[{"data":1,"prerenderedAt":142},["ShallowReactive",2],{"ZCWchjCrF0":3,"G69ciftYFZ":45,"D2zgaUI3p4":57,"OHq8W1SSsx":77,"viiSg01Dsm":107,"aM51dqbko0":130},[4],{"product_id":5,"uid":6,"slug":7,"sku":8,"product_name":9,"display_name":9,"product_range":10,"product_type":11,"supported":12,"bundle":13,"zendesk_faq_url":14,"product_generation":15,"hardware":12,"protection":16,"category_alias":17,"buyable":12,"out_of_stock":12,"free":13,"licensable":12,"demoable":13,"current":12,"erp_skus":18,"bundle_composition":20,"details":21,"prices":38,"has_resources":12},227,"01bcrax5r0vx65ja5r9pwd6zfa","minibrute-2s","minibrute-2s,0","MiniBrute 2S","brute","HardwareSynth",true,false,"https://support.arturia.com/hc/sections/4405747926802",0,"hardware_serialized","hardware-synths",[19],"531101",[],{"baseline":22,"description":29,"display_flags":36},{"de":23,"en":24,"es":25,"fr":26,"ja":27,"zh":28},"Unvergleichlich analog","Unrestrained Analog","Sonido analógico sin límites","L’analogique sans limite","限界なきアナログ・サウンド","无拘无束的模拟",{"de":30,"en":31,"es":32,"fr":33,"ja":34,"zh":35},"Der Synthesizer, der die erschwingliche Analog-Revolution startete, wird als süchtig machende, inspirierende Stepsequenzierungs-Synthesizer mit enormen modularen Funktionen wiedergeboren.","The synth that kick-started the affordable analog revolution is reborn as an addictive, inspiring step-sequencing synth with huge modular capabilities.","El sintetizador que inició la revolución analógica accesible renace como un sintetizador de secuenciación por pasos adictivo e inspirador con enormes capacidades modulares.","Le synthétiseur qui a lancé la révolution analogique à un tarif abordable, revient dans une version addictive dotée d’un step-séquenceur et de nombreuses possibilités modulaires.","アナログの常識を覆したあのシンセが、豊富なモジュラー機能を搭載し、より魅力的かつ創造性を刺激するステップシーケンス・シンセとして生まれ変わりました。 ","开创了经济实惠的模拟合成革命的合成器，以一种令人上瘾、激发灵感的步进序列合成器的形式重生，拥有强大的模块化功能。",{"featured":13,"new":13,"promo":13,"show":12,"size":37},1,[39,42],{"currency_code":40,"product_price":41,"use_override":13},"USD",549,{"currency_code":43,"product_price":44,"use_override":13},"EUR",499,[46],{"ordering":47,"id":48,"baseline":49,"text":50,"image_path":51,"url_alias":52,"title":53,"featured":12,"quote":54,"locale":55,"content":56},null,350,"On life, music for films and MiniBrute 2","It’s not every day you get to sit down with a film composer and sound design legend to discuss their favorite gear, writer’s block, and working in the industry.","/images/stories/jorg-huttner/top2.jpg","jorg-huttner","Jörg Hüttner","It’s not every day you get to sit down with a film composer and sound design legend to discuss their favorite gear, writer’s block, and working in the industry. ","en","\u003Cdiv class=\"itemFullText  \">\u003Csection class=\"section ratio-900 cover \" style=\"background-color: white; background-position: center bottom; background-image: url('https://www.arturia.com/images/stories/jorg-huttner/top2.jpg');\">\u003C!----> \u003C!----> \u003C!----> \u003Cdiv class=\"container\">\u003Cdiv class=\"row align-items-start justify-content-end ratio-800 \">\u003Cdiv class=\"col-12 col-md-5 text-white hide-sm\">\u003Ch1>Jörg Hüttner\u003Csmall class=\"d-block\">On\n                                life, music \u003Cbr>for films and MiniBrute 2\u003C/small>\u003C/h1>\u003C/div>\u003C/div>\u003C/div>\u003C/section> \u003Csection class=\"section\" style=\"background-color: white;\">\u003C!----> \u003C!----> \u003C!----> \u003Cdiv class=\"container\">\u003Cdiv class=\"grad\">\u003Cdiv class=\"container \">\u003Cdiv class=\"row justify-content-center align-items-center \">\u003Cdiv class=\"col-12 col-sm-8 text-center show-sm\">\u003Ch1>Jörg Hüttner\u003Csmall class=\"d-block\">On\n                            life, music for films, \u003Cbr> and MiniBrute 2\u003C/small>\u003C/h1>\u003C/div> \u003Cdiv class=\"col-12 col-sm-8 text-center\">\u003Cp class=\"h3 small my-3\">It’s not every day you get to sit down with a film composer and sound\n                                design legend to discuss their favorite gear, writer’s block, and working in the\n                                industry.