Misplaced Pages

#684315

56-511: The MiniBrute takes some cues from vintage monophonic synthesizers, such as the Roland SH-101 and Minimoog . However, it also incorporates modern technology to increase its versatility, stability and depth of sound. The synthesizer uses a single, highly shapeable oscillator , which can be processed through a multimode Steiner filter and multiple LFOs . Before releasing the MiniBrute, Arturia

112-611: A Kickstarter campaign to produce the SB-1 Space Bee, very similar in layout to the SH-101 with a unique keyboard design and all keys and keyboard in dark gray. In 2023, Roland introduced the S-1 Aira Compact , based on its Analog Circuit Behavior (ACB) technology. It is a small form factor with built in keyboard. In June 2020, Roland released Zenology plugins for Roland synths, which includes an SH-101 emulator. Roland claims it

168-465: A "beefier" effect. The MiniBrute's filter also eliminates the technical limitations of more common filters, which tend to have a single mode. Usson had also considered emulating the Korg MS-20 filter and various others, but ultimately elected to use a filter that was not already widely available in other machines. Usson is known for his DIY work with synthesizers, especially modular synthesizers . This

224-565: A Moog-style ladder filter in addition to the Steiner filter found on the MiniBrute and MicroBrute. Unlike its predecessors, the MatrixBrute is modular; however, it uses a matrix of backlit buttons to represent patches instead of cables. Roland SH-101 The Roland SH-101 is an analog synthesizer manufactured by the Roland Corporation between 1982 and 1986. Though it was something of

280-487: A change in the input samples ( x 1 , x 2 , … , x n ) {\displaystyle (x_{1},\,x_{2},\,\ldots ,\,x_{n})} ; the system has more inertia . This filter is an infinite-impulse-response (IIR) single-pole low-pass filter. Finite-impulse-response filters can be built that approximate the sinc function time-domain response of an ideal sharp-cutoff low-pass filter. For minimum distortion,

336-525: A commercial failure during the time of its manufacture, it later became a staple of electronic music in the 1990s, particularly house music . The SH-101 is monophonic , meaning it can only play one note at a time. It has a single oscillator (the Curtis CEM3340) and a sub-oscillator, a low-pass filter , a mixer allowing users to blend different waveforms plus a noise generator , and an arpeggiator and sequencer . An ADSR envelope generator controls

392-760: A computer by analyzing an RC filter's behavior in the time domain, and then discretizing the model. From the circuit diagram to the right, according to Kirchhoff's Laws and the definition of capacitance : where Q c ( t ) {\displaystyle Q_{c}(t)} is the charge stored in the capacitor at time t . Substituting equation Q into equation I gives i ( t ) = C d ⁡ v out d ⁡ t {\displaystyle i(t)\;=\;C{\frac {\operatorname {d} v_{\text{out}}}{\operatorname {d} t}}} , which can be substituted into equation V so that This equation can be discretized. For simplicity, assume that samples of

448-419: A filter is generally represented using a Bode plot , and the filter is characterized by its cutoff frequency and rate of frequency rolloff . In all cases, at the cutoff frequency, the filter attenuates the input power by half or 3 dB. So the order of the filter determines the amount of additional attenuation for frequencies higher than the cutoff frequency. On any Butterworth filter, if one extends

504-519: A low-pass filter is found by solving the response to the simple low-pass RC filter. Using Kirchhoff's Laws we arrive at the differential equation If we let v in ( t ) {\displaystyle v_{\text{in}}(t)} be a step function of magnitude V i {\displaystyle V_{i}} then the differential equation has the solution where ω 0 = 1 R C {\displaystyle \omega _{0}={1 \over RC}}

560-491: A signal by the rectangular function in the frequency domain or, equivalently, convolution with its impulse response , a sinc function , in the time domain. However, the ideal filter is impossible to realize without also having signals of infinite extent in time, and so generally needs to be approximated for real ongoing signals, because the sinc function's support region extends to all past and future times. The filter would therefore need to have infinite delay, or knowledge of

616-637: A single oscillator, which is reminiscent of synthesizers such as the ARP Axxe of the 1970s or Roland SH-101 of the 1980s. Also like the SH-101, the MiniBrute gives the option to mix pure analog waveforms to generate unique shapes. However, at the insistence of hardware designer Yves Usson, Arturia chose to depart somewhat from these vintage synthesizers by using a modern modification of a 12 dB/octave Steiner multimode filter—like those found in rare Steiner-Parker Synthacons —rather than emulating those used in more popular machines, which were often 24 dB/octave to produce

