#Minibrute 2

[taperwolf]

Okay, this is the most Krell-like patch I've ever managed. It's not completely a Krell patch, but it's closer than ever.

Explaining this is complicated, so meet me under the cut.

Okay, so I've talked about the Krell patch at length without specifying what exactly is going on in one.

Here's a block drawing of the patch made by fhars of the modwiggler forums:

FRV and SRV are terms used by the Buchla Source of Uncertainty module, "Fluctuating Random Voltages" and "Stored Random Voltages". The SRV operates like a Sample&Hold, generating and maintaining a new random voltage each time it's triggered; the FRVs change more gradually, keeping the slew or slope in between the random values. The other notable feature here is that there are actually three separate function generators running — one that's having its decay rate varied by randomness, a second that's having its attack rate varied, and those each affect the attack and decay (respectively) of the third.

So to achieve this patch, I had to use both the Eurorack and the Minibrute 2S. The LFO is the one on the Ring Mod/S&H/Noise/LFO module, and the SRV is its S&H; those both are affecting the VCO 3340, which feeds into the Simple VCA. The signal path goes from there down to the Minibrute's filter (by boosting the signal a little and feeding it into the External Input); the filter is set to Bandpass mode, its cutoff at around halfway and FM at full, with the Resonance knob at around 10:30. (In the recording, that then goes back to the Eurorack to go through the DSPFX for some echo and the headphone output module for final volume control.)

The FRVs are being simulated by the two Minibrute LFOs, on sloped random mode; those each pass through one of the two attenuators before going onward. LFO1 just feeds into the CV input on one of the Sigma function generators, which is set with rise and fall set to around 4:00, the CV switch to Fall, and CV attenuator to around 3; LFO2 feeds the filter's Cutoff, and Sigma #2's CV, and Sigma #2 is set the same except the switch is set to Rise.

Sigma #1's AC output then goes to the Attack input on the Minibrute AD envelope, and Sigma #2's to Decay. The envelope is set to Trigger and Loop, and its output goes up to one of the Eurorack Mults, where it goes to the VCA's CV and the S&H's Clock Input.

The whole intended effect is that notes of varying pitch and timbre also vary in length and envelope, all in a way that feels almost intentional, as if there's an alien mind playing it instead of pure randomness.

What's still lacking?

There are two big differences (and a few small ones) between my patch and the True Krell.

Second, the S&H doesn't always trigger and give a new pitch when there's a new note. The Minibrute AD envelope doesn't have a separate "End of Cycle" output, so it's making do with the envelope output. Especially with slow attacks, the S&H doesn't quite see that as a trigger. To fix this I could get or mod a function generator that would do both A/D modulation and have an EOC, hack the Minibrute to break the EOC signal that's triggering its looping behavior out to a new jack, or build a circuit with a Schmitt trigger to square up the output and a gate-to-trigger bit to get a proper pulse.

First, the random voltages being generated aren't related to each other. In the original Buchla system, the SRV and FRVs are all being generated from the same noise source, tying them together in a way that's hard to quantify but which probably affects the final sound. In this system, the S&H is fed from that module's noise source, while the two Minibrute LFOs are digitally generated in the sequencer code. The fixes for this that come to mind are switching to a random source that gives both a stepped and a smoothed output from the same source — like the Wogglebug/Swamp — adding a second S&H which would be fed from the same noise and turning up the lag time on the second, or running a copy of the S&H output through yet another slew limiter.

(Actually, the S&H here might be reading the module's LFO and not its noise circuit. Need to double check that.)

Nonetheless, it's much closer than I'd been, so I'm kind of pleased.

[corduroyinstitute]

December 29, 2019: Three years ago today, Corduroy Institute convened to record our last session of the 2010s. We followed the methodology of using a random number generator to give us two discs from our collection that could serve as a guideline for our improvisation. The albums it selected were compilations by The Temptations and Chrome.

Corduroy 58 began a kick and snare pattern from the Arturia Minibrute plus a dose of fuzz bass courtesy of the Deluxe Bass Big Muff Pi on the Bass VI. The high harmonic content of this ostensibly rhythmic layer would require extensive equalization and filtering later on when the piece was eventually mixed.