\n                            \u003C/p> \u003Cp class=\"my-3\"> We met with Jörg Hüttner, the musician behind the electronic soundscapes of “Girl on a\n                                Train”, “Cries From Syria”, “Fifty Shades of Grey”, and “Independence Day: Resurgence”.\u003C/p>\u003C/div> \u003Cdiv class=\"col-12 col-sm-6 my-4\">\u003Cp class=\"quote\">I started out in a similar way to a lot of people: you like a type of\n                                music or some band (in my case Depeche Mode and Jean-Michel Jarre) and you start\n                                dreaming of doing the same thing. In my case this led me to buy my first synth at age\n                                15. It was a Roland D-10, nothing to really write home about, although I used it in my\n                                first band at age 17. \u003C/p>\u003C/div> \u003Cdiv class=\"col-12 col-sm-6 mt-3\">\u003Cp class=\"quote \">It never worked out with the “pop star” thing, and I never became famous\n                                with a band, but it led to working for the music instrument industry. I became a\n                                product support specialist and sound designer, which put me in contact with established\n                                composers that heard my sounds in synths they liked.\n                            \u003C/p>\u003C/div> \u003Cdiv class=\"col-12 col-sm-8 my-4\">\u003Ciframe style=\"width: 100%; aspect-ratio: 16 / 9;\" src=\"https://www.youtube-nocookie.com/embed/NkS0FeY5yCo?autoplay=0&controls=0&disablekb=1&playsinline=1&cc_load_policy=0&cc_lang_pref=auto&widget_referrer=https%3A%2F%2Fwww.arturia.com%2Fstories%2Fj%25C3%25B6rgh%25C3%25BCttnermeetsminibrute2s&noCookie=true&rel=0&showinfo=0&iv_load_policy=3&modestbranding=1&color=white&enablejsapi=1&origin=https%3A%2F%2Fwww.arturia.com&widgetid=1&forigin=https%3A%2F%2Fwww.arturia.com%2Fstories%2Fj%25C3%25B6rgh%25C3%25BCttnermeetsminibrute2s&aoriginsup=1&vf=1\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\" data-gtm-yt-inspected-17=\"true\" id=\"455973591\">\u003C/iframe>\u003C/div> \u003Cdiv class=\"col-12 col-sm-6 mt-3\">\u003Ch2>Party in the USA\u003C/h2> \u003Cimg src=\"https://medias.arturia.net/images/stories/jorg-huttner/JorgHuttner-178.jpeg \" error=\"function(){return function(){}}\" alt=\" \" class=\"img-responsive mx-auto \">\u003C/div> \u003Cdiv class=\"col-12 col-sm-6 mt-3 \">\u003Cp class=\"quote\">Moving to Los Angeles offered up so many opportunities to work in film\n                                music and for top composers like Hans Zimmer, Danny Elfman, Atli Örvarsson and others.\n                                My preset sound design work for synthesizer companies like Waldorf, Alesis and others\n                                back then opened the doors, so that was my way in.\u003C/p> \u003Cp class=\"quote\">I was in touch with Hans and other composers in his production facility in\n                                the early 00s, and after a few years knocking on their doors I was offered my first\n                                job: “Catwoman”. Not the best film, but the music production was fun. Two more projects\n                                followed, including “Batman Begins” in London. I made the decision to move the UK, but\n                                getting a my work permit took ages. I finally moved over in March 2007. Then all went\n                                pretty quickly. I worked as assistant for Atli Örvarsson first, and over time I worked\n                                for more and more different composers and also on my own stuff.