Arturia minibrute 2 инструкция на русском

MANUALSCAT | RU

Вопросы и ответы

У вас есть вопрос о Arturia MiniBrute 2, но вы не можете найти ответ в пользовательском руководстве? Возможно, пользователи ManualsCat.com смогут помочь вам и ответят на ваш вопрос. Заполните форму ниже — и ваш вопрос будет отображаться под руководством для Arturia MiniBrute 2. Пожалуйста, убедитесь, что вы опишите свои трудности с Arturia MiniBrute 2 как можно более детально. Чем более детальным является ваш вопрос, тем более высоки шансы, что другой пользователь быстро ответит на него. Вам будет автоматически отправлено электронное письмо, чтобы проинформировать вас, когда кто-то из пользователей ответит на ваш вопрос.

Special Thanks

DIRECTION

Frederic Brun Nicolas Dubois Adrien Courdavault Philippe Vivancos

ENGINEERING

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

© 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

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.

Yves Usson and a couple of wired friends

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.

•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!

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:

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:

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.

♪: 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

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.

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.50] 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

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:

LFO 1 modulating the filter cutoff via the patch bay

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.

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 Sync button

The four LEDs to the right of that button indicate the clock source for all of the timebased 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.

4.1. Main features

The MiniBrute 2 provides a two-octave, piano-type keyboard. Besides offering a way to play notes, this keyboard provides additional controls for adding expressiveness:

•Aftertouch generates a signal that corresponds to how hard you press on a key after it’s down. You can use this signal to modulate vibrato, filter cutoff, and other parameters.

•Velocity corresponds to the dynamics of your playing, and similarly to aftertouch, can modulate multiple parameters.

•Transposition allows shifting the keyboard’s note range over six octaves.

•The pitch bend wheel allows adding real-time pitch changes, like bending strings on a guitar.

•The modulation wheel allows applying real-time modulation changes to various parameters. For example, it could add vibrato, or change the filter cutoff as you move it.

•An arpeggiator automates the creation of repeating sequences of notes.

•The sequencer allows you to trigger musical passages you have created, such as melodies, bass lines, or percussive riffs.

Alternative ways of playing the synthesizer are available through MIDI control and external CV/GATE signals.

4.2. The Control section

4.2.1. Keyboard

The MiniBrute 2 keyboard covers a two-octave range, which can be extended using the Octave Down/Up buttons. The keyboard also provides aftertouch and velocity control, and can also be used as fully polyphonic MIDI controller for other devices via the USB and MIDI out connectors on the rear panel.

4.2.2. Wheels

The MiniBrute 2 features the two classic control wheels: Pitch and Modulation.

4.2.2.1. Pitch wheel

The Pitch wheel position defaults to the middle of its range, and returns to its default position when released. This wheel creates a pitch bend effect, where the player can shift pitch smoothly up or down while playing a note. The amount of shift is proportional to the rotation of the wheel, with its full range adjustable between +/- one semitone to +/- one octave by the Bend Range knob.

4.2.2.2. Modulation wheel

The second wheel is the Modulation wheel (Mod wheel, for short). It is pre-wired to control the cutoff frequency of the filter in the amount set by the Att 1 -> Cutoff knob. (You will not hear this if the Att 1 -> Cutoff knob is set to zero, or if the filter cutoff frequency is too high.)

The Mod wheel also sets the overall amount of modulation signal sent to targets selected by the Mod Dest switch. Depending on the switch setting, it does one of the following things:

•LFO 1 Vib: The Mod wheel controls the amount of LFO 1, which by default will introduce vibrato.

•Mod CV: The Mod wheel becomes a modulation source in the patch bay via the Mod jack in the MIDI section.

4.2.7. Mod Dest

Depending on the switch setting, the Mod Source signal is routed to one of the following destinations:

• LFO 1 Vib: The Mod Source controls the amount of LFO 1, which by default will introduce vibrato.

• Mod CV: The Mod Source is routed to the Press / Mod jack in the MIDI section of the patch bay.

♪: The Mod Source signal is always present at the Att 1 -> Cutoff knob in the Filter section. If you want to defeat this modulation routing, set the Att 1 -> Cutoff knob to zero.

4.3. Inputs and outputs

In order to hear the MiniBrute 2, its audio output needs to connect to an audio amplifier either directly or through a mixer console (or use the Headphones output).

