Arturia minibrute User manual

USER'S MANUAL
Arturia MiniBrute User's Manual 1

PRODUCT AND PROJECT MANAGEMENT
Frédéric BRUN
Romain DEJOIE
ELECTRONICS
Yves USSON
Bruno PILLET
François BEST
Laurent B RET
Robert BOCQUIER
ntoine B CK
DESIGN
xel H RTM NN (Design Box)
Daniel VESTER
Morgan PERRIER
INDUSTRIALIZATION
Nicolas DUBOIS
Suzy ZHU (Huaxin)
MANUAL
Yves USSON
Craig NDERTON
ntoine B CK
Yasu T N K
Noritaka UBUK T
SPECIAL THANKS TO:
rnaud Rebotini, Etienne Jaumet, Jean-Benoît Dunckel, Simon Tarricone,
Glen Darcey, Frank Orlich, Jean-Michel Blanchet, Frédéric MESLIN, Mathieu
BRUN, Gérard Buracchini.
1st edition: Fe ruary 2012
Information contained in this manual is subject to change without notice and does not represent a
commitment on behalf of RTURI . The hardware unit and the software product described 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 be produced or transmitted in any form or by any purpose other than purchaser’s
personal use, without the explicit written permission of RTURI S. . ll other products, logos or company
names quoted in this manual are trademarks or registered trademarks of their respective owners.
© RTURI S. . 1999-2012, all rights reserved.
RTURI S. .
4, chemin de Malacher
38240 Meylan
FR NCE
http://www.arturia.com
Arturia MiniBrute User's Manual 2

TABLE OF CONTENTS
1 Introduction............................................................................5
2 Installation..............................................................................9
2.1 Usage Precautions...................................................................................................9
2.2 Register your Instrument.......................................................................................11
2.3 Connecting the MiniBrute to the World.............................................................11
2.4 Warm-Up and General Tuning............................................................................12
3 Quickstart.............................................................................14
3.1 Create your first sound: the “basic patch”.......................................................14
3.2 dd some vibrato..................................................................................................15
3.3 Tweak the envelope.............................................................................................16
3.4 Meet the LFO..........................................................................................................17
3.5 Create arpeggiated sequences........................................................................18
4 General description.............................................................20
4.1 nalog synthesizer architecture.........................................................................20
4.1.1 Signal generators................................................................................................................... 20
4.1.1.1 Pitched signal generator (oscillators)................................................................................20
4.1.1.2 Unpitched signal generator................................................................................................21
4.1.2 Signal enhancers...................................................................................................................21
4.1.3 Filter......................................................................................................................................... 23
4.1.3.1 What is a filter?......................................................................................................................23
4.1.3.2 Filter types: Low-pass, Band-pass, High-pass and Notch................................................23
4.1.3.3 Resonance or emphasis......................................................................................................25
4.1.4 Amplifier................................................................................................................................. 25
4.1.5 Modulators............................................................................................................................. 26
4.1.6 Pla er interface..................................................................................................................... 27
4.1.7 Inputs and outputs................................................................................................................ 28
4.1.8 MiniBrute diagram................................................................................................................. 29
4.2 Front Panel..............................................................................................................30
4.2.1 The oscillator and its signal mixer.........................................................................................30
4.2.1.1 The waveforms......................................................................................................................30
Saw and Ultrasaw................................................................................................................................30
Square and Modulated Pulse............................................................................................................30
Triangle and Metalizer.........................................................................................................................31
The sub-oscillator (Sub Osc)...............................................................................................................31
Noise ......................................................................................................................................................31
udio In..................................................................................................................................................31
4.2.2 The filter.................................................................................................................................. 32
4.2.2.1 Mode......................................................................................................................................32
4.2.2.2 Cutoff......................................................................................................................................32
4.2.2.3 Resonance.............................................................................................................................32
4.2.2.4 ENV mt (envelope amount).............................................................................................33
4.2.2.5 KBD Tracking..........................................................................................................................33
4.2.2.6 Envelope speed....................................................................................................................33
4.2.2.7 Filter Envelope.......................................................................................................................33
4.2.3 The amplifier........................................................................................................................... 34
4.2.3.1 mplifier Envelope................................................................................................................34
4.2.4 Controls.................................................................................................................................. 34
4.2.4.1 MOD Wheel...........................................................................................................................34
4.2.4.2 ftertouch..............................................................................................................................35
4.2.4.3 Bend Range...........................................................................................................................35
Arturia MiniBrute User's Manual 3