SECTION 10

#1732854561685

672-603: A step sequencer. Following the success of the MiniBrute, Arturia released the MicroBrute, a smaller analog monosynth, in 2014. The MicroBrute lacks the MiniBrute's velocity and aftertouch and does use a single-knob-per-function model, but adds an analog step sequencer and a small patch bay. Arturia later released an updated edition of the MicroBrute, the MicroBrute SE, which featured an updated Sub-Oscillator and step sequencer design . In 2016, Arturia released an updated version of

728-539: Is a good practice to refer to wavelength filters as short-pass and long-pass to avoid confusion, which would correspond to high-pass and low-pass frequencies. Low-pass filters exist in many different forms, including electronic circuits such as a hiss filter used in audio , anti-aliasing filters for conditioning signals before analog-to-digital conversion , digital filters for smoothing sets of data, acoustic barriers, blurring of images, and so on. The moving average operation used in fields such as finance

784-513: Is a low-pass filter used to reduce the amount of treble in the sound. An integrator is another time constant low-pass filter. Telephone lines fitted with DSL splitters use low-pass filters to separate DSL from POTS signals (and high-pass vice versa), which share the same pair of wires ( transmission channel ). Low-pass filters also play a significant role in the sculpting of sound created by analogue and virtual analogue synthesisers . See subtractive synthesis . A low-pass filter

840-422: Is a particular kind of low-pass filter and can be analyzed with the same signal processing techniques as are used for other low-pass filters. Low-pass filters provide a smoother form of a signal, removing the short-term fluctuations and leaving the longer-term trend. Filter designers will often use the low-pass form as a prototype filter . That is a filter with unity bandwidth and impedance. The desired filter

896-483: Is an exact reconstruction (0% error). This is the reconstructed output for a time-invariant input. However, if the input is time variant , such as v in ( t ) = V i sin ⁡ ( ω t ) {\displaystyle v_{\text{in}}(t)=V_{i}\sin(\omega t)} , this model approximates the input signal as a series of step functions with duration T {\displaystyle T} producing an error in

952-426: Is an ultra-detailed replica. Other software emulators include Togu Audio Line TAL-Bassline-101 , D16 Group LuSH-101 , Togu Audio Line TAL-Bassline (a free limited version of the other Togu app)., and Softube Model 82 . Low-pass filter A low-pass filter is a filter that passes signals with a frequency lower than a selected cutoff frequency and attenuates signals with frequencies higher than

1008-497: Is built into the MiniBrute. Unlike the DSI Mopho, however, the MiniBrute's 'Brute Factor' circuitry is permanently available, not broken by the connection of an actual external input. Additionally, Usson has made technical diagrams for the MiniBrute's circuitry available on his website, HackABrute, to encourage users to modify their machines. He has also included proposed modifications that have been tested. However, making modifications to

1064-662: Is easily obtained by sampling the step input response above at regular intervals of n T {\displaystyle nT} where n = 0 , 1 , . . . {\displaystyle n=0,1,...} and T {\displaystyle T} is the time between samples. Taking the difference between two consecutive samples we have Solving for v o u t ( n T ) {\displaystyle v_{\rm {out}}(nT)} we get Where β = e − ω 0 T {\displaystyle \beta =e^{-\omega _{0}T}} Using

1120-408: Is obtained from the prototype by scaling for the desired bandwidth and impedance and transforming into the desired bandform (that is, low-pass, high-pass, band-pass or band-stop ). Examples of low-pass filters occur in acoustics , optics and electronics . A stiff physical barrier tends to reflect higher sound frequencies, acting as an acoustic low-pass filter for transmitting sound. When music

1176-408: Is playing in another room, the low notes are easily heard, while the high notes are attenuated. An optical filter with the same function can correctly be called a low-pass filter, but conventionally is called a longpass filter (low frequency is long wavelength), to avoid confusion. In an electronic low-pass RC filter for voltage signals, high frequencies in the input signal are attenuated, but

SECTION 20

#1732854561685

1232-469: Is reflected in some design elements of the MiniBrute. For example, the MiniBrute includes an effect called Brute Factor, which is a form of overdrive . It is inspired by the technique of rerouting the voltage-controlled amplifier (VCA) output on a Moog Minimoog to be processed through the synthesizer again. However, like the similar concept employed by Dave Smith Instruments Mopho synthesizer series from 2008, Brute Factor does not require any patching, as it

