ROAD TEST
Arturia DrumBrute Analog Drum Machine
With the resurging interest in analog synths , there has been an outpour of products to feed the seemingly insatiable demand for sonic nostalgia . Arturia , the French software-turned-synth company , has responded with many affordable analog synths in its “ Brute ” line , including its latest instrument : the DrumBrute analog drum machine and synth .
First Impressions Housing 17 analog drum sound generators ( one for each part of the drum kit ) and a 64-step sequencer , the core of the DrumBrute is reminiscent of most classic analog drum machines . As such , the DrumBrute is relatively simple by modern , computer-driven drum machine standards , but by no means does this reflect negatively on the instrument . Like its indirect ancestors , the DrumBrute is mono but with two individual audio outputs : one main and one for the headphones , which conveniently accepts both 3.5 mm and 1 / 4-in . plugs . Each has its own volume control , as does the onboard metronome . The DrumBrute has been designed to integrate into an all-analog workflow with the ability to sync via analog clock , but also through DIN MIDI or MIDI over USB .
In Use The DrumBrute ’ s sounds are well chosen and the range of each sound provides an impressive palette in spite of the few controls . There are two kick drums , snare , clap , closed and open hi-hats , rimshot , clave , cymbal , reverse cymbal , zap , high and low congas and toms , maracas , and tambourine .
The congas and toms share a pad , as do the maracas and tambourine . Each sound can have its own individual patterns ; however , their controls are more limited than most of the other pads .
All of the sounds are familiar , having obviously been inspired by the best – think archetypal Roland . Some of the sounds are close enough that most won ’ t know the difference , but even still , the DrumBrute is indeed its own unique instrument .
When programming , accents can be applied to any step of a pad within a pattern , but this is a rudimentary equivalent to what we now call velocity . Even still , when used well and in conjunction with the global swing , the DrumBrute really comes to life . For those who are musically daring , there is also Polyrhythmic Mode , which allows for odd time signatures that can be applied per pad .
Each pad has its own mono 3.5 mm output , which cuts the sound from the master output . These outputs give the DrumBrute a true opportunity for uniqueness . Users can transform the sounds away from its inherent vintage character into something more distinctive or modern .
The signal path here is 100 per cent analog . You ’ ve got four banks of 16 presets and the ability to record in real time .
I immediately reached for my outboard equipment and guitar pedals , running the snare through my beloved Free the Tone Red Jasper pedal for some added saturation and drive , then into their Ambi Space reverb . The snare instantly became something else , something edgy with a new depth to it . For those of us who remember programming and making music before computers , there ’ s a wonderful comfort in this kind of tactile experience . For me , this is the antithesis of “ preset music ”; this is real sound design . The DrumBrute is not competing with products like Native Instruments ’ Maschine , which offer nearly infinite options , and those looking for banks upon banks of production-ready sounds may find the DrumBrute stifling , but the DrumBrute excels at immediacy . There are no screens , no sound banks , no menu diving .
In use , I was able to get a decent beat up and running within a few minutes . Crafting each sound within the kit only takes a knob or two so decisions come quickly . I was surprised at the variance that a single knob could bring to the sound , and I think Arturia should be commended on both the sounds they have chosen as well as the sonic range that each part of the kit provides .
As mentioned , all of the sounds are great for those looking to capture a classic , analog drum sound . I found the hi-hats to be somewhat harsh and metallic , although not unusable depending on the application .
Though I approached the DrumBrute as a tool for the studio , Arturia wanted it to be versatile enough for live use as well , and it certainly is portable . For those who feel more comfortable programming live rather than using a step sequencer , there ’ s a live recording function . Users can employ different pattern banks for song sections and once a beat is up and running , individual pad mutes or the swing and randomness features can be used to add variation .
The most unexpected function on the DrumBrute is the step-repeat touch strip , which creates real-time stutter and roll effects .
Finally , the Steiner-Parker output filter can be easily engaged or bypassed during performance and was designed for high-pass or lowpass filter sweeps . The type of filter toggles between HPF and LPF , so unfortunately users can ’ t engage both filters to create a band-pass filter .
Summary At $ 599 CAD , the price of the DrumBrute is surprisingly low for what it is ; even still , the usefulness of the DrumBrute will really be a personal decision , far more so than other equipment that I ’ ve used . It really comes down to the user ’ s values and , ultimately , their workflow . Those who are deeply tied to a modern workflow or that don ’ t see the benefit to limitations may have a difficult time integrating it into their productions , but everyone else ? I ’ m sure they ’ ll be very impressed .
Ryan McCambridge is a freelance producer , writer , and engineer whose credits include Rush , Birds of Tokyo , and Glass Tiger . He has taught sound design and production at workshops and universities and is the frontman of A Calmer Collision . For more information , visit www . ryan-mccambridge . com and www . acalmercollision . com .
20 • CANADIAN MUSICIAN