AudioPilz Tackles the Infamous Arturia DrumBrute Fiasco

Once upon a time, there was a drum machine called the Arturia DrumBrute. Marketed in 2016 as a dream come true for synth enthusiasts, it promised fully analog sounds, a user-friendly sequencer, and a design that could satisfy both synth nerds and the aesthetically inclined. Unfortunately, the reality was less glamorous. According to AudioPilz, it’s a piece of gear that sounded almost comically bad, earning a less-than-stellar reputation in his “Bad Gear” series. Despite having sent it back previously, the drum machine’s curious charm haunted him enough to provoke a second purchase at a price akin to a Volca. Was this decision a brave dive into redemption or simply flogging a dead horse? That’s what AudioPilz aims to unravel in this video.

AudioPilz opens the Pandora’s box of questionable sound programming by highlighting the notorious lineup of the Arturia DrumBrute. Kicking off with two lacklustre kick drums, one aimlessly imitating a 909 and the other providing woolly 808-style booms, it’s clear that this machine’s been hitting the wrong beats. The snare, though a hit or miss, manages to surprise with a funky vibe, but hold your applause for the metallic hi-hats that could fit right into a 606 but choose to sit awkwardly in limbo instead. The toms, generous in their emptiness, add little to the mix, while maracas and tambourines cough up more noise than rhythm.

AudioPilz dexterously discusses how these percussive elements might have been innocent victims of Arturia’s overambitious attempt at giving it character. He points out the metallic cymbal’s awkward attempts at reversibility and the sluggish maracas huddling with the tonal tambourine. For those purists looking for a classic cowbell, AudioPilz raises a brow at its offensive absence. It’s the sound equivalent of a dodgy kebab after a long night out – promises much but delivers unexpected consequences.

The journey through this sonic purgatory is accentuated by the DrumBrute’s resonant filter, supposedly tailored for iconic Daft Punk-esque buildups, yet it leaves one yearning for the depth of a much-needed low-pass filter. As AudioPilz puts it, despite the machine’s robust aesthetics, its auditory output seems to have missed the invitation to the party.

In a bid to extract something usable out of the DrumBrute, AudioPilz embarks on an effects-driven crusade. Armed with gates, EQs, and compressors, he attempts to tame the unruly beats into submission. By tightening the kicks with a gate and manipulating the EQ with settings that wouldn’t pass in polite audio society, it’s an all-out assault on poor design. Yet, as AudioPilz wrestles with this beast, he channels the spirit of old-school production, saturating channels and compressing snares for maximum snap.

With effects layering thick, the drum sounds morph from frayed chaos to something resembling music. However, even AudioPilz’s best efforts can only do so much. The toms, once subjected to medieval processing, reveal their inability to transcend their origins. Even with the added sheen of reverb and delay, the cymbals remain a reminder of their lo-fi roots. As he puts it, “Art is subjective anyway,” and in this case, the DrumBrute becomes an audio experiment where you end up questioning whether the journey was worth the sonic detours.

The video’s conclusion reflects on whether the DrumBrute’s shortcomings can be forgiven if taken on as a creative challenge rather than a means to an end. AudioPilz admits the machine’s quirks provide a sandbox for the fearless, but it remains a side quest better suited for those who relish in modular chaos or have a masochistic flair for patience.