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Sometimes building a great sounding Massive Patch just isn’t enough. It may take a bit of zing to make it stand out amongst all the other sounds. In this video tutorial, YouTube user LeviWhalenMusic describes how he used an array of effects to come up with the NI Massive Electro Bass sound for his track It’s all Beautiful.

The bass sound presented is heavily reliant upon Ableton Live’s built-in effects, but it also makes use of multiple third party effects, such as Dada Life’s Sausage Fattener and iZotope’s Alloy. Don’t be alarmed by the tutorials reliance on Ableton Live, as most DAWs are capable of reproducing a similar sound. The key concept of this video is to realize that using effects on a patch or sound can transform them into something unique.

The post Using Effects to Transform an NI Massive Electro Bass appeared first on Native Instruments Massive tutorials.

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This tutorial demonstrates how to create an NI Massive Trance Bell Lead. This is a great sound for those looking for a Trance lead that offers a little bit of airy darkness. The NI Massive Trance Bell Lead uses three Oscillators with the third Oscillator being Pitch shifted up 17 semitones. The Dissonance this creates, along with the delay and reverb, help to provoke a subtle feeling of eeriness.

Start the NI Massive Trance Bell Lead by assigning OSC1 a Square-Saw II and a Bend -/+ mode. Set the Wt-position to about 90% and drop the Amp to 50%. Assign OSC2 an Additivmix 1 Wavetable and a Bend -/+ mode. Set the Wt-position of OSC2 all the way up, the Intensity to 90%, and the Amp to about 70%. OSC3 should be assigned a Woody Wavetable with a Formant mode, and the Pitch raised to 17. Set Wt-position to full, Intensity to 90%, and the Amp to around 35%.

Set Filter 1 to a Lowpass 4 Filter. Max the Cutoff and set the Resonance to about 25%. Assign FX1 a Delay Synced effect, and set the Dry/Wet to 25%, the Damp to 50% and the Feedback to 50%. The Left Delay Sync should be set to 1 over 4, and the Right Delay Sync to 1 over 16. Set FX2 to Reverb, and set all the parameters to 50%. Turn on the EQ of the NI Massive Trance Bell Lead and slightly boost all the parameters.

You will then want to turn on the Feedback module, and set the Amp to about 20%. Insert 1 should be assigned a Hardclipper with the Dry/Wet set to 30% and the Drive set to 30%. Assign Insert 2 an HP LP Filter and set both the Hp and Lp to about 30%. This completes the build of the NI Massive Trance Bell Lead. If you have any questions or comments, feel free to post them in the discussion forum (link is below).

The post Creating an Eerie Trance Bell Lead using NI’s Massive appeared first on Native Instruments Massive tutorials.

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This video tutorial demonstrates how to create an NI Massive Scrap Yard Bass. Although it’s not exactly the same, this sound is similar to the bass used by the artist Eptic in the song Like a Boss. Utilizing only a single Oscillator, this Massive patch leaves a lot of room for tweaking.

Start the NI Massive Scrap Yard Bass by assigning OSC1 a Scrap Yard Wavetable. Drop the Pitch -36 semitones (3 Octaves) and set the Wt-position to 80%. Turn on the Modulation OSC and set the Phase to affect Oscillator 1. Set the phase level to around 10%. Turn on the Feedback and set the Amp to 30%.

Filter 1 of the NI Massive Scrap Yard Bass should be assigned a Scream Filter. Max the Cutoff, turn the Scream down completely, and set the Resonance to about 30%. Assign a Classic Tube distortion to FX1, and set the Dry/Wet to 20% and the Drive to 50%. FX2 should be assigned a Dimension Expander with the Dry/Wet set to 30% and the Size set to 50%. Turn on the EQ and slightly boost all the parameter levels.

Set LFO 5 with a Ratio of 1 over 2. Enable Sync and Restart, turn the Amp all the way up, and set the XFade Curve to about 90%. Move the Sine Wave to where the the peak is aligned in the middle. Assign LFO 5 to modulate the Cutoff of Filter 1 completely. Set Envelope 1 so that the attack is at 30%, the decay is at 20%, and the decay level all the way up. Then assign Envelope 1 to modulate the Pitch of OSC1 by 6 semitones. For Envelope 2, set the Attack to 30%, the Decay Level all the way up, and the Release turned down all the way. Then assign Envelope 2 to modulate the Scream parameter of the Scream Filter, and to modulate the Wt-position of OSC1. That is all for the NI Massive Scrap Yard Bass. Maybe try adding another Oscillator, or tweaking the filters to suit your production needs.

