Arturia PolyBrute 12: FullTouch® Keyboard – Analog Expression, Redefined

The PolyBrute 12 introduces a keyboard design that Arturia touts as revolutionary, aiming to set a new bar for expressivity in analog synthesis. Unlike the familiar world of monophonic or channel aftertouch—where pressing any key modulates all notes—the FullTouch® system enables a far more granular approach. Each note can be articulated individually, opening up a landscape of polyphonic modulation that’s rare in the analog realm.

Arturia’s approach isn’t just about technical novelty; it’s about musicality. The video wastes no time in showing how this design translates to real playing, with Matt Paull demonstrating the keyboard’s capacity for subtlety and dynamic response. The result is a tactile interface that feels more like an extension of the performer’s intent than a traditional synth keybed, promising a level of control that could reshape live and studio workflows alike.

At the heart of the PolyBrute 12’s expressiveness is its FullTouch technology, which equips each key with its own pressure sensor. This means modulation can be applied to each note independently, a significant leap from the all-or-nothing approach of classic aftertouch. The keyboard supports both conventional monophonic and polyphonic aftertouch, but it’s the FullTouch mode that truly stands out.

The video highlights how this system enables nuanced control over every note, whether you’re triggering sounds with the lightest touch or digging deep into the keybed. It’s a design that encourages experimentation—think of it as a modular patch cable for your fingers, routing expressive data wherever you want it in the modulation matrix. This granular control is the foundation for the advanced aftertouch algorithms that follow.

Arturia doesn’t stop at the hardware; the PolyBrute 12’s FullTouch system is brought to life by three distinct aftertouch algorithms. First up is FullTouch Envelope (Env-AT), where the vertical position of each key controls envelope amounts, routed to both VCF and VCA via the modulation matrix. This allows for polyphonic shaping of filter and amplitude, with envelope sliders (attack, decay, sustain, release, and VLO) offering deep sculpting possibilities. The VLO slider, in particular, adds a percussive pluck based on velocity, letting you dial in everything from gentle swells to sharp transients.

Next is FullTouch AT, which uses the entire key range for aftertouch modulation. Unlike classic aftertouch that only responds at the bottom of the key travel, this mode responds from the first contact, sending polyphonic data to the modulation matrix. Here, you can assign aftertouch to a variety of destinations—metalizer, FM amount, noise, stereo spread, or even the morph knob—making for a highly responsive and creative performance tool.

Finally, FullTouch AT-Z splits the key travel into two modulation lanes: the initial touch range and the classic aftertouch range. This lets you assign different parameters to each, such as pitch, filter cutoff, reverb, and distortion, all polyphonically. The result is a playground for complex, layered modulations, giving performers the ability to craft evolving textures and intricate soundscapes with just their fingertips.