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With the Polybrute 12, Arturia is making a statement in the world of analogue synthesisers. Building on the previous PolyBrute, Arturia has doubled the polyphony from six to twelve voices and equipped the optimised keyboard with polyphonic aftertouch, complete with full MPE MIDI support. Twelve analogue voices are pure power, which is why there are five ventilation grilles on the extended front panel of the instrument to ensure adequate airflow. This twelve-voice instrument shines with two analogue oscillators, two very different filters (Steiner-Parker and Moog-style), an extensive modulation matrix, a sequencer and a range of effects. The comfortable keyboard spans five octaves with 61 keys, is velocity-sensitive and even features polyphonic aftertouch (MPE). In terms of sound, the Polybrute 12 covers a wide range of classic analogue sounds from the 1970s to the present day. Thanks to the oscillators, which also offer mixable waveforms and, of course, include the tried-and-tested Metalizer, the basic sound alone is both modern and timeless. The large control panel, comprising 12 x 8 controls, performs various functions depending on the mode. It is used to programme the polyphonic sequencer, manage stored sounds, assign morphing and configure all modulation assignments. Anyone wishing to operate this storable flagship model like a purely analogue synth simply activates Panel Mode; from then on, what you hear corresponds to the current settings, regardless of what was previously stored in that memory slot. A real highlight of the PolyBrute 12 is the morphing function. You can smoothly morph between any two memory slots. As there are 768 presets available – plenty of sounds to choose from – you could, for example, save a variation of a sound with different oscillator levels and/or modulation intensities and morph between these two presets. Alternatively, you could apply this transition between a percussive bass and a pulsating pad sound; you can really let your creativity run wild.
The rich, full-bodied sound of the Arturia PolyBrute 12 is generated by two analogue oscillators, which produce the Metalizer, Pulse Width and sawtooth waveforms in parallel. Metalizer is primarily a triangle waveform with a wavefolder, which, as the value increases, generates harmonics that tend to have a metallic character. Pulse Width is the classic square wave complete with pulse width modulation; the sawtooth more than fulfils its role, being rich in harmonics and punchy. Oscillator 2 also features a sub-oscillator. Oscillator FM and Hardsync can be adjusted continuously between the two oscillators. Both tone generators and the tunable noise generator are located in the mixer section, where the routing to the two filters is also defined for each signal source.
The colour-coded filters are identified as Steiner-Parker state-variable filters and 24dB low-pass filters. The former is continuously adjustable from low-pass through high-pass to band-pass and features the ‘Brute Factor’ – a parameter familiar from Arturia synthesisers – which is essentially a feedback circuit within the filter. Sonically, the SVF stands out for its very grainy sound as resonance increases. The second filter is a classic 24dB low-pass filter in the style of the Moog ladder filter, which many will recognise from the Minimoog. The full, rich sound of the LPF is, in its own right, a classic of its kind. In addition, the second filter features a distortion unit and can be seamlessly blended with the Steiner-Parker filter – from series to parallel – in the signal path between the mixer and the VCA. There is a master cutoff control for both filters, featuring adjustable keyboard tracking. If you require individual tracking for each filter, this can be added with a quick adjustment in the modulation matrix.
You can see at a glance: no cuts have been made here. Next to the keyboard on the left-hand side of the instrument, an X/Y/Z touch controller (also known as Morphée) adorns the control panel. X and Y translate finger movements upwards, downwards, leftwards and rightwards, whilst Z responds to pressure. All three can be assigned to any target, enabling expressive and dynamic playing of the sounds. Centred above the keyboard is the ribbon controller, which measures just over a third of the unit’s total length. The two intensity controls are permanently assigned to route Oscillator 2 to Filter 1 and noise to Filter 2. Two of the three loopable ADSR envelopes are permanently assigned to the filters and VCA, but – like almost all ‘generating functions’ – can be linked to other destinations. Thanks to the fader design, one can certainly say here: form follows function. The modulation sources are joined by three BPM-synchronisable LFOs. The first two each offer seven waveforms and can operate in monophonic, polyphonic or triggered modes. LFO 1 features phase shifting, whilst LFO 2 has an adjustable fade-in delay. LFO 3, on the other hand, allows you to freely shape the waveform using Curve and Symmetry controls and can be switched to OneShot mode.
The PolyBrute 12’s effects section comprises delay, reverb, EQ and modulation effects, and can be switched between insert and send modes. The delay features BBD and ping-pong modes, amongst others, and can be synchronised to MIDI clock. The reverb utilises Hall, Plate and other types, covering a wide range from dark atmospheres through industrial halls right up to the ‘middle of the Grand Canyon’. The modulation effects include chorus, ensemble and phaser, amongst others, and create swirling and floating sounds. In addition, a rotary control allows the played voices to be distributed across the panorama – a psychoacoustic treat. :)
Each sound bank in the Arturia PolyBrute 12 features a programmable, polyphonic sequencer track that can be up to 64 steps long and can be set to shuffle and other playback modes. There is also an arpeggiator with extensive playback options and a Motion Recorder, which can be used to record and automate parameters.
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