Our journal notes then indicate that the melodic layer featured a Telecaster sent "through a combo of pedals mediated by [S.A. Morin's] Triparallel Mixer." Visual evidence from from the session indicates that we may have employed the Pigtronix Philosopher King, the Ibanez Tubescreamer, the EHX Superego Plus, the EHX Attack Decay, the Boss FB-2 feedback booster, and the NUX Atlantic reverb/delay. This claim is wholly speculatory as it was deduced from the pedals which are shown to be engaged within our photographic memories.

The melodic layer also entailed the use of the Casio AZ-1 keytar to control the Korg Volca FM. This frequency modulation synthesizer's output was augmented by the effects of the bass pedalboard, most notably a discreet amount of distortion. This performance remains the only instance in which we have ever used the keytar controller.

Corduroy 58 would remain dormant until S.A. Morin added three sets of vocals on May 10, 2020. Live drum pad overdubs and W. Ruiz vocals were added in January 16, 2021. This piece would eventually be dubbed "A Suburban Purity," currently available on our album Eight/Chance/Meetings. 

[soundgale]

The Arturia MiniBrute 2 Noir Edition is a powerful and versatile synthesizer that builds on the legacy of the original MiniBrute while introducing significant enhancements. Welcome to our review of this wonderful device!

[synthtv]

Arturia MiniBrute 2 Sound Demo

[bored-felis]

I can't believe my musical arc is finally going to go to synth queer stereotype, my god... Glad to contribute to the history of it tbh :)

I'm hoping to buy an Arturia Minibrute 2 this weekend so I can play synth in my friends' noise punk band at some point once I've learnt how to play it!

[fornaxvoid]

Cyberspace Database Version 1.0 is now on Bandcamp.

All tracks with new mixes and masters + 14 new tracks. Cyberspace Database is the result of a 5 years long exploration of Cyberpunk Ambient themes. A journey through the timbres of classic digital and analog synthesizers and samplers with focus on defining the pillars of the SemiconductorWave genre.

55 Tracks. Runtime: ~ 4 hours 47 minutes 43 seconds. Uncompressed 24bit 44.1 KHz WAV download available.

Pre-released on January 24, 2017 with 16 tracks, the album continuously grew and was released in its final version on February 2, 2020.

New Tracks: 3. Corporate Intranet Menu Music 8. Yoshimura's Journey 吉村 10. A Cubicle Tale 12. Nankyoku Data Hive 13. SysAdmin Coffee Break Saga 20. Cyberspace Druids 22. Remembering Johnny Castaway 38. Sector Restoration History 47. Kunshu Corporation Surveillance Center 48. Void Wizards Saga: Chapter 1 49. Void Wizards Saga: Chapter 2 50. Void Wizards Saga: Chapter 3 51. Void Wizards Saga: Chapter 4 55. The Lost Archives Instruments used on this album: Roland JV-2080, JV-1080, D-05 and TB-03, Akai S1000 and S3000XL, Oberheim Xpander, Korg M1R, M1 plugin, WaveStation A/D, WaveStation plugin, Volca Beats, and Poly 800 MK2, Casio CZ-5000, Yamaha PSS-480, PSR-47, PSR-60, Reface DX, Reface CS, DX21, FB-01, TG33 TR-505, TX802, Arturia Minibrute, Waldorf Rocket, REA YM3812 (OPL2), Commodore 64 (Mssiah), Wayfar MidiNES, E-MU Morpheus, MilkyTracker and others...

[catsynth-express]

CatSynth Pic: Arturia MiniBrute Bag

A black-and-white cat plays hide and seek in an Arturia gig bag. From particlesintowaves on Instagram.

We have the exact same back here at HQ for our Arturia MiniBrute 2 and RackBrute 3U. It makes gigging with that instrument very easy. But I hope neither Sam Sam nor Big Merp decides to make it a hiding place…

CatSynth Pic: Arturia MiniBrute Bag was originally published on CatSynth

[taperwolf]

I picked up a bunch of mono audio cables (with 3.5mm TS plugs, just right for Eurorack) from a surplus electronics place some time ago, back when they were on sale. They're not of the highest quality, but they're nice and long — roughly six feet or 2 meters — and convenient for connecting devices that are some distance apart, like running signals over to the oscilloscope, or back and forth between the Eurorack case and the Minibrute. But one of the problems of a large set of monochromatic cables is that you can easily get which cable is which confused. Is channel 2 of the 'scope coming from this wire, or that wire? Whoops, nope, that one was clocking the sequencer.