\n                            \u003C/p>\u003C/div>\u003C/div> \u003Cdiv class=\"row justify-content-center mt-5\">\u003Cdiv class=\"col-12\">\u003Ch2 class=\"full-width \">Using MiniBrute 2S\u003C/h2> \u003Cp class=\"quote boldnbig full-width \">This thing is definitely worth every penny.\u003C/p>\u003C/div> \u003Cdiv class=\"col-12 col-sm-6 mt-4\">\u003Ch3 class=\"mt-3\">_Sound design\u003C/h3> \u003Cimg src=\"https://medias.arturia.net/images/stories/jorg-huttner/SoundDesign.jpg\" error=\"function(){return function(){}}\" alt=\" \" class=\"img-responsive mx-auto p-3 \"> \u003Cp class=\"quote \">I mostly use it for more dirty sequences and to create “drive” in a piece\n                                I’m working on. Obviously it needs to be music that allows the use of synthetic sound\n                                sources, which is not always the case, but like the MatrixBrute it finds its spot.\n                            \u003C/p> \u003Cp class=\"quote \">The fact that it has 64 steps allows you to use it in odd time signatures\n                                or with enough variety to not get too repetitive, which can be a problem in music for\n                                media. I just did some more industrial-influence tracks for fun a few weeks ago and it\n                                was all over those.\u003C/p>\u003C/div> \u003Cdiv class=\"col-12 col-sm-6 mt-4\">\u003Ch3 class=\"mt-3\">_Sequencing beast\u003C/h3> \u003Cimg src=\"https://medias.arturia.net/images/stories/jorg-huttner/Sequencing.jpg\" error=\"function(){return function(){}}\" alt=\" \" class=\"img-responsive mx-auto p-3 \"> \u003Cp class=\"quote \">MiniBrute 2S is packed with features I love. The sequencer, in\n                                particular, it’s really versatile and laid out really nicely. It’s very easy to edit\n                                things and to expand the sequence past the 16 steps interface. Also the sound of the\n                                unit itself is really good. I especially love the “Brute” knob, which sounds different\n                                than the MatrixBrute, since it sits at different points in the sound engine.\n                            \u003C/p> \u003Cp class=\"quote \">The modulation matrix field on the right is also really cool. I use this\n                                to trigger the sequencer of the MiniBrute 2S via the Expert-Sleepers system in my\n                                Eurorack modular, so I can have total control of timings.\u003C/p>\u003C/div> \u003Cdiv class=\"col-1é col-sm-6 mt-4\">\u003Ch3 class=\"mt-3\">_Wired-up analog mutant\u003C/h3> \u003Cimg src=\"https://medias.arturia.net/images/stories/jorg-huttner/Analog.jpg\" error=\"function(){return function(){}}\" alt=\" \" class=\"img-responsive mx-auto p-3\"> \u003Cp class=\"quote \">I often use patch cables to route the LFOs to different parameters than\n                                they are hard-wired to control, or I exchange the envelopes for instance. I also use\n                                additional time-synced LFOs from my modular system as modulation sources via the\n                                matrix. It just expands the possibilities with other modular gear.\u003C/p>\u003C/div> \u003Cdiv class=\"col-12 col-sm-6 mt-4\">\u003Ch3 class=\"mt-3\">_Avoiding “writer’s block”\u003C/h3> \u003Cimg src=\"https://medias.arturia.net/images/stories/jorg-huttner/Film.jpg\" error=\"function(){return function(){}}\" alt=\" \" class=\"img-responsive mx-auto p-3 \"> \u003Cp class=\"quote \">The interesting thing about inspiration and coming up with ideas is that\n                                if you’re not on a deadline you can simply have days where nothing comes up. With a\n                                deadline approaching, you simply cannot afford this to happen, so I try to work on\n                                something by either creating a sound or putting a simple sequence into my music\n                                software, or taking a piano sound or similar and playing around. Inspiration will hit -\n                                you just need to be patient for a little. It can also start with reworking an existing\n                                piece of music in the project for a different visual cue.