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Nyl auster « A synthetic character »
Published on 05/22/13 at 00:21The key features of the machine:
- The sound system is completely analog.
- Mono single tilt (but see below how tilt!)
- Each parameter has its own button on the front, except some behaviors such as legato or behavior aftertouch which requires the use of the software to be modified.
- A formidable multimode filter
- No presets
UTILIZATION
The manual is very well done and the synth is well in hand: each parameter can be accessed directly by a knob, which makes it very simple and intuitive, it is a particular joy on stage.
SOUNDS
Sound level, a true delight: the MiniBrute can send very heavy and knows how to be a place of choice in the mix as well as on stage. I often read on forums that the MiniBrute was more "aggressive": it has much more of the image it gives (the name "MiniBrute", the "gross factor", the "Metalize") that of reality: it is also perfectly capable of producing sounds very "old-school", warm and soft to serve wisely provided that the oscillator section (I will return below). And it is also effective for leads that to keep the low frequencies of a song.
edit: I see a notice indicating that it is worse in lower than the old analos. I do not have the chance to make this comparison for the moment, but I can assure that it can clearly hold the bass very convincing concert given the feedback I got. And as I write down, a tad gross factor enriches the low end very musical way.
Note that there are no presets, which does not suit everyone. For me, it's part of the pleasure of handling the machine: it pushes to master the machine to the end and managed to quickly find the sounds to the ear. (For patches too twisted). For more complex patches, you have to take a photo or use the friendly sheets presets provided by Arturia to record and reproduce rapidly settings.
To return to the oscillator section, you should know that you can choose how the volume is sent to the oscilloscope filter: it clearly changes the behavior of the filter. More volume is sent, the more it becomes "aggressive" and more resonant "hook".
To stay in a range of round and warm sound, so keep the volume of the oscilloscope rather low. (One-third of the stroke for example).
Modulations are relatively few but all very thoughtful and ingenious (except maybe the destination VCA LFO whose behavior is somewhat against-intuitive and does not produce a simple classic tremolo)
The machine has only one oscillator oscillator but what! It produces three waveforms that you can mix them and a suboscillateur (sine or square). But even more, it offers to each of these waveforms a "modifier" of his to enrich the sound.
Of particular note, the modifier "metalizer" the triangle that is specific to waveshapper MiniBrute and musical. By combining these modifiers (eg Ultrasaw the sawtooth metalizer +) and activating the sub-tilt, we arrive at a fantastic sound thick.
Note that the "metalizer" can certainly make "metal" sound but also allows for some beautiful wooded sounds, by not pushing the knob fully and playing the LP or BP filter.
The filter itself is a killer, and may enter into self-oscillation both in band-pass low pass. When you push the resonance, the effect is still very musical, either for or rather round sounds very aggressive sounds. I had a little hesitation in buying it on the fact that it is not a 12dB and a 24dB/octave, but after several concerts and pieces with only one thing to say: it sounds fire god!
The gross-factor parameter (many demos on the net abuse alas) is also a real plus: it can provide a very interesting and warm grain in the lower spectrum used sparingly. The more you shoot, the more the behavior of the sound becomes distorted, noisy and innattendu.
Among the extras to live: the arpeggiator has a tap tempo, so we can happily sync with a real drummer if desired.
The connection is very comprehensive and well thought out. A headphone output, audio output-out, USB, CV OUT and IN, Audio IN ... The MiniBrute is very social and talk to a computer as well as to other analog machines.
OVERALL OPINION
If you have arrived at the overall view, you understand that I think the MiniBrute is a great investment, amazing sound quality for price pokey. I chose it also because it is a synthetic character in my opinion, has not hesitated to innovate a little in the field of neo-analogy rather than trying to imitate an ancient legend. And the gamble has paid off: the MiniBrute has a character of its own sturdy and sounds as good live as in the studio in a mix.
I had tried many other monophonic synths before buying, but that's just his personality a little part that has me leaning in his favor, and the fact that there are NO settings hidden in sound: the man-machine communication is optimal.
It's a choice I do it again with your eyes closed, I also purchased a second for my live set ...
Edit: I see in some opinion that the lack of presets is considered too disturbing for some:
1) backup presets would have considerably increased the price
2) sincerely, when the machine is mastered, you are able to redo the patch memory or in the ear, and it takes 10 or 15 seconds between songs for not too complex patches. Nothing so insurmountable but must actually take this and know the machine on the fingertips to be comfortable live.