4.2.4.4 Glide.......................................................................................................................................35
4.2.5 Vibrato.................................................................................................................................... 35
4.2.6 LFO.......................................................................................................................................... 36
4.2.6.1 Wave......................................................................................................................................36
4.2.6.2 Rate.........................................................................................................................................36
4.2.6.3 Clock.......................................................................................................................................36
4.2.6.4 Modulation routing...............................................................................................................36
PWM & Metalizer..................................................................................................................................36
Pitch........................................................................................................................................................36
Filter.........................................................................................................................................................37
mp........................................................................................................................................................37
4.2.7 Arpeggiator........................................................................................................................... 37
4.2.7.1 Hold/On/Off...........................................................................................................................37
4.2.7.2 Octave...................................................................................................................................38
4.2.7.3 Mode......................................................................................................................................38
4.2.7.4 Swing.......................................................................................................................................38
4.2.7.5 Step.........................................................................................................................................38
4.2.7.6 Tempo & Tap.........................................................................................................................38
4.2.8 General controls....................................................................................................................39
4.2.8.1 Keyboard...............................................................................................................................39
4.2.8.2 Wheels....................................................................................................................................39
4.2.8.3 Octave...................................................................................................................................40
4.2.8.4 Brute Factor...........................................................................................................................40
4.2.8.5 Phones....................................................................................................................................40
4.2.8.6 Master Volume......................................................................................................................40
4.2.8.7 Fine Tune................................................................................................................................41
4.3 Rear panel..............................................................................................................41
4.3.1 Power suppl .......................................................................................................................... 41
4.3.2 USB.......................................................................................................................................... 41
4.3.3 MIDI......................................................................................................................................... 41
4.3.4 Gate Source.......................................................................................................................... 42
4.3.5 AUDIO..................................................................................................................................... 42
4.3.6 CV / GATE IN.......................................................................................................................... 42
4.3.7 CV / GATE OUT...................................................................................................................... 42
4.4 Configuration software: MiniBrute Connection................................................43
5 Using your MiniBrute............................................................44
5.1 Let's create a basic sound...................................................................................44
5.2 Sound modulations................................................................................................46
5.3 External sound processing....................................................................................47
6 Legal statements..................................................................48
6.1 No liability for consequential damages.............................................................48
6.2 FCC Information (US )..........................................................................................48
6.3 Canada ..................................................................................................................49
6.4 Europe......................................................................................................................49
Arturia MiniBrute User's Manual 4

1 INTRODUCTION
Congratulations, and thank you for your purchase of the RTURI MiniBrute 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 is the culmination of a lengthy (and very enjoyable!) collaboration
between RTURI ’s engineers and analog synthesizer “guru” Yves USSON.
Since the late 1990s, the French company RTURI has received acclaim from
players and reviewers alike for designing state-of-the art software emulations of the
venerable analog synthesizers from the 1960s to the 1980s. From the Moog Modular
V, back in 2004, to Origin, a modular system of a new generation that we
introduced in 2010; from nalog Factory Experience, the first hybrid synthesizer
ever (debuted in 2008), to the Oberheim SEM V released at the end of 2011, our
passion for synthesizers and sonic purity has given demanding musicians the best
software instruments for professional audio production.
Arturia MiniBrute User's Manual 51 Introduction
HYBRID SOFTWARE