As to control, the MiniBrute 2 can accept control voltage signals from devices like a modular synthesizer or a MIDI controller (e.g., a MIDI drum pad or wind controller), or even audio signals from an external sound source such as a microphone or electric guitar.

The means to control other instruments, or be controlled by other instruments, is provided by the collection of inputs and outputs such as USB/MIDI in and out, an external audio input, and the input and output connectors on the patch bay.

♪: It is necessary to use a pre-amplifier to raise the level of an audio source to match the line-level inputs of the Ext In section in the patch bay.

4.4. Top panel

The top panel of the MiniBrute 2

This is where all of the synthesizing takes place. There are so many powerful features located here that the top panel [p.22] has its own chapter. The Patch bay [p.8] has its own chapter too.

4.5. The rear panel

There are several types of connectors on the rear panel. When viewed left to right:

4.5.1. Kensington lock

The small hole over the product name is a security feature called a Kensington lock. We want to be sure that your creativity takes flight only when you want it to.

4.5.2. Outputs

Connect headphones to the headphone jack for personal monitoring and connect a 1/4″ TS (tip-sleeve) cable to the Master jack to run the audio into a mixer or external amplifier.

4.5.3. MIDI

Connect a pair of the classic 5-pin DIN cables to the MIDI In and Out ports to interface with other MIDI devices. Clock, control, and note data can be sent and received. The reception of MIDI clock signals is dependent on the Sync [p.85] setting.

4.5.4. USB

Connect a standard type-B USB cable to the USB port to interface with a computer. Clock, control, and note data can be sent and received. The reception of USB/MIDI clock signals is dependent on the Sync [p.85] setting.

In addition, the USB port is used to connect the MiniBrute 2 to Arturia’s MIDI Control Center. This software is used to configure various settings of the MiniBrute 2.

♪: Synchronization with non-MIDI devices is done through a connector on the patch bay. For a full description of the CLK setting and the connector types to use, see the Synchronization [p.85] section.

4.5.5. Power

Connect only the included power adapter to this jack. It will supply the necessary voltage and current to power the analog circuitry of the MiniBrute 2: 12V DC (center pin positive) and 2A (for Amperes).

This chapter covers the synthesizer features of the MiniBrute 2: the oscillators, the filter, the envelopes, etc. Click the following links for descriptions of the patch bay [p.53], the Control [p.18] section, the Sequencer [p.87] and Arpeggiator [p.97], and the Sync [p.85] settings.

5.1. The LFOs

An LFO is low frequency oscillator that can produce various waveforms at sub-audio frequencies (0.0625Hz up to 100Hz). The MiniBrute 2 provides two LFOs, each with waveform choices of sine, triangle, sawtooth, square, two types of random waves.

Each LFO has its own Wave selector, Rate control, a switch that determines whether it will run freely or synchronize to the master clock.

The LFO 1 section

♪: LFO 1 and 2 are identical, so this section of the manual applies equally to both.

5.1.1. Wave

The LFOs offer several types of modulation waveforms. The selection is made by the Wave knob: sine, triangle, sawtooth, square, random stepped (also referred to as Sample & Hold), and random gliding (or smoothed random).

•Sine rises and falls smoothly between its minimum and maximum values

•Triangle rises and falls in more of a linear manner between its minimum and maximum values

•Sawtooth falls to its minimum value in a linear manner and then rises suddenly to its maximum value

•Square rises and falls suddenly between its minimum and maximum values

•Random stepped rises and falls suddenly between values that are generated at random

•Random gliding rises and falls gradually between values that are generated at random

The sampling rate of the Random waveforms is controlled by the Rate knob, the same way the rate of the other LFO waveforms is controlled (see below).

5.1.2. Sync

The Sync switch sets the LFO rate’s operating mode. It can be slaved to the Sequencer/ Arpeggiator tempo clock (Seq) or set to Free mode (i.e., the LFO rate depends solely on the Rate knob setting).

5.1.3. Rate

The Rate knob sets the LFO oscillation rate, and ranges from very slow rates (once every 16 seconds, or 0.0625Hz) up to quite fast rates (100Hz). The red LED located near the knob blinks in time with the rate. Note that the LFO rate may be superseded by the Sequencer/ Arpeggiator tempo clock if the Sync switch is set to Seq (see above).