But I just now realized I've got some heat-shrink tubing in assorted colors and roughly the right size to fit over the plug bodies. So I made five of them have their plugs be in different colors. Now I can reach for the red-tipped plug and know where the other end is. Convenient!

[tendadekorasi-blog]

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[soundgale]

In our review, we talk about Arturia MiniBrute 2 synthesizer. The Arturia MiniBrute 2 synthesizer is a powerful and versatile instrument that builds on the legacy of the original MiniBrute while introducing significant enhancements.

[igorcbarros]

Luzes e granas

Tem gente ganhando dinheiro e eu não sei... Já quis muito ter duas PEQUENAS barras de LED da Yongnuo que cada uma era cerca de 600 reais ou mais. Dois canais me apareceram com QUATRO dessas barras de our... digo, de LED, de cada vez. Aí um outro canal que eu não dava nada por eles, que sofria para comprar fogos de artifício, me aparece com 10 barras de LED MUITO MAIORES que as anteriormente referenciadas para iluminar seu estúdio-galpão - PS, e elas não iluminam muito bem porquê o lugar é muito grande. Se eu fosse eles, ligava minibrute no quadro, como já fizeram no nosso serviço várias vezes (quase escrevi “fizemos”, mas eu não quero morrer com 200 ampéres na fuça!) Minibrute é um conjunto, geralmente de 2 a 9 lâmpadas, que parecem mini-faróis de carro, e que iluminam uma grande área.

[innocentamit]

Arturia unveils 'Noir' recordings for her popular MiniBrute designs

Arturia unveils ‘Noir’ recordings for her popular MiniBrute designs

Arturia has initiated Brute Noir Notes among its most famous mid-tier monophonic synths, the MiniBrute 2 and the MiniBrute 2S. It also launched a smaller version of Brute Noir for its DrumBrute Impact analog machine. All versions are black instead of gray, so they can attract musicians who want that beauty or take a smaller color. As a reminder, the MiniBrute 2 is a monophonic synth that is very…

[deerwife]

just to make a quick note on near future music equipment id like to get for my rig to make it better suited for live performance and the style im shooting for:

-loop pedal (boss rc-2?) -better reverb and distortion effects (no clue lmao) -bastl kastle v1.5 -minibrute 2s -arturia keystep if i can find one for cheap

[harshr]

undefined

PURITAN: this song was originally going to be called "Sex Negative", but Wet Skin beat me to it, so I deferred to them even though their track doesn't include nearly enough self-loathing. As for the music, it's your standard 2-note chromatic caveman dirge where the only variation is that I removed the 2nd note for the verse and then threw in the all-time classic "the riff comes back again, but slower" breakdown at the end. Sprinkle a few jazz chords over top, set some detuned synths to scream and call it a day.

Nerd stuff: drums are Drumbrute plus a layered HR-16 for extra kick. The bass is Volca Bass + Rusty Box. The melodies are probably the most straight-up piano-ish thing I've ever done and it's a mix of Kawai PH50 + Yamaha PSS-480. The detuned oscillator stuff is Meeblip Triode + Minibrute. I kind of buried the floor tom part at the end, but the broken cymbal is fairly prominent in the right channel.

https://newyorkhaunted.bandcamp.com/album/nyh262-harsh-r-indulgence

[fornaxvoid]

Now that you're working on a new release, I'm curious what your (songwriting or composing or whatever you call it) process looks like. Do you start with an idea or concept and work from there, or do you sit down with your synths and tinker with patches until something favorable shows up? Do you have a particular synth you use for sketching, or some default go-to patches? Do you write down or record the MIDI right away or do you tinker with patches first and do the actual writing later? Thanks!