Overview of some of ARTURIA’s software, hardware and hybrid instruments
fter recreating so many legendary analog synthesizers by translating “golden”
versions of these classic instruments into sophisticated DSP algorithms, the time was
right for RTURI 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
Moog modules, as well as RP or EMS and 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. ll his schematics stay open to the D.I.Y.1
community; most of his works can be found on the “Yusynth” ongoing project
website2, and he casts a long, and welcome, shadow on the major Internet forums
devoted to analog fanatics.
1 D.I.Y. = “Do It Yourself”
2http://yusynth.net
Arturia MiniBrute User's Manual 61 Introduction
HARDWARE

Yves USSON and a coup e of wired friends
Combining RTURI ’s acclaimed savoir-faire in designing innovative musical
instruments, and Yves’ deep knowledge and experience, the MiniBrute analog
synthesizer has its roots in the 1970s yet incorporates the best of the 21st century.
The ARTURIA MiniBrute ana og synthesizer
Arturia MiniBrute User's Manual 71 Introduction

We built the MiniBrute with four goals: peerless analog sound, intuitive operation,
realistic cost — and no compromises, whether with parts, design, or connectivity.
From the smallest electronic OP 3 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, hidden menus, shift
keys, or scrolling: ll 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.
Playing a musical instrument should not feel like working with a spreadsheet.
MiniBrute is about music and creativity, and the experience of playing an
instrument that is fun, physical, inspiring, and satisfying. What’s more, with its
compact, 25-key keybed, MiniBrute is ideal for the mobile and desktop musician.
Not only will it give you solid basses, amazing effects, and screaming leads, but
give you sounds no other synth on this planet can make.
s 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 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 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.
But that’s enough talk — plug in your new analog friend, and start vibrating the
walls...
3 Operational amplifier: a much useful electronic component
Arturia MiniBrute User's Manual 81 Introduction

2 INSTALLATION
2.1 Usage Precautions
The MiniBrute uses an external power adapter. Do not use any power supply or
adapter other than the one provided by rturia and specified in this manual (see
chapter 4.3.1 for more details). RTURI accepts no responsibility for damage
caused by 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 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 RTURI . When used with any components, please observe all safety markings
and instructions that accompany the accessory products.
SPECIFICATIONS SUBJECT TO CHANGE
The information contained in this manual is believed to be correct at the time of
printing. However, RTURI reserves the right to change or modify any of the
specifications without notice or obligation to update existing units.
IMPORTANT
lways follow the basic precautions listed below to avoid the possibility of serious
injury or even death from electrical shock, damages, fire or other risks.
The product used either alone or 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, at a level
that is uncomfortable, 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 MiniBrute User's Manual 92 Installation

NOTICE
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 responsibility. Please
study this manual carefully and consult your dealer before requesting service.
PRECAUTIONS INCLUDE, BUT ARE NOT LIMITED TO, THE FOLLOWING:
•Read and understand all the instructions.
•lways follow the instructions on the instrument.
•Before cleaning the instrument, always remove the electrical plug from the
outlet, as well as 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 liquid cleaner, spray or cloth that’s too wet.
•Do not use the instrument near water or moisture, such as a bathtub, sink,
swimming pool or similar place.
•Do not place the instrument in an unstable position where it might
accidentally fall over.
•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.
•Use only the provided C adapter, as specified by RTURI (see chapter
4.3.1 for more details).
•Make sure the line voltage in your location matches the input voltage
specified on the C 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 nearby.
•RTURI is not responsible for any damage or data loss caused by improper
operations to the instrument.
•RTURI recommends the use of shielded and less than 3 meters long cables
for udio, and ferrite equipped CV/Gate cables.
Arturia MiniBrute User's Manual 10 2 Installation

2.2 Register your Instrument
Registering your instrument establishes your legal ownership, which entitles you to
access the rturia Technical Support service, and be informed of updates.
dditionally, you can subscribe to the RTURI newsletter to be informed of
RTURI -related news as well as promotional offers.
Connect to your rturia account via this URL:
http://www.arturia.com/login
Go to the section “M Registered Products”, and add the MiniBrute synthesizer by
entering its serial number, as printed on the sticker located under the machine:
2.3 Connecting the MiniBrute to the World
lways power-off all audio gear before making any connections. Failing to do so
may damage your speakers, the MiniBrute synthesizer, or other audio equipment.
fter 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.
Arturia MiniBrute User's Manual 11 2 Installation

