentine or any other

organic solutions; do not use liquid cleaner, spray or cloth that’s too wet.
4. Do not use the instrument near water or moisture, such as a bathtub, sink,
swimming pool or similar place.
5. Do not place the instrument in an unstable position where it might accidentally
fall over.
6. Do not place heavy objects on the instrument. Do not block openings or vents of
the instrument; these locations are used for ventilation to prevent the instrument
from overheating. Do not place the instrument near a heat vent or any place of
poor air circulation.
7. Use only the provided AC adapter, as specified by Arturia.
8. Make sure the line voltage in your location matches the input voltage specified
on the AC power adapter.
9. Do not open and insert anything into the instrument, as this could cause a fire or
electrical shock.
10. Do not spill any kind of liquid onto the instrument.
11. In the event of a malfunction, always take the instrument to a qualified service
center. You will invalidate your warranty if you open and remove the cover, and
improper testing may cause electrical shock or other malfunctions.
12. Do not use the instrument when thunder and lightning is present.
13. Do not expose the instrument to hot sunlight.
14. Do not use the instrument when there is a gas leak nearby.
15. Arturia is not responsible for any damage or data loss caused by improper
operation of the instrument.
16. Arturia recommends the use of shielded cables for audio (less than 3 meters
long), and ferrite equipped CV/Gate cables.

Introduction
Congratulations on your purchase of the Arturia MiniBrute 2!
The MiniBrute 2 is designed to be an exceptionally powerful, modern analog synthesizer
with a classic flair.
The roots of this product stem from the greatest synthesizers of all time, all enhanced with
Arturia’s own modern touch and character. The now famous ‘Brute’ style oscillators, paired
with the classic sounds of the Steiner-Parker filter, give you a wealth of tools and amazing
sonic character with which to build your own sounds.
There are many great features, both old and new, in the MiniBrute 2 series synths. But the
pièce de résistance of the MiniBrute 2 might be the inclusion of a very flexible 48-point
patch bay. This physical matrix allows you to route modulation sources in a nearly endless
number of ways, both within the MiniBrute 2 and with external devices.
Couple these features with the sheer musicality of the sequencer and arpeggiator and you
have an instrument that will become a powerful asset in your creative endeavors, be they
on stage or in the studio.
We are excited to bring you this powerful and affordable synthesizer. It is the culmination
of many years of research, and is the perfect combination of our passion for the world of
synthesizers and our deep appreciation for the the world of music they help to create.
Be sure to visit the www.arturia.com website and check for the latest firmware, download
the MIDI Control Center and check out the tutorials and FAQs. You are about to experience
a synthesizer of an entirely different breed.
Musically yours, The Arturia team

