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In our review we will talk about Arturia PolyBrute 12 flagship polyphonic analog synthesizer with FullTouch progressive keyboard and take a look at all the features and specifications of this device. Production technologies are constantly improving, and Arturia regularly tries to implement new approaches and fresh solutions in its products. The recently launched Arturia PolyBrute 12 synthesizer confirms the French manufacturer's desire to keep up with the times and meet the modern demands of musicians.
Before we get into all the features, let's start our Arturia PolyBrute 12 review with the specifications of the device, as usual.
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Best Price on Arturia PolyBrute 12 Synthesizer
The Arturia PolyBrute 12 is a masterpiece of modern synthesis, offering unparalleled creative potential for those willing to explore its depths. |
Classic Package
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We will start our Arturia PolyBrute 12 review by looking at one such feature as a keyboard with progressive mechanics - FullTouch. This is one of the main features of this synthesizer that makes it very different from its predecessor Arturia PolyBrute (on which we have a separate detailed review available at the link). We won't talk about the design and build quality too much in our review. Since this is a premium synthesizer from Arturia, there should be no complaints about the build quality; in fact, there were no complaints about the previous version of the Polybrute. All Arturia products are built to the highest quality. We have a couple of synthesizers, a midi keyboard and a few other Arturia devices at our SoundGale studio and we haven't seen any quality issues (nothing falls off, creaks, or backlashes even after 5 years of use).
Moreover, everything is great in terms of design. The synthesizer has side inserts, ribbon controller, Morphée touch pressure sensitive 3D controller - stylized under wood. The style & appearance of the synthesizer has retro notes that are emphasized by the cappuccino color scheme of the synthesizer's housing, the knobs/encoders, the wooden furniture and the typography of the controls. As a result, we get a flagship modern "masterpiece" with a nostalgic retro touch. The overall look & design of the Arturia PolyBrute 12 can be summed up in one word - Glamping (“glamorous camping”).
The only thing we have to complain about - package bundling. Arturia PolyBrute 12 comes only with power cord, user manual, registration card and nothing else. They could have at least bundled it with some branded accessory or memorable souvenir. After all, the PolyBrute 12 costs about $4000. But it's all small things, in fact we are happy with what we have.
At first glance, PolyBrute 12 may appear to be just an improved version of the model of the same name with expanded polyphony. However, there is an important change in PolyBrute 12 that will attract the attention of not only enthusiasts, but also the most advanced keyboardists and sound producers. The new synthesizer features a keyboard with progressive mechanics, which Arturia has patented as FullTouch®. Unlike traditional mechanics, the FullTouch keyboard not only registers the usual velocity and aftertouch parameters, but also tracks the position of each key in real time. This allows you to use the keys not only to play a note at a specific volume, but also to have an additional source of control that can be assigned to one or more of the synthesizer's modulation parameters. This capability greatly expands the expressive possibilities and changes the approach to traditional instrument playing. No other analog synthesizer has this feature, making the Arturia PolyBrute 12 a unique instrument. It is important to note that this FullTouch does not replace the familiar aftertouch at the end of a keystroke, both functions can be used simultaneously.
The PolyBrute 12 synthesizer has three FullTouch keyboard modes. In FullTouch AT mode, the vertical stroke of the keys corresponds to the full range of aftertouch, but traditional aftertouch at the bottom of the key is not available. In FullTouch AT>Z mode, the vertical travel of the keys also corresponds to the full range of aftertouch, but the aftertouch at the low point of the key works as a modulation source. And the third mode, FullTouch Env>AT, allows key presses to control the envelope gate, with aftertouch only at the lowest point like normal keys. The synthesizer also has a normal mechanics mode without FullTouch. In this case, the PolyBrute 12's mechanics will operate as in the previous PolyBrute Synthesizer, with traditional aftertouch at the low point.
The idea of using the key position as an additional source of control is a very sensible one, and Arturia PolyBrute 12 does a great job of implementing it. The new features allow you to take a fresh look at how you play familiar strokes and techniques. This is at least interesting and very exciting. Variable attack or dynamic tones depending on the depth of your keystroke can greatly enhance the expressiveness of your performance, even with simple tones. Not to mention presets with rich modulation and deep morphing. And all of this is available just by playing the keys, without the need for complex automation. Of course, you will need to develop a certain level of skill, but for a practicing keyboardist this is not a problem at all. Examples of using the FullTouch features in the PolyBrute 12 synthesizer can be found on the manufacturer's website.
The FullTouch MPE Technology keyboard truly opens up a vast field of experimentation and is, in some ways, a new way of looking at keyboard instruments.
