Low price guarantee
55.000 products
ready for shipment
Money Back
30 Day Return Policy
You have placed the following items into your shopping cart
Low price guarantee
55.000 products
ready for shipment
Money Back
30 Day Return Policy
*** SUMMER FLASH SALE ***
Use the code ARTURIA10 to get a whopping 10% discount on this item in your basket! The promotion runs from 31 July 2026 to 16 August 2026.
With the Polybrute, Arturia is making a statement in the world of synthesisers. Drawing inspiration from the monophonic yet highly opulent MatrixBrute, Arturia is now introducing the PolyBrute – its first in-house polyphonic analogue synthesiser. This six-voice instrument shines with two analogue oscillators, two very different filters (Steiner-Parker and Moog-style), an extensive modulation matrix, a sequencer and a range of effects. The comfortable 61-key keyboard spans five octaves, is velocity-sensitive and even features aftertouch. Sonically, the PolyBrute covers a wide range of classic analogue sounds from the 1970s to the present day. Thanks to the oscillators, which also offer mixable waveforms and, of course, include the tried-and-tested Metalizer, the basic sound alone is both modern and timeless. The large keypad, comprising 12 x 8 controls, performs various functions depending on the mode. It is used to programme the polyphonic sequencer, manage stored sounds, assign morphing and set all modulation assignments. Anyone wishing to operate this storable flagship model like a purely analogue synth simply activates Panel Mode; from then on, what you hear corresponds to the current settings, regardless of what was previously stored in that memory slot. A real highlight of the Arturia PolyBrute is the morphing function. You can smoothly morph between any two preset slots. As there are 768 presets available – more than enough sounds – you could, for example, save a variation of a sound with different oscillator levels and/or modulation intensities and morph between these two presets. Alternatively, you could apply this transition between a percussive bass and a pulsating pad sound; you can really let your creativity run wild.
The rich fundamental sound of the Arturia PolyBrute is generated by two analogue oscillators, which produce the Metalizer, Pulse Width and sawtooth waveforms in parallel. Metalizer is primarily a triangle waveform with a wavefolder, which, as the value increases, generates overtones that tend to have a metallic character. Pulse Width is the classic square wave complete with pulse width modulation; the sawtooth more than lives up to its name, being rich in harmonics and punchy. Oscillator 2 also features a sub-oscillator. Oscillator FM and Hardsync can be adjusted continuously between the two oscillators. Both tone generators and the tunable noise generator are located in the mixer section, where the routing to the two filters is also defined for each signal source.
The colour-coded filters are identified as Steiner-Parker state-variable filters and 24dB low-pass filters. The former is continuously adjustable from low-pass through high-pass to band-pass and features the ‘Brute Factor’ – a parameter familiar from Arturia synthesisers – which is essentially a feedback circuit within the filter. Sonically, the SVF stands out for its very grainy sound as resonance increases. The second filter is a classic 24dB low-pass filter in the style of the Moog ladder filter, which many will recognise from the Minimoog. The full, rich sound of the LPF is, in its own right, a classic of its kind. In addition, the second filter features a distortion unit and can be seamlessly blended with the Steiner-Parker filter – from series to parallel – in the signal path between the mixer and the VCA. There is a master cutoff control for both filters, featuring adjustable keyboard tracking. If you require individual tracking for each filter, this can be added with a quick adjustment in the modulation matrix.
You can see at a glance: no cuts have been made here. Next to the keyboard on the left-hand side of the instrument, an X/Y/Z touch controller (also known as Morphée) adorns the control panel. X and Y translate finger movements upwards, downwards, leftwards and rightwards, whilst Z responds to pressure. All three can be assigned to any target, enabling expressive and dynamic playing of the sounds. Centred above the keyboard is the ribbon controller, which measures just under half the total length of the unit. The two intensity controls are permanently assigned to route Oscillator 2 to Filter 1 and noise to Filter 2. Two of the three loopable ADSR envelopes are permanently assigned to the filters and VCA, but – like almost all ‘generating functions’ – can be linked to other destinations. Thanks to the fader design, one can certainly say here: form follows function. The modulation sources are joined by three BPM-synchronisable LFOs. The first two each offer seven waveforms and can operate in monophonic, polyphonic or triggered modes. LFO 1 features phase shifting, whilst LFO 2 has an adjustable fade-in delay. LFO 3, on the other hand, allows you to freely shape the waveform using Curve and Symmetry controls and can be switched to OneShot mode.
The PolyBrute’s effects section comprises delay, reverb, EQ and modulation effects, and can be switched between insert and send modes. The delay features BBD and ping-pong modes, amongst others, and can be synchronised to MIDI clock. The reverb utilises Hall, Plate and other types, covering a wide range from dark atmospheres through industrial halls right up to the ‘middle of the Grand Canyon’. The modulation effects include chorus, ensemble and phaser, amongst others, and create swirling and floating sounds. In addition, a rotary control allows the played voices to be distributed across the panorama – a psychoacoustic treat. :)
Each sound bank in the Arturia PolyBrute features a programmable, polyphonic sequencer track that can be up to 64 steps long and can be set to shuffle and other playback modes. In addition, there is an arpeggiator with extensive playback options and a Motion Recorder, which can be used to record and automate parameters.
Arturia PolyBruteThis is a top drawer synth. I own a bunch of synths, and for price and build (Not to mention sound, easily) this outperforms the rest. Depends on what you are looking for. But this one has that rare capacity to surprise and delight me as I meander through the various knobs and buttons, without even diving in on a deeper level, it is a profoundly musical synth. Arrived quickly, well packaged, with every slider in just the right starting place. That is some serious attention to detail. This one stays in the studio ;)
Lets start with the service from DV247 which was flawless. Easy to order and quick to arrive. My first time with them but not my last.
Now to the Polybrute , simply jawdropping in sound and intuitive ease of use.
There are synths out there with more polyphony, but that just makes you more creative with the Polybrute (not that you really notice theres only 6 voices) and marvel at just how capable this synth is. The integration with DAW means it seamlessly fits into any workflow.
I've had it a month and I lose hours and hours on this beautiful thing, something I never regret. My only regret is not buying one sooner and now I own one, I understand why there aren't too many on the 2nd hand market place and the pretty much 100% rave reviews it gets. I won't be parting with mine any time soon, and only then if I have to.
UDO Audio DMNO White
ELTA MUSIC Solar 42N White Cream
ELTA MUSIC Solar 42N Blue
ELTA MUSIC Solar 42N Maize Yellow
Moog Subsequent 37