Table Of Contents
1. Introduction...................................................................................................................................................................... 5
2. Installation....................................................................................................................................................................... 6
2.1. Usage Precautions................................................................................................................................................................ 6
2.2. WARNING .................................................................................................................................................................................. 6
2.3. Register your Instrument................................................................................................................................................ 6
2.4. Connecting the MiniBrute 2 to the World.............................................................................................................. 7
2.5. Warm-Up and General Tuning .................................................................................................................................... 9
3. Quick start...................................................................................................................................................................... 10
3.1. Create your first sound: the “basic patch” ......................................................................................................... 10
3.2. Add some vibrato................................................................................................................................................................ 11
3.3. Add a second oscillator................................................................................................................................................... 11
3.4. Introduction to envelopes............................................................................................................................................. 12
3.5. Get to know an LFO.......................................................................................................................................................... 14
3.6. The Sequencer and Arpeggiator .............................................................................................................................. 15
4. Hardware overview .................................................................................................................................................. 17
4.1. Main features .......................................................................................................................................................................... 17
4.2. The Control section............................................................................................................................................................ 18
4.3. Inputs and outputs .......................................................................................................................................................... 20
4.4. Top panel................................................................................................................................................................................ 20
4.5. The rear panel ...................................................................................................................................................................... 21
5. The top panel ............................................................................................................................................................... 22
5.1. The LFOs .................................................................................................................................................................................. 22
5.2. VCO 1.......................................................................................................................................................................................... 25
5.3. VCO 2 ........................................................................................................................................................................................ 28
5.4. The Filter section............................................................................................................................................................... 30
5.5. The Amplifier section (AMP)....................................................................................................................................... 34
5.6. The Osc Mixer ...................................................................................................................................................................... 36
5.7. Legato vs. Retrigger note response ...................................................................................................................... 40
5.8. The Patch bay section................................................................................................................................................... 40
5.9. Secondary Shift functions .......................................................................................................................................... 40
6. Basics of synthesis ................................................................................................................................................... 41
6.1. Analog synthesizer architecture................................................................................................................................ 41
7. The Patch bay............................................................................................................................................................. 53
7.1. General concepts ................................................................................................................................................................ 53
7.2. The VCO 1 section.............................................................................................................................................................. 58
7.3. The VCO 2 section............................................................................................................................................................. 63
7.4. The EXT IN section ............................................................................................................................................................ 64
7.5. The FILTER jacks ................................................................................................................................................................ 65
7.6. The AMP section ................................................................................................................................................................. 66
7.7. The INVERTER section..................................................................................................................................................... 66
7.8. The ADSR section............................................................................................................................................................... 67
7.9. The AD section ..................................................................................................................................................................... 68
7.10. The LFO 1&2 section....................................................................................................................................................... 69
7.11. The VCA section ................................................................................................................................................................. 70
7.12. The ATTENUATORS section........................................................................................................................................... 71
7.13. The Sequencer section .................................................................................................................................................. 73
7.14. The MIDI section ............................................................................................................................................................... 76
8. Seq / Arp: shared features.................................................................................................................................. 78
8.1. Mode selection....................................................................................................................................................................... 78
8.2. Timing controls..................................................................................................................................................................... 79
8.3. Transport section .............................................................................................................................................................. 80
8.4. Playback functions............................................................................................................................................................ 81
8.5. Skip selections: Seq / Arp............................................................................................................................................. 84
8.6. Skip selections: Time Division.................................................................................................................................... 84
8.7. Restart Seq / Arp from beginning........................................................................................................................... 84
8.8. Synchronization.................................................................................................................................................................. 85
9. The Sequencer ............................................................................................................................................................ 87
9.1. Basic Operation .................................................................................................................................................................... 87
9.2. Transpose / Kbd Play ..................................................................................................................................................... 88
9.3. Creating a sequence ....................................................................................................................................................... 89

9.4. Modifying a sequence.................................................................................................................................................... 95
9.5. Saving sequences ............................................................................................................................................................. 96
10. The Arpeggiator....................................................................................................................................................... 97
10.1. What’s an arpeggiator? .............................................................................................................................................. 97
10.2. Arpeggiator features .................................................................................................................................................... 97
10.3. Basic operations.............................................................................................................................................................. 98
10.4. Arpeggiator modes.................................................................................................................................................... 100
10.5. Build a multi-octave arpeggio ............................................................................................................................. 103
10.6. Pausing an arpeggio .................................................................................................................................................. 104
11. Introduction: the MIDI Control Center..................................................................................................... 105
11.1. MCC basics.......................................................................................................................................................................... 105
12. MIDI Control Center............................................................................................................................................ 109
12.1. Template Browser ......................................................................................................................................................... 109
12.2. Device Memories............................................................................................................................................................. 110
12.3. Local Templates................................................................................................................................................................. 111
12.4. Store To/Recall From.................................................................................................................................................... 112
12.5. Import/Export Device Settings............................................................................................................................... 113
12.6. Data entry............................................................................................................................................................................ 114
12.7. Device Settings ................................................................................................................................................................. 115
13. Shift functions.......................................................................................................................................................... 123
13.1. SHIFT + Keys 1-5.............................................................................................................................................................. 123
13.2. SHIFT + Keys 6-16 .......................................................................................................................................................... 123
13.3. SHIFT + Key 17.................................................................................................................................................................. 123
13.4. SHIFT + Keys 18-19......................................................................................................................................................... 124
13.5. SHIFT + Oct down (Seq mode only).................................................................................................................. 124
13.6. SHIFT + Oct up (Seq mode only)......................................................................................................................... 124
13.7. SHIFT + Play ...................................................................................................................................................................... 124
13.8. SHIFT + Rec (Seq mode only)................................................................................................................................ 124
13.9. SHIFT + Seq encoder................................................................................................................................................... 124
13.10. SHIFT + Stop (Seq mode only) ........................................................................................................................... 124
13.11. SHIFT + Sync.................................................................................................................................................................... 124
13.12. SHIFT + Tap / Rest (Arp mode only)................................................................................................................ 124
13.13. SHIFT + Time Div encoder...................................................................................................................................... 125
14. Declaration of Conformity............................................................................................................................... 126