When it comes to synthesis capabilities, PolyBrute 12 remains as powerful an all-analog polyphonic synthesizer as PolyBrute. With a wide variety of presets, a handy modulation matrix, original controllers, digital stereo effects, and two-way integration with the PolyBrute Connect app, but first things first.
The PolyBrute 12 synthesizer is a polyphonic synthesizer, and unlike the previous PolyBrute, it allows you to play up to 12 voices simultaneously. This is more than enough to create complete chord sequences with authentic analog timbre. The Arturia PolyBrute 12 is a subtractive synthesizer. It is based on two oscillators that constantly create three types of waves (saw, triangle and meander) and a noise generator. The waveform is not fixed, but changes smoothly during the tuning process. For the first oscillator, in addition to changing the waveform and oscillation frequency, there is a setting for saturating the spectrum with harmonics Metalizer and changing the pulse width Pulse Width. The second oscillator uses a sub-oscillator instead of the Metalizer, which produces a sine wave an octave lower. In addition, the oscillator synchronization is infinitely variable and FM modulation of the first oscillator by the second oscillator is possible. The noise generator has a spectrum control and can be used as a modulation source for the filter.
The synthesizer uses two types of filters. One of them is familiar from the monophonic Brute synthesizers - it's a two-pole Steiner-Parker filter with a characteristic sound and the trademark Brute Factor saturator. But unlike earlier versions, where the filter only works in one selected mode, in PolyBrute you can smoothly switch from one to the other. The second filter is a conventional ladder filter with a quality of 24 dB per octave.
The operation of filters in PolyBrute is realized quite interestingly. They can work sequentially, processing the signal one after the other as if it were a single filter. Or they can work in parallel, processing the left and right channels separately. Additional flexibility is provided by the ability to assign the main oscillators to a specific filter. Another incredibly convenient feature is the Master Cutoff control, which lets you control the cutoff frequency of both filters.
The synthesizer has three LFO oscillators. LFO1 and LFO2 have seven fixed waveforms with traditional settings for phase, frequency and onset. LFO 3 looks different. The sine wave changes smoothly and has a rising and falling ratio setting. There is also a single playback mode and the ability to further modulate LFO1. All three envelopes can be used in either unipolar or bipolar modulation mode.
Three ADSR envelopes are used as envelopes, which can be assigned to different parameters in the modulation matrix.
The modulation matrix in PolyBrute synthesizers is the same as in MatrixBrute synthesizers. It is a very flexible and extremely effective tool for creating modulation relationships. It makes it very easy to create the most complex configurations and still see the big picture. There are 12 modulation sources in the synthesizer. In the matrix, they are labeled to the left of the buttons (A - L) and correspond to the horizontal direction. The modulation assignment parameters are shown in the display and correspond to the vertical rows in the matrix. To apply modulation, simply select the desired intersection and press the button that specifies the desired amount of modulation.
In PolyBrute, you can assign almost any control that is on board the synthesizer. There are only 8 parameters on the display at any one time, so the screen will scroll four times to the next 8 parameters as needed. To avoid having to search the entire list for the desired parameter, you can assign it to the desired row yourself. To do this, simply press the round button of the vertical row and rotate the necessary knob. In addition, the matrix allows you to assign an already modulated parameter to an additional source, allowing you to create long, complex, dynamically evolving modulation chains.
Unlike Arturia's earlier single-voice analog synthesizers, the PolyBrute 12 is fully digitally controlled. As a result, the synthesizer has a large number of presets with a variety of timbres that can be instantly switched, just like any other digital synthesizer. This allows you to use the synthesizer not only in the studio, but also as a concert instrument. The synthesizer has several initialization options to adjust all of the synthesizer's basic parameters as you move from one preset to another. In Hook mode, the slider changes the parameter only when it reaches the preset value. In Jump mode, the parameter changes immediately to the current value when you turn the knob. In Scaled mode, the parameter changes immediately when the knob is moved, but the value does not jump, it is adjusted smoothly, scaling the adjustment range. When the end point is reached, the parameter is set as it should be.
The memory of the synthesizer contains 768 presets. Among them are 480 ready-made timbres and 288 empty slots prepared for user configurations. You can navigate through the preset collection and load presets using the main knob and the buttons in the modulation section. The top row of round buttons switches banks. The buttons select the corresponding Preset slots. For your convenience, all presets are grouped into categories, and when you select a particular category, the buttons with presets of that type in the entire bank will be highlighted. All you have to do is click on the corresponding button and the preset will become active.
All PolyBrute presets are dual-timbral, which means they combine two separate tones that can be used simultaneously as a single two-layer tone or separately. Thanks to digital control, the synthesizer has a morphing mode that lets you smoothly transform the sound of one tone into another within the selected preset. It's very important to note that PolyBrute's morphing doesn't work like a normal crossfader, it transforms the sound as if we were smoothly changing all of the synthesizer's parameters at once, transforming one tone into another. It sounds very cool!