When set to Sync the LFO rate will always be a multiple or a subdivision of the Seq/Arp tempo. As the LFO Rate knob is turned clockwise:

•Each increase in the LFO rate doubles the LFO frequency

•Each decrease in the LFO rate cuts the LFO frequency in half.

There are nine potential rates when an LFO is set to Sync:

5.1.4. Retrigger the LFOs

The LFO retrigger options

There’s a secondary Shift function for each LFO that lets you decide if you want an LFO to retrigger when a new note is played. To toggle this function, hold the Shift button and then press the top F key (LFO 1) or the top F# key (LFO 2).

5.2. VCO 1

The VCO 1 section has eight controls that form the foundation of the MiniBrute 2 sound.

The VCO 1 section

♪: Many top panel knobs have blue letters beneath them. This means there are pre-wired connections between those knobs and the blue-lettered item. For example, (VCO 2) is written beneath the FM knob. That means the second voltage-controlled oscillator (VCO 2) is the default source for the modulation that happens when the FM knob is turned clockwise. Similarly, LFO 2 is the default modulation source for Ultrasaw Amt. Keep this in mind as you look around the top panel for other pre-wired connections.

5.2.1. Fine Tune

This knob allows you to make precise adjustments to the pitch of VCO 1. Its range is slightly greater than one octave in either direction. Rotate the knob counter-clockwise to lower the pitch, and rotate the knob clockwise to raise the pitch.

♪: Changing the Fine Tune knob of VCO 1 does not affect the pitch of VCO 2.

5.2.2. Glide

Glide is also known as Portamento. The Glide knob determines the amount of time it takes for the pitch to glide from one note to another when notes are played. With this knob fully counter-clockwise, there is no glide and the note pitch transitions instantly to the next note. Turning this knob clockwise increases the portamento effect. At the maximum setting it will take 3 seconds to glide from the first note to the second note, regardless of the distance between them.

♪: By default the pitch of VCO 2 will track the pitch of VCO 1 when the Glide value is increased. The main exception to this rule is when a patch cord is inserted into the Pitch 2 input [p.63] jack in the VCO 2 section of the patch bay [p.53].

5.2.3. Pulse Width

This knob affects only the square wave of VCO 1. It has no impact on the saw or triangle waveforms. What it does is alter the width of the square wave from a «round-sounding» 50% to increasingly narrow-sounding pulse waves. See the Signal enhancers [p.43] section of the Basic Synthesis [p.41] chapter for a visual representation of the waveforms.

The Pulse Width can be modulated by an LFO or other sources via the patch bay. See the PWM [p.26] section for more information and related links to other chapters.

♪: The setting of the Pulse Width knob does not affect the square wave of VCO 2.

5.2.4. Metalizer

This knob affects only the triangle wave of VCO 1. It has no impact on the saw or square waveforms. The Metalizer takes the peaks of the basic triangular waveform and “folds” them downward to create very complex jagged waveforms that are rich in high harmonics. See the Signal enhancers [p.43] section of the Basic Synthesis [p.41] chapter for a visual representation of the waveforms.

5.2.5. FM

FM stands for Frequency Modulation. This knob affects all three waveforms of VCO 1 at the same time. By default the FM source is VCO 2, so the frequency of that oscillator will modulate the frequency (pitch) of VCO 1 as the value of this knob is increased.

When range switch of VCO 2 is set to LFO the frequency modulation will sound more like vibrato. But when it is set to Fine or All the frequencies of VCO 2 are so high that they will cause a significant disruption to the waveforms being generated by VCO 1. The resultant sound can be clangorous (bell-like) or somewhat noisy depending on the frequencies and waveforms involved.

5.2.6. Ultrasaw Amt

This knob affects only the sawtooth wave of VCO 1. It has no impact on the square or triangle waveforms. An increase in its value will mix the original sawtooth wave with two phase-shifted copies of itself, resulting in a fatter sound. The result is different in character than that of detuned sawtooth waveforms being generated by two different VCOs. See the Signal enhancers [p.43] section of the Basic Synthesis [p.41] chapter for a visual representation of the waveforms.

5.2.7. PWM

The Pulse Width of the square wave can be modulated by a source such as LFO 1 (the prewired default) or another source via the patch bay [p.53]. See the Signal enhancers [p.43] section of the Basic Synthesis [p.41] chapter for a visual representation of the waveforms.