1. INTRODUCTION
Congratulations, and thank you for your purchase of the Arturia MiniBrute 2 analog
synthesizer. You now own what many players feel is the best sounding, most versatile, and
most powerful analog synthesizer in its class.
The MiniBrute series of synthesizers is the culmination of a lengthy (and very enjoyable!)
collaboration between Arturia's engineers and analog synthesizer "guru" Yves Usson.
Since the late 1990s, the French company Arturia has received acclaim from players
and reviewers alike for designing state-of-the art software emulations of the venerable
synthesizers from the 1960s to the 1980s. From the Modular V, back in 2004, to Origin, a
modular system they introduced in 2010; from Analog Factory Experience, the first hybrid
synthesizer ever (debuted in 2008), to the Synclavier V (2016) and the Buchla Easel V (2017),
their passion for synthesizers and sonic purity has given demanding musicians the best
software instruments for professional audio production.
After recreating so many legendary analog synthesizers by translating "golden" versions of
these classic instruments into sophisticated DSP algorithms, the time was right for Arturia
to introduce an analog synth of its own. But reproducing analog circuitry is not the same
as designing great-sounding analog circuits, so we enlisted the aid of Yves Usson — an
extremely talented analog circuit designer and synthesizer enthusiast whose work spans
three decades.
Besides being a talented researcher in bio-molecular microscopy, his clones of the modules
originally designed by Dr. Robert Moog, as well as ARP or EMS and his own designs,
are highly renowned in the "modular" world and continuously produced under license by
specialty manufacturers.
What’s more, he’s always willing to share his considerable experience and pass along his
knowledge to others. All his schematics stay open to the Synthesizer-Do-It-Yourself (SDIY)
community; most of his works can be found on the Yusynth ongoing project website, and
he casts a long, and welcome, shadow on the major Internet forums devoted to analog
fanatics.
Combining Arturia’s acclaimed savoir-faire in designing innovative musical instruments,
and Yves’ deep knowledge and experience, the MiniBrute 2 analog synthesizer has its roots
in the 1970s yet incorporates the best of the 21st century.
Yves Usson and a couple of wired friends
3 Arturia - User Manual MiniBrute 2 - Introduction

We built the MiniBrute 2 with four goals: peerless analog sound, intuitive operation,
affordability — and no compromises, whether with parts, design, or connectivity.
From the smallest capacitor to the potentiometers and the casing, we cherry-picked the very
best suppliers, subjected every component to exhaustive testing, and fine-tuned the design
for the best possible player experience.
Furthermore, we decided to bring back the fun of creating your own sounds, and controlling
them on stage or in the studio. There are no presets: All of the sound-shaping is at your
fingertips. This design philosophy also meant we could use true analog oscillators, not digital
ones, to provide the purity of sound that is the hallmark of analog synthesis.
But we also wanted you to be able to mangle that sonic purity the way the "big boys" can
(you know, those hulking modular synthesizers with patch cables running every which way).
So in addition to the powerful voice architecture the MiniBrute 2 provides a 48-point patch
bay, which allows you to bypass any pre-conceived notions regarding the signal path. Now
you can bring in control signals and audio from the outside world and patch them into the
MiniBrute 2 circuitry. This open-ended approach to sound design will open sonic doors you
never knew were there. We think it will even make the "big boys" come knocking at the door,
wanting to join the fun!
And yet for all its flexibility, the focus of MiniBrute 2 is on music, creativity, and the
experience of playing an instrument that is fun, physical, inspiring, and satisfying. What’s
more, with its compact size, MiniBrute 2 is ideal for the mobile and desktop musician. Not
only will it give you solid basses, amazing effects, and screaming lead lines, but it will give
you sounds no other synth on this planet can make.
As everyone knows, analog synthesizers are expensive to produce. But what’s the point in
making a synth for everyone, if no one could afford it? So, we made a bet it would be a hit,
and geared up to produce MiniBrute 2 in volume — allowing us to obtain quantity pricing on
parts, and translate the techniques of a craftsman to industrial manufacturing. The result is
analog synthesis without compromise.
MiniBrute 2 is truly a musical instrument. We loved designing it, building it, and now, playing
it. We hope you will share our enthusiasm, and find inspiration in its sounds.
Here’s an overview of the features at your disposal:
The Arturia MiniBrute 2 analog synthesizer
Arturia - User Manual MiniBrute 2 - Introduction 4

