We bring you some “Tips n Tricks” with the new patch bay on the Arturia Minibrute 2, which is of course the long awaited follow up to the modern classic that is the original minibrute, one of the synths that really kick started this analogue golden age we’re experiencing right now.
Once you start getting your hands dirty with the new patch bay on the MiniBrute 2 it’s possible to come up with all sorts of outrageous and unusual sounds, but making great bass sounds is super easy. This sound we have here is both dark and fat at the same time.
We started with a square wave and adjusted the pulse width, then added some triangle wave with a bit of metalizer. The metalizer sound here is not nearly as abrasive as the first minibrute so it’s a really musical effect. It sounds a bit out of place by itself but combined with the square wave it sounds really nice and full.
Then we’ve added a second oscillator which is a brand new addition the the Minibrute 2. The first Minibrute had a sub-oscillator, but now we have a fully tunable second oscillator with three waveforms, so we’ve chosen a square wave, and tuned it up an octave which really brightens the sound up.
Then we’ve closed the filter, and added a bit of modulation from the ADSR envelope. Finally a bit of brute factor adds some nice saturation and overdrive.
Once we have a sequence programmed there are a few ways we can interact with it. We choose which method to use by holding the shift button and pressing the octave down or up buttons. The transpose setting allows us to move the melody around by playing keys relative to middle C.
The second setting called keyboard play, which allows us to interrupt the sequence by playing the keys, and as soon as we stop playing, the sequence will resume. This is a really fun and interesting way to play and it feels a bit like juggling. You can easily stumble on cool ways to play off the programmed sequence.
You can also throw in impromptu lead melodies but the problem here is that the filter is set too low, and if we open up the filter it ruins the bass sound.
That’s where a bit of patching ingenuity comes in. If we take the output of the keyboard and connect it to the filter cutoff, the filter will open up, the further up the keyboard we play. Now we have a more useful lead sound, however the filter cutoff knob has been slightly overridden by the keyboard so we have little control over the brightness of the sound.
To get around this we can make this patch connection via the attenuator section. Now the attenuation knob controls to what extent the keyboard opens the filter, and we can still use the cutoff knob to control the overall brightness. It’s almost like having a separate cutoff control for both the bass and lead sounds.