AudioPilz Dives into the MatrixBrute Mayhem

Welcome to another installment of ‘Bad Gear’ with AudioPilz, where Florian Pilz merrily dismantles and critiques some of the world’s most love-to-hate audio tools. This time, he’s tackled the Arturia MatrixBrute, a synth that seems to fall into a category all its own—oversized, underappreciated, and guaranteed to stir some opinions. Introduced back in 2017, the MatrixBrute is a relic from the age of longing for pure analog sound, but has it aged like a fine wine or more like an expired pint of milk? Florian sets the tone with a cheeky comparison of the MatrixBrute to a Minimoog mated with a battleship game, hinting at the chaotic potential lying in wait.

Diving straight into the greasy innards, AudioPilz spares no detail. Three paraphonically playable analog oscillators await, each sporting features like the Ultrasaw and Metalizer, which scream potential if wielded correctly—or end in sonic disaster if not. It’s a cocktail of frequencies that even the most hardened industrial music aficionado might find challenging. The dual filter section follows suit, pulling influences from the Steiner-Parker circuits, providing enough resonance to shake the cobwebs loose in your studio.

There’s no glossing over the technical quirks either. The infamous oscillator bleed plagues the play, but where’s the fun in a flawless synth anyway? Filter drive and the ‘Brute Factor’ are there to mess things up nicely, while the analog FX section adds a layer of raw, grainy flavour. The modulation matrix, with its Kindle-style display, offers modular-like flexibility. It’s an impressive suite for the creative but leaves those less patient wading through its interface.

Most wouldn’t want to tackle the preset selection without a pint in hand—it’s all part of the MatrixBrute’s enigmatic charm. Envelopes on faders are a delight, though, making adjustments without diving deep into menus easier. Florian’s take on the MatrixBrute is as much about the potential for unique creations as it is about embracing the quirks like a badge of honour.

As Florian rounds out his musical escapade with the MatrixBrute, he leaves no stone unturned in his summary. It’s a synth born from a desire for analog purism, commanding attention with its might and muscle. Yet, in an era leaning more towards digital-hybrid setups, the MatrixBrute’s idiosyncrasies are both its charm and its bane. Florian’s verdict is clear: if you’re willing to embrace the quirks and embark on a quarry-like hunt for its hidden gems, you’ll be handsomely rewarded with brutal, cinematic sounds that are hard to match.

As the analog tide shifts, much of what the MatrixBrute boasts has become anachronistic—appealing only to niche audiences who relish in those quirks as much as they do the joy of crafting unique soundscapes. Florian, with his typical humour and in-depth analysis, presents a piece of gear that’s everything but run-of-the-mill—a perfect storm of nostalgia and raw artistry.

In the grand theatre of synths, the MatrixBrute may not be the star it once was, but for those willing to give it a go, it promises a ride as thrilling as Florian’s own review. He portrays it as a flashy yet slightly clunky relic that still has a place in the hearts of synth purists and sound rebels alike.