• Fully analog signal path
• 2 multi-waveform voltage-controlled oscillators (VCOs)
• Sawtooth, square, and triangle waveforms (VCO 1)
• Ultrasaw, Metalizer, and pulse width modulation (PWM)
• Sawtooth, square, and sine waveforms (VCO 2)
• VCO 2 can be used as an additional LFO
• FM modulation between oscillators
• Random noise generator
• Steiner-Parker multimode filter with FM and RM (Resonance Modulation)
• 48-point patchbay
• Hard sync input for VCO1
• Separate VCA for modulation routings
• Two envelopes: ADSR (filter) and AD (amplitude)
• Loopable AD envelope
• Two multi-waveform LFOs with free-run or sync modes
• Brute Factor: overdrive the filter input with the audio output
• External audio can be routed through the Oscillator mixer or directly to the output
• Sequencer and arpeggiator, syncable to external clock: MIDI, USB, or CLK (1 step,
1 pulse, 24/48 ppq)
• MIDI input and output connectors
• USB port for use with a DAW
• Audio and headphone outputs
• Use with Arturia's MIDI Control Center for device configuration and sequence
archival
But that’s enough talk — plug in your new analog friend, and start shaking the walls!
5 Arturia - User Manual MiniBrute 2 - Introduction

2. INSTALLATION
2.1. Usage Precautions
The MiniBrute 2 uses an external power adapter. Do not use any power supply or adapter
other than the one provided by Arturia. Arturia accepts no responsibility for damage caused
by use of an unauthorized power supply.
2.2. WARNING
Do not place this product in a place or position where one might walk on, trip over, or roll
anything over power cords or connecting cables.
The use of an extension cord is not recommended. However if you must use one, make sure
that the cord has the ability to handle the maximum current needed by this product. Please
consult a local electrician for more information on your power requirements.
This product should be used only with the components supplied or recommended by Arturia.
When used with any components, please observe all safety markings and instructions that
accompany the accessory products.
2.3. Register your Instrument
Registering your instrument establishes your legal ownership, which entitles you to access
the Arturia Technical Support service, and be informed of updates.
Additionally, you can subscribe to the Arturia newsletter to be informed of Arturia-related
news as well as promotional offers.
Connect to your Arturia account via this URL:
https://www.arturia.com/login
Go to the section “ My Registered Products ”, and add the MiniBrute 2 synthesizer by entering
its serial number, as printed on the sticker located under the machine:
Arturia - User Manual MiniBrute 2 - Installation 6

2.4. Connecting the MiniBrute 2 to the World
Always power-off all audio gear before making any audio connections. Failing to do so may
damage your speakers, the MiniBrute 2 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 comfortable listening level.
Here is an overview of the MiniBrute 2 synthesizer’s connectors:
Purpose Connector type
Audio output 6.35 mm (1/4'') mono jack (470 Ωimpedance / line level)
Headphones 6.35 mm (1/4'') TRS jack (signal is mono)
2Ωimpedance (185mW @ 250Ω/ 60mW @ 80Ω/ 24mW @ 32Ω)
Patch bay (most jacks)
3.5 mm (1/8'') miniature mono jacks
CV inputs: Eurorack level signals, 100kΩ, +/-5Vx (Exception: Pitch CV inputs are
6.8MΩimpedance)
CV outputs: Eurorack level signals, 680Ω, +/-5V
Clocks / Gates inputs: Eurorack level signals, 68kΩ, 0V/+5V
Clocks / Gates outputs: Eurorack level signals, 2kR, 0V/+5V
Patch bay (sync & clock
jacks)
3.5 mm (1/8'') miniature TRS jacks
Clock inputs: Eurorack level signals, 68kΩ, 0V/+5V
Clock outputs: Eurorack level signals, 2kR, 0V/+5V
MIDI input & output Standard MIDI DIN-5
USB Standard USB type B
Power DC input Internal 2.1 mm, external 5.5 mm
7 Arturia - User Manual MiniBrute 2 - Installation

2.4.1. The rear panel connectors
2.4.2. Patch Bay
This is only one example of the connections that can be made between the MiniBrute 2 and
external devices. The possibilities are as endless as your imagination!
The MiniBrute 2 rear panel
MiniBrute 2 patch bay, modular synth, and external audio sources
Arturia - User Manual MiniBrute 2 - Installation 8