- The sound system is completely analog.
- Mono single tilt (but see below how tilt!)
- Each parameter has its own button on the front, except some behaviors such as legato or behavior aftertouch which requires the use of the software to be modified.
- A formidable multimode filter
- No presets
UTILIZATION
The manual is very well done and the synth is well in hand: each parameter can be accessed directly by a knob, which makes it very simple and intuitive, it is a particular joy on stage.
SOUNDS
Sound level, a true delight: the MiniBrute can send very heavy and knows how to be a place of choice in the mix as well as on stage. I often read on forums that the MiniBrute was more "aggressive": it has much more of the image it gives (the name "MiniBrute", the "gross factor", the "Metalize") that of reality: it is also perfectly capable of producing sounds very "old-school", warm and soft to serve wisely provided that the oscillator section (I will return below). And it is also effective for leads that to keep the low frequencies of a song.
edit: I see a notice indicating that it is worse in lower than the old analos. I do not have the chance to make this comparison for the moment, but I can assure that it can clearly hold the bass very convincing concert given the feedback I got. And as I write down, a tad gross factor enriches the low end very musical way.
Note that there are no presets, which does not suit everyone. For me, it's part of the pleasure of handling the machine: it pushes to master the machine to the end and managed to quickly find the sounds to the ear. (For patches too twisted). For more complex patches, you have to take a photo or use the friendly sheets presets provided by Arturia to record and reproduce rapidly settings.
To return to the oscillator section, you should know that you can choose how the volume is sent to the oscilloscope filter: it clearly changes the behavior of the filter. More volume is sent, the more it becomes "aggressive" and more resonant "hook".
To stay in a range of round and warm sound, so keep the volume of the oscilloscope rather low. (One-third of the stroke for example).
Modulations are relatively few but all very thoughtful and ingenious (except maybe the destination VCA LFO whose behavior is somewhat against-intuitive and does not produce a simple classic tremolo)
The machine has only one oscillator oscillator but what! It produces three waveforms that you can mix them and a suboscillateur (sine or square). But even more, it offers to each of these waveforms a "modifier" of his to enrich the sound.
Of particular note, the modifier "metalizer" the triangle that is specific to waveshapper MiniBrute and musical. By combining these modifiers (eg Ultrasaw the sawtooth metalizer +) and activating the sub-tilt, we arrive at a fantastic sound thick.
Note that the "metalizer" can certainly make "metal" sound but also allows for some beautiful wooded sounds, by not pushing the knob fully and playing the LP or BP filter.
The filter itself is a killer, and may enter into self-oscillation both in band-pass low pass. When you push the resonance, the effect is still very musical, either for or rather round sounds very aggressive sounds. I had a little hesitation in buying it on the fact that it is not a 12dB and a 24dB/octave, but after several concerts and pieces with only one thing to say: it sounds fire god!
The gross-factor parameter (many demos on the net abuse alas) is also a real plus: it can provide a very interesting and warm grain in the lower spectrum used sparingly. The more you shoot, the more the behavior of the sound becomes distorted, noisy and innattendu.
Among the extras to live: the arpeggiator has a tap tempo, so we can happily sync with a real drummer if desired.
The connection is very comprehensive and well thought out. A headphone output, audio output-out, USB, CV OUT and IN, Audio IN ... The MiniBrute is very social and talk to a computer as well as to other analog machines.
OVERALL OPINION
If you have arrived at the overall view, you understand that I think the MiniBrute is a great investment, amazing sound quality for price pokey. I chose it also because it is a synthetic character in my opinion, has not hesitated to innovate a little in the field of neo-analogy rather than trying to imitate an ancient legend. And the gamble has paid off: the MiniBrute has a character of its own sturdy and sounds as good live as in the studio in a mix.
I had tried many other monophonic synths before buying, but that's just his personality a little part that has me leaning in his favor, and the fact that there are NO settings hidden in sound: the man-machine communication is optimal.
It's a choice I do it again with your eyes closed, I also purchased a second for my live set ...
Edit: I see in some opinion that the lack of presets is considered too disturbing for some:
1) backup presets would have considerably increased the price
2) sincerely, when the machine is mastered, you are able to redo the patch memory or in the ear, and it takes 10 or 15 seconds between songs for not too complex patches. Nothing so insurmountable but must actually take this and know the machine on the fingertips to be comfortable live.