Here is an overview of the MiniBrute synthesizer’s connectors:
•udio Input & Outputs..........6.35 mm (1/4'') mono jacks
•CV/Gate.................................3.5 mm (1/8'') miniature mono jacks
•MIDI Input & Output..............Standard MIDI DIN-5
•USB............................................Standard USB type B
•Power DC Input......................Internal 2.1 mm, external 5.5 mm
2.4 Warm-Up and General Tuning
s with all other true analog synthesizers, after being powered-on the MiniBrute
needs a warm-up period of approximately five to ten minutes. The allows reaching
a stable operating temperature, which insures accurate oscillator pitch. Warm-up
time depends on the external temperature; a colder ambiance will require longer
Arturia MiniBrute User's Manual 12 2 Installation

warm-up times, while a hotter ambiance will result in shorter times.
Once the synthesizer has reached its running temperature, tune it to pitch. Use an
external tuner to check the instrument’s tuning; if needed, tweak the Fine Tune
knob to tune the MiniBrute to the desired pitch.
The MiniBrute 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 provides satisfactory
operation over a much wider temperature range, although extreme external
temperatures or fluctuations can lead to longer stabilization time or erratic tuning.
Arturia MiniBrute User's Manual 13 2 Installation

3 QUICKSTART
This chapter provides the basics you’ll need to create your very first sounds with the
MiniBrute, 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 “ asic patch”
Once your MiniBrute 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
•centered position (12 o'clock) for controls with – and +, as well as Fine Tune.
Set the rear panel Gate Source switch to the KBD position (see chapter 4.3.4).
Set the FILTER section’s Mode switch to LP, and the ENV Speed switch to Fast.
Set the CONTROL section’s Aftertouch switch to Off, and MOD Wheel to Vi rato.
Set the VIBRATO switch to the position.
Set the LFO section’s Clock switch to the Free position.
Set the ARPEGGIATOR section’s Hold/On/Off switch to Off.
Switch on your MiniBrute, let it warm up, and set the Master Volume knob to
center.
Set the MIX section’s square wave slider to maximum.
Turn the FILTER section’s Cutoff knob fully clockwise.
Set the AMPLIFICATION ENVELOPE section’s Sustain slider to maximum.
Here’s an overview of the patch:
Arturia MiniBrute User's Manual 14 3 Quickstart

Now, press a key; you should hear your very first MiniBrute sound!
Nice... but it sounds a bit like a pocket calculator, doesn't it? We’ll improve this in
the very next chapter, but for now play the keyboard while pressing either the
Down or Up OCTAVE section button. This should transpose the notes accordingly.
3.2 Add some vi rato
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 Aftertouch switch to the Vi rato position.
Now play the keyboard and when a key is down, press down on it further. This
triggers vibrato modulation on the note you’re holding, so you can add
expressiveness to your playing.
Raise the Su Osc switch to the position, and the Octave to the -1 position.
Crank up the Sub Osc slider in the MIXER section to the middle of its range, and
press a key. This beefs up your sound by adding more bass.
Arturia MiniBrute User's Manual 15 3 Quickstart

Here’s an overview of the patch:
3.3 Tweak the envelope
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
been set to maximum, which results in an “electronic organ” sound that has no
dynamics. By changing the other parameters (Attack, Decay, Release) we can
control how the sound fades in, sustains, and fades out.
Increase the AMPLIFICATION ENVELOPE section’s Attack slider to its middle position,
then press a key. Now the sound rises slowly up to the sustain level. s soon as you
release the key, the sound stops abruptly. Raise the Release slider, and the sound
will fade out to its minimum level when you release a key.
Here’s an overview of the patch:
Arturia MiniBrute User's Manual 16 3 Quickstart