2.5. Warm-Up and General Tuning
As with all other true analog synthesizers, after being powered-on the MiniBrute 2 needs
a warm-up period of approximately five to ten minutes. This allows it to reach a stable
operating temperature, which ensures accurate oscillator pitch. Warm-up time depends on
the external temperature; a colder environment will require longer warm-up times, while a
hotter environment will result in shorter times. Humidity levels also can affect the length of
the warm-up period.
Once the synthesizer has reached its running temperature, tune it to pitch. Use an external
tuner to check the instrument’s tuning; if needed, adjust the Global Tune knob to tune the
MiniBrute 2 to the desired pitch.
The MiniBrute 2 has been designed for rock-solid pitch stability when operated in normal
temperature and humidity conditions, at external temperatures between 20°C and 32°C in
temperate areas. In practice, the MiniBrute 2 provides satisfactory operation over a much
wider temperature range, although extreme external temperatures or fluctuations can lead
to longer stabilization time or erratic tuning.
9 Arturia - User Manual MiniBrute 2 - Installation

3. QUICK START
This chapter provides the basics you’ll need to create your very first sounds with the
MiniBrute 2, so you can start enjoying its rich, full sounds immediately. In subsequent
chapters, we’ll get deeper into the sound design process so you can create more animated
and complex sounds.
3.1. Create your first sound: the “basic patch”
Once your MiniBrute 2 has been correctly connected to your sound system, set all the
controls to their minimum level: - counter-clockwise for the knobs - lowest position for sliders
- center position (12 o'clock) for controls with – and + (FM 1 and RM) - center position for all
three Tune controls - center position for the Master Volume knob
Switch on your MiniBrute 2, and as you let it warm up [p.9], set the following parameters to
the recommended values:
• Set the LFO 1 and LFO 2 Sync switches to the Free position
• Set the LFO 1 and LFO 2 Rate controls to the center position
• Set the VCO 2 Wave [p.22] and Range [p.29] switches to their "up" positions (Sine
wave and Fine)
• Set the FILTER section’s Mode knob to LP
• Set the AD ENVELOPE switches to the Gate [p.39] and Once [p.39] positions
• Set the OSC MIXER section’s square wave slider to maximum
• Turn the FILTER section’s Cutoff knob fully clockwise
• Set the Control section’s Mod Source [p.19] switch to Wheel
• Set the Control section’s Mod Dest [p.20] switch to LFO 1 Vib
• Set the Sync setting to Int
• Set the Modulation Wheel to minimum
♪: No cables should be connected to the patch bay yet.
These settings give us a unified starting point for the following examples. Here’s a visual
representation of the patch:
Now, press a key; you should hear your very first MiniBrute 2 sound!
That's a fat square wave... but it sounds a bit static, doesn't it? We’ll improve this in the Basics
of Synthesis [p.41] chapter. But if you simply want to play the keyboard for a moment, you
can use the Down or Up Octave [p.19] buttons to transpose the notes to the range you prefer.
The (basic) patch
Arturia - User Manual MiniBrute 2 - Quick start 10

♪: Once the MiniBrute 2 has warmed up, you can adjust the master tuning [p.9] as described in the
previous chapter.
3.2. Add some vibrato
Press and hold a key on the keyboard, and slowly raise the Modulation Wheel — this will
add some vibrato to the sound.
• Return the Modulation Wheel to minimum position.
• Set the Control section’s Mod Source [p.19] switch to the AT position.
Now play the keyboard and when a key is down, press down on it further. This "pressure
sensitivity" is called Aftertouch (AT). And like the Modulation Wheel, it can introduce vibrato
to the note you’re holding. This is a great way to add expressiveness to your playing.
3.3. Add a second oscillator
Press the Up Octave button to put the keyboard into the +2 Octave range. Now press and
hold a key on the keyboard and do the following:
• Raise the Osc 2 slider in the OSC MIXER section to maximum
• Turn the VCO 2 Tune knob counter-clockwise until VCO 2 is an octave lower than
the original pitch.
• Play a few notes. VCO 2 has become a sub-oscillator, which beefs up your sound
by adding more bass.
Here’s an overview of the patch:
VCO 2 is being used as a sub-oscillator
11 Arturia - User Manual MiniBrute 2 - Quick start

