Arturia

ManualsBrandsArturia ManualsKeys6-Voice Polyphonic Analog Morph Synthesizer

FM VERDICT

9.6

The PolyBrute is a

fantastically characterful,

well-designed synth; a

top-tier poly and a worthy

ﬂ agship for the Brute range

MORPHEE: This new multi-

dimensional controller can be

conﬁ gured to morph between sounds

and expressively modulate parameters

FILTERS: The dual ﬁ lter setup of the

MatrixBrute returns here, but now

with continuous controls for morphing

between ﬁ lter types and routings

MATRIX: The central matrix here is

smaller than that of the MatrixBrute,

but fulﬁ lls similar routing, preset and

sequencing functions

EFFECTS: The effects here are digital,

using some algorithms lifted from

Arturia’s excellent effect plugins

Pigments softsynth

which can be a really inspiring way to

try out sounds.

Along with the standard 6-voice

Morph mode, the PolyBrute also has

layer and split functions. In layer

mode, polyphony becomes three-note

with two voices stacked one on top of

the other. In this mode the morph

rotary adjusts the balance between A

and B across these layers. In split

mode, two sounds can be laid out

across the keyboard with a variety of

range and voice conﬁ gurations. Here

the lower part is assigned the static A

state, while the upper can be

morphed between the two.

The knock-on effect of this engine

design is that many sound parameters

that might have been controlled by

switches or faders are here controlled

by continuous rotaries allowing them

to morph between settings. The oscs,

for example, use a pair of rotaries to

control the balance of each VCO’s

saw, triangle and square outputs.

There are also rotaries for blending in

osc sync and cross modulation. In the

ﬁ lter section, the Steiner ﬁ lter has a

morphing mode rotary that can

smoothly change between low-pass,

high-pass and band-pass modes.

Most interestingly, control for

adjusting the routing of two ﬁ lters

between serial and parallel setups

– controlled by a switch on the

MatrixBrute – is handled by a

continuous rotary letting the synth

slowly transition between routing

setups. The way the oscs are routed

into the two ﬁ lters can be set

individually for states A and B, so you

can morph slowly between two totally

different osc/ﬁ lter conﬁ gurations.

The PolyBrute has a number of

other interesting tools up its sleeves.

Modulation is provided by a trio of

envelopes and a trio of LFOs, all

ﬂ exible in their own right. Of most

interest though is a new curve LFO,

reminiscent of the rise/fall function

generators found on West Coast-style

modular synths, a really nice addition.

The effects section here is

excellent too. The PolyBrute ditches

the analogue effects of the

MatrixBrute for three digital effects

modules covering modulation effects,

delay and reverb. The quality is

universally high; many of the effect

types use algorithms found in

Arturia’s excellent effects bundles

and Pigments softsynth, and really

suit the kind of big synth patches

PolyBrute excels at. The effects can

act as either inserts or sends, and the

latter mode works particularly well

coupled with the modulation or

morphing tools for adding quick

bursts of reverb or delay. Another nice

touch is the addition of a stereo

spread rotary, which can be used to

adjust the PolyBrute’s voices across

the stereo ﬁ eld to add width.

The PolyBrute packs both a

sequencer and arpeggiator, which are

fairly conventional but both very

well-equipped; the sequencer has

three modulation tracks for capturing

parameter automation, and can

program accents and slides via the

central matrix. More unique is the

Motion Recorder. This lets users

record automated movement for any

one control, which can then be

re-triggered with each note played

either as a loop or one-shot

modulation envelope. This can work

for simple parameters like ﬁ lter cutoff

or resonance sweeps, but also to

automate movement from ‘macro’

controls like the morph knob or

expression controllers. The results are

surprisingly complex and reminiscent

of the evolving wave sequenced

sounds of Korg’s classic Wavestation.

It’s these modulation and

morphing tools that give the

PolyBrute its character. The

MatrixBrute was distinctive for its

hard-edged leads; while there’s still

grit here via ﬁ lter drive and the

now-standard Brute Factor and

Metalizer parameters, the PolyBrute

leans towards complex, evolving

sounds full of subtle timbral shifts.

While it’s versatile, capable of unison

leads, frequency-ﬁ lling basses, FX

and classic analogue chords, the

synth is best when using its morphing

capabilities to create patches that can

shift from creamy to metallic with a

twist of the mod wheel.

The design is largely stellar too.

The button matrix is the star here; it’s

pleasantly simple to keep track of

complex modulation patches and

quickly hop between presets. There’s

also a forthcoming desktop editor

application, which promises full DAW

control. It’s a shame Arturia have

ditched both the audio input and CV

connectivity found on other Brutes,

but understandable given the setup of

the polyphonic synth engine, although

CV outputs from the sequencer would

have been a nice touch. Overall

though, this is an excellently

designed, characterful synthesiser

deserving of a place among the top

tier of polysynths.

MORPHEE:

This new multi-

FILTERS:

The dual ﬁ lter setup of the

MATRIX:

The central matrix here is

EFFECTS:

The effects here are digital,