\u003C/p>\u003C/div>\u003C/div>\u003C/div> \u003Cdiv class=\"row justify-content-center align-items-center mt-4\">\u003Cdiv style=\"padding: 0px; width: 11.1%;\">\u003Cimg src=\"https://medias.arturia.net/images/stories/jorg-huttner/poster1.jpg\" error=\"function(){return function(){}}\" alt=\" \" class=\"img-responsive mx-auto  \">\u003C/div> \u003Cdiv style=\"padding: 0px; width: 11.1%;\">\u003Cimg src=\"https://medias.arturia.net/images/stories/jorg-huttner/poster2.jpg\" error=\"function(){return function(){}}\" alt=\" \" class=\"img-responsive mx-auto  \">\u003C/div> \u003Cdiv style=\"padding: 0px; width: 11.1%;\">\u003Cimg src=\"https://medias.arturia.net/images/stories/jorg-huttner/poster3.jpg\" error=\"function(){return function(){}}\" alt=\" \" class=\"img-responsive mx-auto  \">\u003C/div> \u003Cdiv class=\"hide-sm\" style=\"padding: 0px; width: 11.1%;\">\u003Cimg src=\"https://medias.arturia.net/images/stories/jorg-huttner/poster4.jpg\" error=\"function(){return function(){}}\" alt=\" \" class=\"img-responsive mx-auto  \">\u003C/div> \u003Cdiv style=\"padding: 0px; width: 11.1%;\">\u003Cimg src=\"https://medias.arturia.net/images/stories/jorg-huttner/poster5.jpg\" error=\"function(){return function(){}}\" alt=\" \" class=\"img-responsive mx-auto  \">\u003C/div> \u003Cdiv style=\"padding: 0px; width: 11.1%;\">\u003Cimg src=\"https://medias.arturia.net/images/stories/jorg-huttner/poster6.jpg\" error=\"function(){return function(){}}\" alt=\" \" class=\"img-responsive mx-auto  \">\u003C/div> \u003Cdiv style=\"padding: 0px; width: 11.1%;\">\u003Cimg src=\"https://medias.arturia.net/images/stories/jorg-huttner/poster7.jpg\" error=\"function(){return function(){}}\" alt=\" \" class=\"img-responsive mx-auto \">\u003C/div> \u003Cdiv style=\"padding: 0px; width: 11.1%;\">\u003Cimg src=\"https://medias.arturia.net/images/stories/jorg-huttner/poster8.jpg\" error=\"function(){return function(){}}\" alt=\" \" class=\"img-responsive mx-auto  \">\u003C/div> \u003Cdiv style=\"padding: 0px; width: 11.1%;\">\u003Cimg src=\"https://medias.arturia.net/images/stories/jorg-huttner/poster9.jpg\" error=\"function(){return function(){}}\" alt=\" \" class=\"img-responsive mx-auto  \">\u003C/div>\u003C/div> \u003Cdiv class=\"container \">\u003Cdiv class=\"row justify-content-center align-items-center \">\u003Cdiv class=\"col-12 col-sm-8 mt-5 mb-4\">\u003Ch3>_Music for film\u003C/h3> \u003Cp class=\"quote \">The way I approach sound design for films varies very heavily from\n                                project to project. For “How It Ends” Atli Örvarsson just needed sounds from me, which\n                                meant I didn’t see much of the movie at all, while on “The Mortal Instruments” I did\n                                synth programming and electronics over his existing orchestra ideas to picture. That\n                                was great fun, especially as I got asked to “go to 11!” On other projects I write\n                                additional music, like the documentary “Cries From Syria” by composer and cellist\n                                Martin Tillmann. For this one, I also designed sounds for rather sobering scenes of\n                                chemical attacks, which was not an easy movie to watch while scoring. The idea here was\n                                to capture the eerie scenery with some subtle but anxious sounds. The entire music team\n                                received an Emmy nomination this year, which was a great honor. Outside of working with\n                                other composers, I work on my own compositions for trailer music, production libraries\n                                and also movies as composer.