3.4. Introduction to envelopes
MiniBrute 2 has two independent envelopes: the AD and the ADSR. The AD ENVELOPE
controls the amplitude of the sound, while the ADSR ENVELOPE is dedicated to the Filter; it
affects the harmonic content of the sound.
3.4.1. The AD envelope
The sound’s amplification envelope determines how the level changes over time when you
play a note. Up to this point in the chapter the note has only played while you were holding
the key, which results in an “electronic organ” sound that has no dynamics. By changing the
AD ENVELOPE parameters (Attack, Decay) we can control how the sound fades in and fades
out.
Raise the AD ENVELOPE section’s Attack slider to its middle position, then press a key. Now
the sound rises slowly to the maximum level. As soon as you release the key, the sound
stops abruptly. Raise the Decay slider, and the sound will fade out to its minimum level when
you release a key.
There are two switches inside the AD ENVELOPE section (Gate/Trig and Once/Loop [p.39]).
Their functions are somewhat more complex and will be described in the Top Panel [p.22]
chapter.
Arturia - User Manual MiniBrute 2 - Quick start 12

3.4.2. The ADSR envelope
This envelope controls the Filter, and it has more sliders than the AD envelope. The ADSR
envelope is slightly more complex to use, so we will describe the basic concepts here and
cover them more thoroughly in the Basics of Synthesis [p.41] chapter.
Pressing down a key or sending a gate signal provides an evolving modulation signal with
up to four different stages:
• The attack stage determines how long it takes for the envelope to go from zero
to its maximum level. The attack time can be as short as 0.5ms or as long as 4
seconds.
• The decay stage begins when the attack stage reaches its maximum value, and
determines the time it takes to decrease from this maximum value down to a
steady level (set by the sustain parameter; see next). The speed of this decay can
vary from 0.5ms to 4 seconds.
• The sustain stage starts at the end of the decay phase, and remains at the
sustain value long as a keyboard key is held down or a gate signal remains full
on. The sustain level is variable between zero (no sustain) and the envelope’s
maximum value.
• Finally, the release stage starts upon releasing the key, and sets the amount of
time for the level to decrease from the sustain level down to zero. The release
time can be as quick as 0.5ms and as long 4 seconds.
Examples of the ADSR envelope
13 Arturia - User Manual MiniBrute 2 - Quick start

3.5. Get to know an LFO
An LFO can do much more than add vibrato [p.11] to the sound. For example, it can be used
to modulate the harmonic content also. We will use the patch bay to illustrate this point.
• Set all sliders to minimum
• Set the square wave slider in the OSC MIXER section to maximum
• In the FILTER section, set the Cutoff and Resonance knobs to their middle points
(12:00)
• Set the FILTER section FM knob to the 12:00 position
• Also in the FILTER section, set the Mode knob to BP (band pass)
• Set the LFO1 Wave knob to Sine and its Rate to the 12:00 position
• Locate the LFO1&2 section in the patch bay
• Connect a patch cable to the Out 1 jack in the LFO1&2 section
• Locate the FILTER section in the patch bay
• Connect the other end of the patch cable to the Cutoff jack in the FILTER section
It's important that everything is set up properly, so here's how the patch should look:
Play a note. You should immediately hear timbre sweeps, a bit like a didgeridoo, at the
rate indicated by the red LED in the LFO 1 section. Tweak the Rate knob to slow down or
accelerate this wah-wah effect, and play with the filter's Resonance to accentuate it.
You also might want to try the various LFO waveforms, which we'll describe in the LFO
section [p.22] of the Top Panel [p.22] chapter.
We have barely scratched the surface! Thanks to the patch bay, an LFO can add a cyclical
variation to almost any aspect of the MiniBrute 2 sound. To learn more, read the Patch Bay
[p.53] chapter.
LFO 1 modulating the filter cutoff via the patch bay
Arturia - User Manual MiniBrute 2 - Quick start 14

3.6. The Sequencer and Arpeggiator
As if you weren't having enough fun already, let's take a quick look at the Sequencer/
Arpeggiator section. To learn more about their features, we recommend starting with the
introductory chapter [p.78].
♪: Before you proceed, play a note to make sure you have sound. If not, raise the level on one of the
waveform sliders in the OSC MIXER section. If that doesn't help, you may want to revisit the Basic Patch
[p.10] section of the manual.
3.6.1. The Sync button
Before you can make music with the Sequencer or the Arpeggiator it is important to have
the Sync button set to Int (Internal). Look at the right side of the MiniBrute 2 for a large
button that says "Sync" right in the middle.
The four LEDs to the right of that button indicate the clock source for all of the time-
based features of the MiniBrute 2: the LFOs, the Sequencer, and the Arpeggiator. Push the
Sync button repeatedly until the LED next to the letters "INT" is lit. This means you have
selected the Internal clock and will be able to work with the Sequencer and the Arpeggiator
immediately.
The Sync button
15 Arturia - User Manual MiniBrute 2 - Quick start