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With the Polybrute, Arturia makes a statement in the field of synthesizers. In the style of the monophonic, but very opulent MatrixBrute, the Arturia PolyBrute is now the first own polyphonic analog synthesizer. The six-voice instrument shines with two analog oscillators, two very different filters (Steiner-Parker and Moog-style), an extensive modulation matrix, sequencer and some effects. The pleasantly playable keyboard spans over five octaves with 61 keys, is velocity sensitive and even has aftertouch. Sonically, the Polybrute covers a wide range of classic analog sounds from the 70s to today. Thanks to the oscillators, which also offer mixable waveforms and of course don't miss the proven Metalizer, the basic sound alone is both modern and timeless. The large keypad with 12 x 8 controls fulfills different tasks depending on the mode. This is used to program the polyphonic sequencer, manage the stored sounds, assign the morphing and set all modulation assignments. If you want to handle this storable flagship like a primal analog synth, simply press the Panel Mode; from then on, what you hear corresponds to the current settings, regardless of what was in the memory space before. A real highlight of the Arturia PolyBrute is the morphing. It is possible to crossfade continuously between any two memory locations. Since there are 768 presets available, you could save a variant of a sound with different oscillator levels and/or modulation intensities and morph between these two presets. Or you could morph between a percussive bass and a pulsating pad sound; let your creativity run wild.
Sound Generation
The rich basic sound of the Arturia PolyBrute is created with two analog oscillators that generate the Metalizer, Pulse Width and Sawtooth waveforms in parallel. Metalizer is primarily a triangle waveform with a wavefolder that generates harmonics that tend to have a metallic character as the value increases. Pulse Width is the classic square wave with pulse width modulation; the sawtooth more than lives up to its task; rich in overtones and punchy.Oscillator 2 also has a sub-oscillator. Between both oscillators, oscillator FM and Hardsync can be adjusted continuously. Both tone generators and the tunable noise generator can be found in the mixer section, where the routing into the two filters is also determined for each signal source.
Filter
The color-coded filters are Steiner-Parker State-Variable-Filter and 24dB Lowpass filters. The former is continuously variable from Lowpass via Highpass to Bandpass and has as an additional parameter the Brute Factor known from Arturia synthesizers, which is in concept a feedback circuit within the filter. The SVF has a very grainy sound with increasing resonance. The second filter is a classic 24dB Lowpass filter in the style of the Moog Ladder filter, which may be familiar to many from the Minimoog. The full and rich sound of the LPF is a classic of its kind in its own right. In addition, the second filter has a distortion and can be mixed continuously with the Steiner-Parker filter from serial to parallel in the signal path between mixer and VCA. For both filters there is a master cutoff control with adjustable keyboard tracking. If you need the Tracking for the filters in detail, you can add this with a quick grab into the modulation matrix.
Modulation
You can see at first glance: no red pencil has been applied here. Next to the keyboard on the left side of the instrument, an X/Y/Z touch controller (aka Morphée) adorns the control panel. X and Y implement finger movements up, down, left and right, Z reacts to pressure. All three can be assigned to arbitrary destinations, allowing for expressive and lively sound playing. Centered above the keyboard is the ribbon controller, which measures just under half the entire length of the unit. Permanently assigned are the two intensity controls, which direct oscillator 2 to filter 1 and noise to filter 2. Two of the three loopable ADSR envelopes are permanently assigned to filters and VCA, but like almost all "generating functions" they can be linked to other destinations. Thanks to the fader design one can attest here: Form follows function. The modulation sources are joined by three BPM-syncable LFOs. The first two offer seven waveforms each and can act monophonic, polyphonic or triggered. LFO 1 can be shifted in Phase and LFO 2 has an adjustable fade in delay. LFO3, on the other hand, can freely shape the waveform with Curve and Symmetry and can be switched to OneShot mode.
Effects
The effects section of the PolyBrute consists of delay, reverb, EQ and modulation effects and can be switched as insert or send. The Delay is capable of BBD and Pingpong modes and can be synchronized to MIDI-Clock. The Reverb uses reverb, Plate and others and covers a wide range from gloomy atmospheres over industrial halls to the "middle Grand Canyon". The modulation effects include chorus, ensemble and Phaser and provide for wafting and floating sounds. Additionally the played voices can be distributed in the panorama with a knob; a psychoacoustic benefit. :)
Attention Recording.
Each sound memory of the Arturia PolyBrute has a programmable polyphonic sequencer track that can be up to 64 steps long, and can be assigned Shuffle and other playback modes. In addition, there is a Arpeggiator with extensive playback capabilities and a motion recorder that can be used to record and automate parameters.
The Arturia PolyBrute:
Analog Synthesizer
6-voice polyphonic
61 keys
Velocity sensitive
Duophonic aftertouch
Ribbon Controller
X/Y/Z touch controller
Panel morphing
2 analog oscillators including Metalizer, PW & Sawtooth
FM oscillator
FM filter
Noise generator (tunable)
Mixer with filter routing
Steiner Parker State-Variable-Filter
24dB Lowpass filter
Filter routing continuously adjustable from serial to parallel
3 ADSR envelopes
3 LFO (BPM syncable)
Third LFO with variable waveform and OneShot mode
Modulation matrix with 12x8 entries
Random generator for random sounds
Motion Recorder
Chord Mode
Arpeggiator
Step sequencer
Sequence length up to 64 steps
768 presets
Panel Mode
Stereo spread
Delay
Reverb
EQ
Modulation Effects
PolyBrute | Morphing Analog PolySynth | ARTURIA
POLYBRUTE Review // +70 Presets // Full morph tutorial
Improvisation for "Floating Days" by Olivier Briand
This is a top drawer synth. I own a bunch of synths, and for price and build (Not to mention sound, easily) this outperforms the rest. Depends on what you are looking for. But this one has that rare capacity to surprise and delight me as I meander through the various knobs and buttons, without even diving in on a deeper level, it is a profoundly musical synth. Arrived quickly, well packaged, with every slider in just the right starting place. That is some serious attention to detail. This one stays in the studio ;)
Lets start with the service from DV247 which was flawless. Easy to order and quick to arrive. My first time with them but not my last. Now to the Polybrute , simply jawdropping in sound and intuitive ease of use. There are synths out there with more polyphony, but that just makes you more creative with the Polybrute (not that you really notice theres only 6 voices) and marvel at just how capable this synth is. The integration with DAW means it seamlessly fits into any workflow. I've had it a month and I lose hours and hours on this beautiful thing, something I never regret. My only regret is not buying one sooner and now I own one, I understand why there aren't too many on the 2nd hand market place and the pretty much 100% rave reviews it gets. I won't be parting with mine any time soon, and only then if I have to.
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