The post Designing an NI Massive Scrap Yard Bass appeared first on Native Instruments Massive tutorials.

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This tutorial demonstrates how to create an NI Massive Prometheus Siren. This gliding sound makes use of 3 different envelopes that affect all three Oscillators. The NI Massive Prometheus Siren is a great sound that offers insight into how envelopes can be used to help create a rich and dynamic sound!

Start by raising the Pitch of OSC1 up and octave, and dropping the Wt-position all the way down. Activate OSC2 and assign it a Silver Wavetable with a Formant mode. Activate OSC3 and assign it a Chrome Wavetable with a Formant mode. Raise the Pitch of OSC3 by 12 semitones (an Octave). For both OSC2 and OSC3, lower the intensity to 80% and lower the Amp to around 70%.

For Envelope 1, set the Decay and the Decay Level to around 90%. Set the Release to 70% and the Attack to around 30%. For Envelope 2 set the Decay to about 70% and set the Decay Level to about 90%. Set the Release to about 70%. For Envelope 3, set the Delay to around 40%, the Attack to 55%, the Decay to about 55%, and max the Decay Level.

Envelope 3 should be set to Modulate the Decay Levels’ of both Envelope 1 and Envelope 2 fully. Then, set Envelopes 1 and 2 to modulate the Pitch of each Oscillator by an Octave (12 semitones). You should now be able to hear the NI Massive Prometheus Siren start to sing!

Add a Parabolic Shaper to Insert 1 and set the Dry/Wet to about 25% and the Drive to 55%. Insert a Reverb effect into FX2, and adjust accordingly to fit your mix. You may want to consider adding a distortion effect or a bit of phasing to create a more dynamic NI Massive Prometheus.

The post Designing an NI Massive Prometheus Siren appeared first on Native Instruments Massive tutorials.

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NI Massive is a great tool to use for designing Dub Tech Bass synths, and this tutorial shows just how easy it is to make something special. The deep, warm and analog feel of this style of sound is the backbone of many popular music genres and once you have successfully recreated the sound showcased in this video, you should be able to begin building your own sounds in a similar vein. This is not just a sound for Dub Tech, nor is it necessary to use exactly the same wavetables or effects for your sounds. So you should feel encouraged to spend some time experimenting with and exploring this incredibly deep synth and see what else you can come up with on your own.

This Dub Tech bass starts out with a HardSync wavetable loaded into OSC1, with the pitch dropped two full octaves. Then, a Reducer wavetable is loaded into OSC2, set to run in Formant mode and with the pitch set to 5.00 which provides us with a nice chorded effect. A default Square-Saw I wavetable is loaded into OSC2, with the pitch dropped to -7.00 which is in key with the second oscillator. These oscillators are routed in equal measure to both Filter1 and Filter2. A Lowpass filter is loaded into Filter1 and a Comb filter is loaded into Filter2. The filters are set up to run in serial mode, but can also be modulated between serial and parallel for a nice effect.

A Modulation Envelope is set up and assigned to modulate the Cutoff parameter of Filter1. A second Modulation Envelope is set up and assigned to control a three octave pitch bend across all three of the oscillators. These two envelopes provide a lot of the character and desired delivery for our Dub Tech bass. A Classic Tube Amp is loaded into the FX1 tab for some drive and grit, while a Synced Delay unit is loaded into the FX2 tab to really extend the sound and gives us a lot more depth. The total number of Unison Voices is increased to three and are spread out via the Pict Cutoff feature on the Voicing tab. The synth is also set to run in Monophonic mode with just a small amount of Glide (set on the OSC tab).

Cheers,
OhmLab

The post Designing Professional Dub Tech Bass Synths with NI Massive appeared first on Native Instruments Massive tutorials.