1288-610: Is the cutoff frequency of the filter. The most common way to characterize the frequency response of a circuit is to find its Laplace transform transfer function, H ( s ) = V o u t ( s ) V i n ( s ) {\displaystyle H(s)={V_{\rm {out}}(s) \over V_{\rm {in}}(s)}} . Taking the Laplace transform of our differential equation and solving for H ( s ) {\displaystyle H(s)} we get A discrete difference equation

1344-505: Is used as an anti-aliasing filter before sampling and for reconstruction in digital-to-analog conversion . An ideal low-pass filter completely eliminates all frequencies above the cutoff frequency while passing those below unchanged; its frequency response is a rectangular function and is a brick-wall filter . The transition region present in practical filters does not exist in an ideal filter. An ideal low-pass filter can be realized mathematically (theoretically) by multiplying

1400-460: The RC time constant equals the sampling period. If α ≪ 0.5 {\displaystyle \alpha \;\ll \;0.5} , then RC is significantly larger than the sampling interval, and Δ T ≈ α R C {\displaystyle \Delta _{T}\;\approx \;\alpha RC} . The filter recurrence relation provides a way to determine

1456-515: The smoothing factor is within the range 0 ≤ α ≤ 1 {\displaystyle 0\;\leq \;\alpha \;\leq \;1} . The expression for α yields the equivalent time constant RC in terms of the sampling period Δ T {\displaystyle \Delta _{T}} and smoothing factor α , Recalling that note α and f c {\displaystyle f_{c}} are related by, and If α =0.5, then

1512-890: The 101 was a synthesiser for the rest of us, and a damned fine one, too." In 2016, Fact named the SH-101 one of the 14 most important synthesisers in history. Famous musicians that have used the SH-101 include: Nitzer Ebb , Aphex Twin Vince Clarke of Erasure , Paul Frick from Tangerine Dream , Future Sound of London , Orbital , Überzone , The Prodigy , 808 State , The Grid , Eat Static , Jimmy Edgar , Apollo 440 , Devo , Union Jack , Luke Vibert , Dirty Vegas , Skinny Puppy , Pig , MSTRKRFT , Josh Wink , Depeche Mode , The Crystal Method , Astral Projection , Les Rythmes Digitales , Squarepusher , KMFDM , Freddy Fresh , Lab-4 , Jimmy Dickinson of Little Angels , Code 64 , The Chemical Brothers , Boards of Canada , The Knife and many others. In 2018, Roland introduced

1568-522: The Boutique SH-01A, a virtual analog synth, based on its Analog Circuit Behavior (ACB) technology. It is available with or without a keyboard. In 2019, Behringer started producing a clone of SH-101 called MS-101, since the Roland patent had expired. The layout and sound is very close to the original, with the addition of enhancements such as MIDI and USB. In 2019, Superlative Instruments launched

1624-543: The Fourier transform is taken, filtered in the frequency domain, followed by an inverse Fourier transform. Only O(n log(n)) operations are required compared to O(n ) for the time domain filtering algorithm. This can also sometimes be done in real time, where the signal is delayed long enough to perform the Fourier transformation on shorter, overlapping blocks. There are many different types of filter circuits, with different responses to changing frequency. The frequency response of

1680-541: The MiniBrute entered the market at around US$ 500, making it more accessible to new users. Nick Batt of Sonic State called the MiniBrute "one of the first of this...new breed of nouveau analog", citing the Korg MS-20 Mini, Korg Volca series, and Novation Bass Station II as others following the trend. Arturia later issued an updated edition of the MiniBrute, the MiniBrute SE , which used an updated design and included

1736-523: The MiniBrute. Featuring two oscillators an extensive 48-point patchbay and more modulation capabilities. This synthesizer was released in two formats, one with a 2-octave keyboard and a smaller version with a 16-pad multichannel sequencer instead called the Minibrute 2s. At the 2016 winter NAMM show, Arturia announced the MatrixBrute , a 3 VCO analog synthesizer based on the MiniBrute. The MatrixBrute includes

Arturia MiniBrute - Misplaced Pages Continue

1792-404: The MiniBrute. The MiniBrute also includes a sub-oscillator and external signal processing. The oscillator is processed through a multimode 12 dB/octave Steiner filter. The user can select a low-pass filter , high-pass filter , band-pass filter , or notch filter. Although this filter made the MiniBrute more versatile than its vintage predecessors, Gordon Reid of Sound on Sound was critical of