Heythere, thanks for your interest. It’s hard to give an exact answer tothis question. My workflow was constantly changing in recent years,as I slowly built up the setup I ended up working with now. A lot ofthe tracks I released in recent years were sketches – basically megetting used to newly acquired hard- or software. But I’ll justramble on a bit about things that come to my mind, and maybe there will be something in there for you…

Generallyspeaking, most of the music I make is inspired by topics thatinterest me beyond the intention of creating music. Obviously,Vintage Computing and game soundtracks (Deus Ex, DreamWeb, X-ComApocalypse, Uplink, Crusader: No Remorse etc.), the demo scene,tracker music, vintage CG etc. are themes I draw a lot of inspirationfrom. But topics like astronomy, ancient civilizations / history ingeneral can also be very inspiring to me in close connection to mymusic. To have a kind of a general topic or mood for your project isextremely helpful to be able to reduce / calibrate yourself towardsa certain acoustical aesthetic. For example: having noise or sampleswith low sample rates in my music doesn’t bother me in a negative wayas it fits the themes I’ve chosen for my project. This also extendsto other decision problems, for example: I can play the guitar anda bit of drums, but it most often doesn’t fit in my projectsmicrocosm anyway, so I don’t have to bother about it in a way thatmakes me feel obligated to put a guitar or drums in a track. So, like with all creativework, it makes your life easier to reduce yourself to a certainpalette of tools / aesthetics / colors / sounds etc. but I also don’trecommend creating dogmas from this. If there’d be a moment I wannaput an acoustic guitar in a track, I’d just try to make it happen /fit.

When I start a new track, I usually work very sequential,building things up step by step like a house. For me composing andprocessing / recording go hand in hand. Just recording things anddoing the whole EQ / Compressor stuff later with plugins, isn’t whatI’m into at the moment. I try to have everything sounding as close aspossible to what it should, before I hit the record button on a newelement (also a matter of limited resources). This forces me to makedecisions early on. That way I’m ideally not ending up in frontof a huge mass of unprocessed audio and a muddy sounding mix. I’mtrying to place everything in a precise way, like a brick you can’tmove later on (with the advantage that you of course, can still doall the digital post-processing if needed). A bit like photographingwith an analog camera. But you can of course also emulate this kind of workflow when working exclusively with plugins.

Alsowhile I sometimes tend to put too much crap in my tracks, I try tonever forget that things can work perfectly fine with just two oreven one instrument(s) applied in an interesting way.

Allof this naturally overlaps with the creation of patches as well assometimes the choice and adjustment of presets. There are phases(usually to break up the monotony when working on visual stuff) whenI so nothing musically, but learning how my synths work and creatingpatches. When I’m recording a new track I’m then able to zapthrough a number of acoustical ideas. While recording I might want to create specific new patches / adjust patches or presets (editing filter settings so you haveto EQ / compress less, syncing BPM of LFOs to your project, adjustingADSR etc.) so even when starting from presets, it is very helpful tounderstand the synth so you can edit those to fit your needs.

Thiskind of full-circles into the choice of instruments. The mood I wantto achieve / genre(s) I want to explore have a very defining impact onwhat kind of synths I like. I ended up with the hardware I havebecause it mostly fits the category of 80s/90s menu diver / fm /wavetable / sampler / computer kitsch things that I like a lot. Mostof it is also 2nd hand and relatively inexpensive so thisalso fits my resource limit (some exceptions made).

Insteadof actually working on the album I should work on (the one I often use to talk about on here), I’m currentlyfinishing the last steps on a cassette release with two tracksapprox. 18 minutes each. I made a list of synths / samplers etc. Iused on that release:

AkaiS1000

CasioCZ-5000

CasioDG-20

RolandU-110

RolandJV-2080

RolandD-05 (D-50 reissue)

RolandTR-505

RolandTB-03

WaldorfRocket

OberheimXpander

ArturiaMiniBrute

MOSSID 6581 (C64 via mssiah)

MOSSID 8580 (C64C via mssiah)

RICO2A03 (NES PAL via Wayfar MIDINES)

KorgPoly 800 MKII

KorgWaveStation A/D

KorgM1R

KorgVolca Beats

YamahaPSS-480 (!!!)