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This video tutorial demonstrates how to create an NI Massive Whiskers Bass. This synth is reminiscent of the bass synth used by the artists Feed Me & Gemini in their song called Whiskers. The NI Massive Whiskers Bass is a dirty bass that uses a Performer to modulate the Scream Filter’s parameters to give it a really intense gritty sound.

Start by assigning OSC1 a Modern Talking Wavetable. Turn the Wt-position all the way down, and lower the Intensity to about 60%. Assign OSC2 a Deep Throat Wavetable and assign it a Bend -/+ Mode. Turn down the Pitch of OSC2 to -22.00, and lower the Amp to about 70%. You will want to add the Modulation OSC to the NI Massive Whiskers Bass and lower the Pitch to -24.00 (2 Octaves). Turn Phase Mode on for Oscillator 1, and set the Phase to around 20%.

Assign a Scream Filter to Filter 1, turn both the Cutoff and Scream parameters all the way down, and set the Resonance to about 30%. Set Modulator 5 as a Performer, and assign it to Modulate each parameter of Filter 1. Experiment with the amount of modulation and the shape of the Performer Curve to achieve the best results. The NI Massive Whiskers Bass Performer Ratio should be set to 12, and the number of Voices to 4.

Next, add a Brauner Tube distortion to FX1, and a Dimensions Expander to FX2. With the Brauner Tube, lower the Dry/Wet to around 20%, and raise the Drive to around 60%. Set the Dry/Wet of the Dimension Expander to 30%. Open the EQ, and slightly raise the High Shelf. Add a Frequency Shifter to Insert 1 and the NI Massive Whiskers Bass is complete.

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Inspiration from this pack has come from biggest artists such as Skrillex, Kill The Noise, Pegboard Nerds, Knife Party, Zomboy, Noisia and many more…

But we aren’t just talking quick bass presets here.

Get ready to get a broad range of growls, reeses, grunts, snarls, roars and howls with carefully crafted modulations to spice up your next level tune.

Each patch comes mapped with between 4 to 8 macros assigned to allow a quick control of the essential aspects of your sound, and offer you countless possibilities of tweaking.

Perfect for pro users who needs high quality sounds, as well as for the beginner who needs the most usable sounds to make any track sound like the pro’s. It’s also great for educational purposes teaching users how to design their own synths while getting the most out of Massive.

Bonus items

Whether you want ready made presets to slot straight in to your work with no fuss, or want to get deep into processing with external effects to create your own unique sound design, this outstanding pack is a must to bring back to your lab, fire up your equipment and create living, breathing growling basses of your own!

The sounds in the above demo are straight out of massive – NO EQs, NO compressors, NO effects whatsoever : Just Massive and a bit of automation tweaking!

We have 3 demo sounds from the pack for you to try!

Download 3 demo sounds here

What’s in the collection:

• 40 growly basses
• 4 Sequenced leads
• 2 Subs
• 1 Ableton growl audio effect rack (using only Ableton 8 native fx)
• txt file containing advises about growl processing techniques
• 17 growl audio clips

As of right now you can get your hands on this product for only $19.

The post Tunecraft Sounds presents Massive Growl Arsenal – dubstep, glitch hop, drum and bass, electro, complextro appeared first on Native Instruments Massive tutorials.

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This tutorial will show you how to create an NI Massive Lead Horn synth. A strong sounding lead that cuts easily through the mix. This Massive Lead is made using only one oscillator and a couple of effects. The minimalism of this patch leaves room for adding your own unique twist to an already amazing sound!

To start the NI Massive Lead Horn, drop the Pitch of OSC1 to -24.00 (2 octaves) and boost the Wt-position to full. Assign Filter 1 a Comb filter, turning the Damping to halfway while boosting the feedback to full. Assign a Low Pass 4 to Filter 2 and turn everything all the way down.

For the effects, assign a Tele Tube distortion to FX1 and a Reverb to FX2. For the Tele Tube, turn the Dry/Wet and Drive all the way up. Turn on the EQ and turn off the Low Shelf, max the Boost, slightly boost the Frequency, and boost the High Shelf to around 70%. You will want to mess with the settings of the Reverb and the EQ to fit the NI Massive Lead Horn properly in your mix.