Now set these four envelope sliders all the way down, and raise the Decay slider to
maximum. Press and hold down a key: the sound appears as soon as you press the
key, and slowly fades out to the minimum level. While pressing a key repeatedly,
slowly turn down the Decay slider: the sound will fade out more rapidly. In the
lowest range of the slider, you’ll hear short, percussive sounds.
Now that we’ve covered amplification envelope basics, let’s check out something
even more fun.
3.4 Meet the LFO
Once again, in the AMPLIFICATION ENVELOPE section raise the Decay slider to
maximum, and set the other envelope sliders to minimum.
In the FILTER section, set the Cutoff and the Resonance knobs to their middle
positions, and set the Mode selector on BP.
In the LFO section, set the Filter knob to maximum.
Here’s an overview of the patch:
Arturia MiniBrute User's Manual 17 3 Quickstart

Press and hold a key: you should hear timbre sweeps, a bit like a didgeridoo, at a
rhythm indicated by the red LED. Tweak the Rate knob to slow down or accelerate
this wah-wah effect, and play with the filter's Resonance to accentuate it.
Be cautious, you've just entered the Dubstep realm...
3.5 Create arpeggiated sequences
While still in the LFO section, set the Clock switch on rpeg. The Rate red LED should
now blink at the same tempo as the Tempo in the ARPEGGIATOR section, as both
clocks are now synchronized.
Now in the ARPEGGIATOR section, set the Hold/On/Off switch to Hold.
Here’s an overview of the patch:
Arturia MiniBrute User's Manual 18 3 Quickstart

Press the keyboard’s lowest C key, then release it: the note auto-repeats
continuously, because the arpeggiator is set to Hold.
Press the key again and while holding it down, press the two other C keys: now
when you release all keys, a sequence of octaves auto-repeats continuously.
While the sequence is playing, tweak the Octave knob to extend the octave span;
also tweak the Mode knob to alter the arpeggio’s direction.
In this chapter, you’ve been introduced to just a few of the MiniBrute’s sonic
possibilities. But there’s much more, in the following chapters we’ll cover:
•Complete details of the different sections that make up this fantastic
instrument
•More tips on how to use these elements to build you very own sounds
Your journey with the MiniBrute has just begun...
Arturia MiniBrute User's Manual 19 3 Quickstart

4 GENERAL DESCRIPTION
Your MiniBrute is a true analog sound synthesizer, so all sounds are produced by
analog electronic circuits. No digital computer circuitry is involved in the
generation, filtering, or basic control of sound. This is one of the reasons why
MiniBrute creates rich, animated, and lively electronic sounds.
4.1 Analog synthesizer architecture
The analog sound production chain uses a classical approach called subtractive
synthesis. The basic sound generator is a waveform with a rich harmonic content;
filtering then “subtracts” harmonics to create new variations on the original timbre.
Subsequent circuits (an envelope generator in conjunction with a VC , or voltage-
controller amplifier) alter the level in a precise way to create dynamics.
4.1.1 Signal generators
The signal generators are the circuits that produce the basic waveforms for sound
creation. There are two basic categories: pitched signal generators and the
unpitched signal generators.
4.1.1.1 Pitched signal generator (oscillators)
This device, also called an oscillator, produces an electronic signal characterized
by a repetitive, shaped pattern (called a waveform). The number of times this
pattern repeats in a second determines the signal’s frequency, which determines
its pitch. For example, a pattern that repeats every 2.27ms corresponds to a
fundamental frequency of 440 cycles per second, or 440 Hertz (a unit of
measurement for cycles per second named in honor of Heinrich Hertz, who first
demonstrated the existence of magnetic waves, and abbreviated Hz). This
frequency is associated with the pitch of middle A on a piano keyboard. In
general, oscillators will provide some or all of the following basic waveforms: sine
wave, triangular wave, sawtooth wave, square and pulse waves.
If these waveforms have the same frequency, then their pitch is equivalent.
However, different waveform shapes have different timbres. For example, the sine
wave sounds dark and plain, while the sawtooth wave sounds very bright. The
square wave sounds a bit like a clarinet and the pulse wave resembles an oboe.
Arturia MiniBrute User's Manual 20 4 General description