YamahaDX21

YamahaReface DX

YamahaReface CS

YamahaRX21L

YamahaDD-11

YamahaPSR-47

YamahaPSR-60

YamahaFB-01

YamahaTG-33

Imade my favorites bold. I’ve also put some links to YouTube demos onthere for the ones I knew demos I like. Such gear lists also can beinspirational sometimes.

Then hereare some links to music that does inspire me or have inspired me in thepast on a compositional level:

I hit the limit of YouTube embeds. But what I basically want to say is, that for most of the time, I try to keep my intake of music related to what my output should be.

So I have this diffuse cloud of a mood / feeling generated by a compilation of things I’m interested in, that builds the base for most of the choices I make. But I also try the keep things fluid so everything still has some room to evolve inside certain boundaries.

I don’t know how much sense any of this makes, and I don’t claim my way of approaching the creative process to be exemplary, but maybe there is something in there for you or somebody else, that can spend some variable amount of inspiration. I had fun, trying to do a sketchy summary of my thoughts on this topic.

Have a nice weekend!

[effectsdatabase]

Top 30 videos (2018, week 09)

Top 30 videos last week

Microtubes B7K Ultra v2: Demo by Adam "Nolly" Getgood (by Darkglass Electronics)

DIMEBAGS CFH GEAR TONE TEST - PQ4, MXR 6-band, RG100HT (by Ola Englund)

Paul Jackson Jr. Soul Driven demo + Xotic XSC-2 guitar - Full Song (by realitywebvideo)

SUHR RIOT MINI DISTORTION, demo by Pete Thorn (by Pete Thorn)

AP at NAMM '18: Shine On You Crazy Diamond Pedals! (by Mod Amp Kits)

Wah Pedal 101 - Which Cry Baby is for me? (by AndertonsMusic)

AP at NAMM '18: Death by Audio (by Mod Amp Kits)

AP at NAMM '18: Demeter Amplification (by Mod Amp Kits)

MAK CST - Temporal Tap Machine demo clip (by MAK Crazy Sound Technology)

The Bends Compressor | Effect Pedals | Fender (by Fender)

Meris Polymoon Delay Demo (Stereo - Headphones please) (by ThePedalZone)

Friday Fun: Arturia MiniBrute 2 and Ventris Dual Reverb (by sonicstate)

H9 Control App Now Available for Android Devices (by Eventide)

The Mirror Image Delay | Effect Pedals | Fender (by Fender)

Pedals and Effects: Rusty Fuzz by TC Electronic (by PedalsAndEffects)

MALEKKO - THICKEN (by Malekko Heavy Industry)

Pigtronix PHILOSOPHER?S TONE GERMANIUM GOLD MICRO (by Mike Hermans)

Crazy Tube Circuits Deranged [Bass Demo] (by Patrick Hunter)

Mad Professor Little Tweedy Drive demo part 2 by Teemu Viinikainen (by Mad Professor)

Hoof & Hummingbird - Jeff "Fej" France (by EarthQuaker Devices)

Holy Grail Amp and Ibanez TS9 #01 (by mikka972)

Distortion Ltd. In Focus: MXR Carbon Copy Deluxe (by Distortion LTD)

LR Baggs Align Series: Active DI, Equalizer, Reverb & Session (by reverbmarket)

Danelectro Billionaire Series - Demo (by fluff191)

Pigtronix Octava Micro (by Mike Hermans)

Marshall JCM 800 2203 boosted with Boss GE-7 (Demo) (by LasseLammert)

SHIN'S MUSIC DUMBLOID ODS TONES. (by RACKDOCTOR)

Farm Pedals Subsoiler Fuzz | Reverb Tone Report (by reverbmarket)

Fender Pugilist Distortion pedal demo with humbuckers and Princeton Reverb (by Gearmanndude)

WIN THIS PEDAL! - Nanolog WaveFunction contest rules and details. (by 60 Cycle Hum)

Overviews of the previous weeks: http://www.effectsdatabase.com/video/weekly

Discuss these updates at the forum: http://forum.effectsdatabase.com/viewtopic.php?f=3&t=697

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