1848-493: The US at $ 495 and in UK at £249, making it much more affordable than the popular digital synthesisers of the time. Two limited edition versions were also released in both red and blue colours, in contrast to the original grey. Roland marketed the SH-101 to the emerging keytar market, with magazine slogans such as "freedom for expression" and “[the 101] takes you where you want to go". However, it

1904-496: The choice not to emulate a more popular Moog filter. The filter has its own dedicated ADSR envelope generator and can also be modulated by LFO or the modulation wheel. The filter was designed by Usson. The MiniBrute's LFO can be routed to wave shape modulation, filter cutoff, pitch, and amplitude. Various wave shapes are available for the LFO. It can also be synced to the MiniBrute's arpeggiator. The audio output can be reprocessed through

1960-550: The cutoff frequency. The exact frequency response of the filter depends on the filter design . The filter is sometimes called a high-cut filter , or treble-cut filter in audio applications. A low-pass filter is the complement of a high-pass filter . In optics, high-pass and low-pass may have different meanings, depending on whether referring to the frequency or wavelength of light, since these variables are inversely related. High-pass frequency filters would act as low-pass wavelength filters, and vice versa. For this reason, it

2016-584: The difference equation Comparing the reconstructed output signal from the difference equation, V n = β V n − 1 + ( 1 − β ) v n {\displaystyle V_{n}=\beta V_{n-1}+(1-\beta )v_{n}} , to the step input response, v out ( t ) = V i ( 1 − e − ω 0 t ) {\displaystyle v_{\text{out}}(t)=V_{i}(1-e^{-\omega _{0}t})} , we find that there

2072-424: The filter and VCA , and the filter, VCA, pitch and pulse width can be controlled with an LFO . Users can attach an optional handgrip with modulation controls and shoulder strap to play the SH-101 as a keytar , and it could also be powered via battery. According to MusicRadar , the SH-101 has "snappy and razor-sharp" bass, "squelchy and expressive" leads, and a "piercing yet smooth" filter. The SH-101 launched in

2128-592: The filter has little attenuation below the cutoff frequency determined by its RC time constant . For current signals, a similar circuit, using a resistor and capacitor in parallel , works in a similar manner. (See current divider discussed in more detail below .) Electronic low-pass filters are used on inputs to subwoofers and other types of loudspeakers , to block high pitches that they cannot efficiently reproduce. Radio transmitters use low-pass filters to block harmonic emissions that might interfere with other communications. The tone knob on many electric guitars

2184-407: The finite impulse response filter has an unbounded number of coefficients operating on an unbounded signal. In practice, the time-domain response must be time truncated and is often of a simplified shape; in the simplest case, a running average can be used, giving a square time response. For non-realtime filtering, to achieve a low pass filter, the entire signal is usually taken as a looped signal,

2240-561: The horizontal line at this peak. The meanings of 'low' and 'high'—that is, the cutoff frequency —depend on the characteristics of the filter. The term "low-pass filter" merely refers to the shape of the filter's response; a high-pass filter could be built that cuts off at a lower frequency than any low-pass filter—it is their responses that set them apart. Electronic circuits can be devised for any desired frequency range, right up through microwave frequencies (above 1 GHz) and higher. Continuous-time filters can also be described in terms of

2296-432: The horizontal line to the right and the diagonal line to the upper-left (the asymptotes of the function), they intersect at exactly the cutoff frequency , 3 dB below the horizontal line. The various types of filters ( Butterworth filter , Chebyshev filter , Bessel filter , etc.) all have different-looking knee curves . Many second-order filters have "peaking" or resonance that puts their frequency response above

Arturia MiniBrute - Misplaced Pages Continue

2352-466: The infinite future and past, to perform the convolution. It is effectively realizable for pre-recorded digital signals by assuming extensions of zero into the past and future, or, more typically, by making the signal repetitive and using Fourier analysis. Real filters for real-time applications approximate the ideal filter by truncating and windowing the infinite impulse response to make a finite impulse response ; applying that filter requires delaying

2408-552: The input and output are taken at evenly spaced points in time separated by Δ T {\displaystyle \Delta _{T}} time. Let the samples of v in {\displaystyle v_{\text{in}}} be represented by the sequence ( x 1 , x 2 , … , x n ) {\displaystyle (x_{1},\,x_{2},\,\ldots ,\,x_{n})} , and let v out {\displaystyle v_{\text{out}}} be represented by

