There are seventeen sounds in total, which is plenty to work with. The ability to treat individual sounds with distortion and compression makes up for any perceived lack of oomph, sidechain compression can introduce a subtle sense of groove while reverb and pan can help you expand a two-dimensional soundstage. This feature is vital in making the Drumbrute useful for more involved production and performance situations. However, there are 11 separate outs on the back panel. On the other hand, the hats and cymbal didn't sizzle as much as I'd have liked. The mid-range sounds, such as the toms and rim, are bouncy and upfront. There are two weighty kicks, the first being aggressive and hardcore while the second is more subby. However, the Brute Factor feature-a feedback loop for creating overdrive-from the previous two synths has been dropped, so some users might need to treat sounds with distortion to get the sizzle and crunch they're looking for. It's based on the same design philosophies but comes with appropriately robust sequencing capabilities.Īll of the Drumbrute's sounds are divined from analogue circuitry, and they're generally solid and tough. It will come as little surprise that the Drumbrute is a successor to those synths. They were functionally straightforward and delivered sonically, and subsequently appealed both to beginners and experienced musicians on a budget. They simply delivered what the market wanted: a fully analogue keyboard synth for as low a cost as possible. Arturia's Minibrute and Microbrute were very successful products.
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