♪: This knob affects only the square wave of VCO 1. It has no impact on the saw or triangle waveforms of VCO 1 nor the square wave of VCO 2.

5.2.8. Metal Mod

The Metal Mod knob sets the modulation range for the Metalizer knob. Velocity is routed to the Metal Mod by default, but the patch bay allows you to use something else to modulate the parameter instead.

5.3. VCO 2

MiniBrute 2 has two oscillators that are completely independent: each has its own waveshape and tuning, and can be mixed separately in the OSC MIXER section. They share the filter and amplifier stages.

The VCO 2 section

There is a certain level of pre-wired interaction between VCO 1 and VCO 2, though. For example:

•The pitch of VCO 2 will track that of VCO 1 by default, but there is an input on the patch bay that allows the VCO 2 pitch to track another source.

•The pitch of VCO 1 can be modulated by the pitch of VCO 2 through the FM knob in the VCO 1 section. (FM is an abbreviation for Frequency Modulation.) But there is an input on the patch bay that allows the VCO 1 pitch to be modulated by another source.

The output level of the second oscillator is controlled with the slider labeled Osc 2. Pulling it down reduces the level of the signal and moving it up increases its level.

The VCO 2 section contains a Tune knob and two toggle switches:

5.3.1. Tune

The Tune knob sweeps VCO 2 through the range determined by the Range switch (see below). Generally the middle position will tune it to the same pitch as VCO 1, but some adjustment may be necessary until the oscillators have warmed up.

5.3.2. Wave

The Wave switch selects the waveshape for VCO 2, which can be either a sine wave, a sawtooth wave, or a square wave.

5.3.3. Range

The Range switch sets VCO 2 to one of three tuning ranges:

•Fine: a full turn of the knob covers a range of more than an octave above and below the center frequency

•All: a full turn of the knob will sweep VCO2 through the entire frequency range of the MiniBrute 2

•LFO: VCO2 can be used as an additional LFO with a wide frequency range (1Hz to audio range). This is handy if you’re already using LFOs 1 and 2 for other modulations through the patch bay, for example.

5.4. The Filter section

The filter alters the oscillators’ timbre via the four response modes described in the next chapter [p.45] (LP, BP, HP & Notch). Its cutoff and resonance can be adjusted manually. The cutoff can also be controlled by the keyboard and modulated by various modulation generators. The MiniBrute 2 filter is based on Nyle Steiner’s Sallen & Key architecture (designed in the 70s) and offers -12dB/octave slopes in LP and HP modes, and -6dB/octave slopes in BP and Notch modes.

The Filter section

5.4.1. Mode

This selects among the four filter modes: LP (low-pass), BP (band-pass), HP(high-pass), and Notch. The LP mode is the most commonly used, and provides sounds which are full, fat, and round. The BP and HP modes provide thinner and harsher sounds. When modulated by an LFO, the Notch filter mode sounds similar to a phaser effect pedal.

5.4.2. Cutoff

This knob adjusts the filter’s cutoff frequency. The frequency range goes from below 20Hz when turned fully counter-clockwise up to 18kHz when fully clockwise. For example, in LP mode you can adjust a sound’s brightness. As an exercise,

•Set all of the OSC MIXER sliders to 0 (lowest position)

•Adjust the NOISE generator slider to midrange

•Set all of the filter envelope and amplifier envelope sliders to 0

•Set the filter mode to LP

•Play and hold a note

•Adjust the Cutoff knob as you listen to the changes in the sound.

♪: You may want to try the same experiment with the other filter settings (BP, HP, and Notch). Since a noise source contains all frequencies, this is a great way to hear exactly which ones are cut and boosted by each filter type. !: Resonant filters can overload an audio circuit very easily. Be careful with the various levels involved (Noise level, Resonance amount, Master Volume, and the channel settings of your mixer or speaker). This is especially true when you are working with headphones!

5.4.3. Resonance

This knob lets you create a resonance peak at the cutoff frequency. Turning it clockwise emphasizes the partials at the cutoff frequency, and the sound becomes more aggressive. When the knob reaches its last quarter zone, the filter starts to oscillate on its own. However, this oscillating behavior depends on the cutoff frequency; the MiniBrute 2 filter oscillates within a range beginning around 180Hz up to approximately 8kHz. To extend the oscillation range, use the Brute Factor knob.