Morphing can be done with the standalone Morph control or with the unique three-axis Morphée controller. While the Morph control transforms the sound linearly, the Morphée control allows you to morph in a more flexible and selective manner. The touch surface senses touch in the X and Y axes. When pressed, the pad retracts into the body, providing additional control in the Z axis. All three axes can be used as modulation sources to creatively control a variety of synthesizer parameters. You can also use the Morphée controller to modify sequences or arpeggios by introducing randomization elements to different elements of the sequence.
Polibrute 12 has another ribbon controller in the form of a long touch strip above the keyboard.
This ribbon controller lets you control all kinds of synthesizer parameters on the fly. The ready-made presets already have a wide variety of settings assigned to the strip, which will change the sound in the brightest and most productive way possible. The controller is especially useful for live performances, as the spectacular control adds to the artistry of the performance.
The sequencer and arpeggiator in PolyBrute 12 are implemented in the same way as in MatrixBrute. However, in PolyBrute, they are polyphonic and have a number of unique features. We won't describe their features in detail. Let's just say that the sequencer allows you to create polyphonic sequences of up to 64 beats. The buttons in the modulation matrix act as a display of the notes involved, allowing you to easily modify and edit a sequence or arpeggio. The Matrix Arpeggiator looks interesting. It is an advanced arpeggiator with sequencer capabilities, allowing you to create more complex rhythmic patterns. It is also polyphonic and very easy to use thanks to the visual display of all the arpeggio elements used.
As we wrote at the beginning of our Arturia PolyBrute 12 review, this synthesizer uses digital stereo effects. The synthesizer has three processing buses (modulation, dither and reverb) that can be used simultaneously. The processing algorithms are selected by toggling the Type button. As you can see, there are only three modes. However, there are many more effects. In order not to clutter the control panel with unnecessary elements, the manufacturer decided to limit it to two fixed effects and an alternative mode "Alt". In this mode you can already select a third type of effect. In the Modulation section, these are Flanger, Phaser 12p, RingMod, BitCrusher, Soft Flanger, Phase Flanger, DownSampler and Ensemble. Stereo Delay, Long Delay, BBD, PingPong, Karplus, Stereo Spread, Parallel, BBD Spread are available for the Dileus. The reverb section offers Bright Plate, Room, Dreamy, Springy, Delayed Plate. In addition, there is a hidden general equalization block that can be accessed from the menu. The synthesizer also offers raw, unprocessed analog signal transmission. In this case, the signal bypasses the effect buses and goes directly to the line output.
The PolyBrute 12 is equipped with a line output on TRS connectors. The 1/8 TRS headphone output is located on the front panel and is adjustable separately from the line output. Two expression pedals and a sustain pedal can be connected to the synthesizer. Full MIDI DIN connectors are provided for use in configurations with external MIDI devices. In this case, the clock can be synchronized via a separate interface. The USB port is used for firmware updates and interaction between the synthesizer and DAW via the proprietary PolyBrute Connect application.
PolyBrute Connect is an application that runs as a VST/AU/AAX plug-in or as a standalone application on a computer. PolyBrute Connect provides two-way communication with your synthesizer, allowing you to synchronize all settings and controls in real time. It is important to understand that PolyBrute Connect is not a virtual version of the synthesizer. It is a graphical shell that controls the synthesizer, but implemented as a plug-in in your DAW, with all the editing and automation benefits of a virtual instrument. As with any iron synthesizer, the tracks in the DAW must be digitized through the line input of the sound card. Note that multiple copies of the plug-in can be used in a project with different settings, but only one can be active.
Arturia never ceases to surprise us with interesting new products. The update of the flagship PolyBrute synthesizer was completely unexpected and extremely attractive. The new PolyBrute 12 synthesizer is even more advanced and sophisticated. We would like to believe that the FullTouch technology will not be limited to the PolyBrute 12 synthesizer and will be used in future Arturia products. We loved the progressive FullTouch keyboard. A completely new and very pleasant experience with different key controls automatically generates fresh creative ideas, and that's the most important thing. It will be interesting to see how the FullTouch technology works with more amplitude mechanics, where we think the control can be even more convincing.
We hope you enjoyed our review of the Arturia PolyBrute 12 synthesizer. Please feel free to leave your comments, questions, and suggestions in the section below. We will be happy to answer them all as soon as possible. If you already own an Arturia PolyBrute 12 and have used it for a while, don't forget to share your impressions and tell us what you liked or disliked about this masterpiece instrument.
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