\u003C/p>\u003C/div>\u003C/div>\u003C/div>\u003C/div>\u003C/div>\u003C/section>\u003C/div>",[58,68],{"ordering":59,"id":60,"quote":61,"artist":62},99,4511,"MiniBrute 2S takes step-sequencing it to a new level. The sound quality, flexibility and power of this thing cannot be understated and it’s already become one of the few ‘go to’ weapons in my set up.",{"id":63,"name":64,"band":65,"thumbnail_name":66,"types":67},1751,"Ade Fenton","Producer (Gary Numan)","Ade_Fenton-thumb.jpg",[],{"ordering":59,"id":69,"quote":70,"artist":71},4535,"Real analog gratification, with an organic yet gnarly tone. Very quickly creates inspiration and a joy to tweak and play with.",{"id":72,"name":73,"band":74,"thumbnail_name":75,"types":76},1868,"Euan Dickinson","Massive Attack collaborator","Euan_Dickinson-thumb.jpg",[],[78,86,93,100],{"id":79,"title":80,"description":81,"category":82,"ordering":59,"preset_description":47,"genre":47,"file":83,"artist":47},42401,"Crystal Duophonic","","sound_corner",{"id":84,"url":85},11075,"https://audios.arturia.net/audios/Crystal_Duophonic_Victor_Morello_c8f24e5e79.mp3",{"id":87,"title":88,"description":89,"category":82,"ordering":59,"preset_description":47,"genre":47,"file":90,"artist":47},42404,"Duophonic Access","All you hear comes from one instance of MiniBrute 2s. VCO 1 is used both as a bassline and kick drum sound, while VCO 2 pitch is fixed. The sequence is then transposed in real time to generate melodic movement.\nExternal effects used : Filter Delay from Ableton.",{"id":91,"url":92},11078,"https://audios.arturia.net/audios/Duophonic_Access_Victor_Morello_6c7d281ae7.mp3",{"id":94,"title":95,"description":96,"category":82,"ordering":59,"preset_description":47,"genre":47,"file":97,"artist":47},42407,"Glitch Brkbt","Quick jam with one heavily patched instance of MiniBrute 2s, showing the more experimental side of the instrument's sound palette. Filter audio rate FM, envelope time modulation, brute factor...\nThe added drum loop comes from Ableton.",{"id":98,"url":99},11081,"https://audios.arturia.net/audios/Glitch_Brkbt_Victor_Morello_42aaafd2c6.mp3",{"id":101,"title":102,"description":103,"category":82,"ordering":59,"preset_description":47,"genre":47,"file":104,"artist":47},42410,"Obsessions","This melodic electro piece was created using 15 Tracks of MiniBrute 2s. No external samples nor instrument were used.\nExternal effects used : Reverb, EQ and Filter Delay from Ableton.",{"id":105,"url":106},11084,"https://audios.arturia.net/audios/Obsessions_Victor_Morello_26b9a7c113.mp3",[108,112,115,119,123,125,127],{"id":109,"image_path":110,"image_alt":111},2438,"/images/products/v-collection-6/mipa-2018.jpg","aw1",{"id":113,"image_path":114,"image_alt":111},2441,"/images/products/minibrute-2s/Award_BestProduct_2018.jpg",{"id":116,"image_path":117,"image_alt":118},3179,"/images/awards/mipa-2018-2.png","mipa-2018-2",{"id":120,"image_path":121,"image_alt":122},3185,"/images/awards/audiofanzine-2018.png","audiofanzine-2018",{"id":124,"image_path":117,"image_alt":118},3194,{"id":126,"image_path":121,"image_alt":122},3200,{"id":128,"image_path":129,"image_alt":47},3482,"/images/products/minibrute-2s/minibrute-2s-gearnews-best-synth-for-beginners-2023.png",[131],{"ordering":59,"id":132,"quote":133,"products":134,"press":138},3485,"Minibrute 2S sounds good—though the synth's architecture is simple, there's a lot you can do with all that sequencing muscle.",[135],{"id":136,"documentId":137,"name":9},1163,"rhjjje8hqdi1v83ktb9jta34",{"id":139,"name":140,"image_path":141},410,"Resident Advisor","/images/logo-press/residentadvisor.png",1779376255908]