5.4.4. FM knob

The FM knob lets you control the amplitude and polarity of the envelope signal sent to modulate the filter cutoff frequency. At the middle position (12 o’clock), no envelope modulation occurs. When turned counter-clockwise (below the center), the FM knob sends an increasing amount of the inverted ADSR envelope. When turned clockwise (above the center) the FM knob sends an increasing amount of the standard, positive-going ADSR envelope.

♪: If you do not hear the effect of a negative-going filter envelope, try raising the Cutoff frequency. Conversely, if you do not hear the effect of a positive-going filter envelope, try lowering the Cutoff frequency.

5.4.4.1. ADSR (the filter envelope)

The letters «ADSR» are silkscreened under the FM1 knob because this connection has been pre-wired for you. However this connection can be bypassed through the patch bay [p.53]. The ADSR Envelope [p.50] is covered extensively in the Basics of Synthesis [p.41] chapter.

5.4.5. RM (Resonance Modulation)

This parameter modulates the level of resonance that will occur at the cutoff frequency of the filter. It is pre-wired to be modulated by LFO 2, but the patch bay can be used to route another input as the resonance modulation source.

This control is bi-polar, which means it allows the modulation to be either positiveor negative-going. It also means that when the knob is set to the center position (12:00) no modulation will occur.

Here’s a good experiment to illustrate what the RM parameter does:

•Set all of the OSC MIXER sliders to 0 (lowest position)

•Adjust the NOISE generator slider to midrange

•Set all of the filter envelope and amplifier envelope sliders to 0

•Set the filter mode to LP

•Set the Cutoff knob to the 10:00 position

•Set the Resonance knob to the middle position (12:00)

•Set the LFO 1 waveshape to Sawtooth and the Rate to the 10:00 position

•Play and hold a note

•Slowly turn the RM knob clockwise (positive). At about the 3:00 position you should hear a falling «chirp» similar to an early electronic drum kit.

•Slowly turn the RM knob counter-clockwise (negative). At about the 9:00 position you should hear that same «chirp» sound, but it will rise instead of fall. It will actually sound like a recording of the same drum is being played backward.

Here’s a graphic representation of the RM experiment:

Experimenting with RM modulation

♪: For the technically-minded, you may notice that there is a slight deformation of the RM signal due to the threshold in the bipolar attenuator circuitry.

5.4.6. Att 1 > Cutoff

This parameter provides another method of modulating the filter cutoff frequency. It is prewired to control the amount of pressure-sensitivity that will be applied to the filter, but the patch bay can be used to route another input as the modulation source.

The «Att 1» portion of the label stands for «Attenuator 1». The patch bay has a section labeled «Attenuators», and when a different source is routed to the first pair of connectors there, that input source becomes the modulator for which the Att 1 > Cutoff knob sets the modulation range. There’s more to say about using the patch bay and the Attenuators [p.71], and we’ll cover that in the patch bay chapter [p.53].

5.5. The Amplifier section (AMP)

The amplifier section controls the final stage of the MiniBrute 2 output. Everything else that has happened on the synth will be fed through this section before it reaches the audio output connectors.

The Amplifier section

5.5.1. Brute Factor

The Brute Factor is a special MiniBrute 2 feature inspired by a common patch used on a famous vintage mono-synthesizer that connected the headphone output to the external audio input. The result is a kind of feedback loop that’s ideal for raspy and grungy sounds. This patch has been implemented internally to the MiniBrute 2, and is controlled by the Brute Factor knob.

This knob’s normal position is fully counter-clockwise, which disables the Brute Factor; turning up the knob gradually adds distortion to the sound. For low Brute Factor settings the distortion is smooth and gentle, but it becomes more harsh as you turn up the knob. When turned up higher than about 75% of the way, the MiniBrute 2 can go berserk and produce barely controllable, crazy feedback sounds.

!: The Brute Factor feature drastically alters the filter characteristics, so expect highly unpredictable results at extreme settings. You have been warned!

5.5.2. Master Volume

This knob controls the overall output level of the MiniBrute 2, and also controls the audio that arrives at the Master input in the patch bay. It affects only the rear panel outputs (Master and Headphones).

5.5.3. Global Tune

Once the oscillators have warmed up you can use this knob to tune the MiniBrute 2 to other devices. See the Warm-Up and General Tuning [p.9] section of the Installation chapter [p.6] for more information.