2464-435: The internal system, including those listed on the site, voids Arturia's product warranty. The MiniBrute's single oscillator can be set to sawtooth , pulse (modulatable width), triangle , white noise , or any combination of these. The three waveforms each have options for additional wave shaping. Although pulse-width modulation is common for analog synthesizers, the shaping options for the sawtooth and triangle are unique to

2520-501: The next input. This exponential smoothing property matches the exponential decay seen in the continuous-time system. As expected, as the time constant RC increases, the discrete-time smoothing parameter α {\displaystyle \alpha } decreases, and the output samples ( y 1 , y 2 , … , y n ) {\displaystyle (y_{1},\,y_{2},\,\ldots ,\,y_{n})} respond more slowly to

2576-423: The notation V n = v o u t ( n T ) {\displaystyle V_{n}=v_{\rm {out}}(nT)} and v n = v i n ( n T ) {\displaystyle v_{n}=v_{\rm {in}}(nT)} , and substituting our sampled value, v n = V i {\displaystyle v_{n}=V_{i}} , we get

2632-405: The output samples in terms of the input samples and the preceding output. The following pseudocode algorithm simulates the effect of a low-pass filter on a series of digital samples: The loop that calculates each of the n outputs can be refactored into the equivalent: That is, the change from one filter output to the next is proportional to the difference between the previous output and

2688-497: The reconstructed output signal. The error produced from time variant inputs is difficult to quantify but decreases as T → 0 {\displaystyle T\rightarrow 0} . Many digital filters are designed to give low-pass characteristics. Both infinite impulse response and finite impulse response low pass filters, as well as filters using Fourier transforms , are widely used. The effect of an infinite impulse response low-pass filter can be simulated on

2744-455: The sequence ( y 1 , y 2 , … , y n ) {\displaystyle (y_{1},\,y_{2},\,\ldots ,\,y_{n})} , which correspond to the same points in time. Making these substitutions, Rearranging terms gives the recurrence relation That is, this discrete-time implementation of a simple RC low-pass filter is the exponentially weighted moving average By definition,

2800-547: The signal for a moderate period of time, allowing the computation to "see" a little bit into the future. This delay is manifested as phase shift . Greater accuracy in approximation requires a longer delay. Truncating an ideal low-pass filter result in ringing artifacts via the Gibbs phenomenon , which can be reduced or worsened by the choice of windowing function. Design and choice of real filters involves understanding and minimizing these artifacts. For example, simple truncation of

2856-400: The sinc function will create severe ringing artifacts, which can be reduced using window functions that drop off more smoothly at the edges. The Whittaker–Shannon interpolation formula describes how to use a perfect low-pass filter to reconstruct a continuous signal from a sampled digital signal . Real digital-to-analog converters uses real filter approximations. The time response of

SECTION 50

#1732854561685

2912-466: The synthesizer using the Brute Factor to achieve an overdrive effect. The MiniBrute reintroduced the analog monophonic format for newly produced synthesizers. Although its release posed a risk for Arturia in an uncertain market, the units sold well due to their low price point and relatively high quality. Prior to the release of the MiniBrute, analog synthesizers tended to retail for US$ 1,000 or more;

2968-400: The time (British synthesizer-manufacturer, Novation had long stopped production of its small Bass Station synthesizers). In June 2010, Arturia reached out to synthesizer designer Yves Usson of YuSynth in order to gain insight into the production of analog hardware. Usson designed schematics for the circuitry of the MiniBrute and helped troubleshoot technical problems. The release of the MiniBrute

3024-402: Was first announced at the 2012 NAMM Show. There was some uncertainty about whether or not a monophonic synthesizer would sell well compared to contemporary digital and analog competitors, which were mostly polyphonic. New analog monosynths were not common at the time. Despite this, Arturia invested resources in the unit's build quality and produced a fairly large first run. The MiniBrute uses

3080-484: Was known for its affordable software synthesizers . These were generally faithful software emulations of classic analog synthesizers , such as the Moog 3C and Moog 55. The MiniBrute was the first piece of analog hardware manufactured by Arturia. Following the 2010 NAMM Show , Arturia CEO Frédéric Brun began to receive word that American customers were interested in small, low-cost analog synthesizers, which were not available at

3136-469: Was outsold by the digital Yamaha DX7 and was discontinued in 1986. During the 1990s resurgence of analogue synthesisers, the 101 became a staple in dance music studios. It was used by many famous electronic musicians. In 2014, MusicRadar wrote: "Some inexpensive synths were brilliant 'for the price'. The Roland SH-101 was brilliant, period. Never a rock star's instrument like the Minimoog or Prophet-5 ,

#684315