Drag envelope 1 to the Pitch of OSC1, and drop it down to -12. For the Envelope setting, turn the Delay all the way down, and drop both the Attack and Level all the way down. Set the Decay to around 25% and turn the level all the way up. Turn the S Loop Level all the way up and slightly drop the Release. As for Envelope 4, turn the Attack and Release all the way down. And now you have a new NI Massive Lead Horn!

The post Designing an NI Massive Lead Horn appeared first on Native Instruments Massive tutorials.

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This video tutorial will show you how to make an NI Massive Wet Bass synth. A great sounding bass that can be tweaked easily to fit your musical needs. The NI Massive Wet Bass uses a lot of effects, as well as a lot of modulation. You should spend some time adjusting the amounts of modulation to hone in on the perfect sound.

To start the NI Massive Wet Bass, turn on all three Oscillators and set their Pitch to -12. OSC1 should be assigned a Groan II Wavetable and a Bend -/+ Mode. Set the Wt-position to 40%, the Intensity to 60%, and the Amp to full. OSC2 should be assigned a Grain II Wavetable and a Bend -/+ mode. Set the Wt-position to 65%, the Intensity to 45%, and the Amp to 80%. OSC3 should be assigned a Melofant Wavetable and the mode should be left on Spectrum. Set the Wt-position to 60%, the Intensity to 50%, and the Amp to 60%.

Next, assign Filter 1 a Double Notch Filter, and set the Cutoff to 35% and the Resonance to 40%. Assign Filter 2 a Bandreject Filter, and set the Cutoff to 50%, the Bandwidth to 50%, and the Resonance to 25%. Set the Mix in the middle, so that the NI Massive Wet Bass is mixed by both filters equally.

The NI Massive Wet Bass uses a lot of effects. FX1 should be assigned a Tele Tube distortion, and the Dry/Wet should be slightly lowered. FX2 should be assigned a Chorus. The Dry/Wet should be lowered to 20%, and the Rate should be lowered slightly. Turn on the EQ and slightly boost both the Low Shelf and the High Shelf. Insert 1 should be assigned a Hardclipper, and the Dry/Wet should be lowered to 20%. Insert 2 should be given a Bitcrusher and both the Dry/Wet and Crush should be at the lowest values. Turn on the Modulation OSC and drop the Pitch to -12. Enable Phase on OSC3, and turn the Phase level to around 15%.

Under the OSC tab, enable Restart Via Gate, and assign each Oscillator a different Oscillator Phase. OSC1 should be assigned 90, OSC2 should be assigned 270, and OSC3 should be assigned 180. Next, you will want to change an LFO into a Performer and assign it to modulate the Dry/Wet of Insert 2 (Bitcrusher), the Cutoffs and Resonances of both Filter 1 and Filter 2, the Bandwidth of Filter 2, the Wt-Position of OSC3, the Intensity of all the Oscillators, and the Amp of OSC1 and OSC2. You should experiment with the amounts of modulation in order to achieve the best sounding NI Massive Wet Bass. If you find that you are having trouble, you may want to consult the video or ask for help on the forums.

The post Designing an NI Massive Wet Bass appeared first on Native Instruments Massive tutorials.

There are many ways to create impressive explosive sounds in NI Massive. This quick lesson in how to synthesize a bomb explosion shows just one way and utilizes a few key features within the synth that can be used in many variations of this same idea. It only takes a few minutes to really nail a sound like this one, but to make it impressive requires a bit more work outside of the synth itself. So once the sound design portion of this tutorial has been completed, I will share a couple of pro tips to help you make it bigger and much more believable!

Normally I begin a sound design session in NI Massive with setting up the oscillators, but for this type of sound I generally like to start by setting up the envelopes. There will be two main envelopes used in this lesson. The first is this Modulation Envelope you see in the image below. It will be used to help shape the delivery of the sound and is essential to making it more realistic. After all, if you are going to synthesize a bomb explosion it needs to come across just right or it just sounds lame.

This next image shares the Main Amp Envelope curve. Notice that both of these envelopes have the Zero Trigger Reset feature engaged.

Next, the main oscillators are set up. In this example I have chosen to use a Square-Saw I wavetable loaded into OSC1, a Crusher wavetable loaded into OSC2 and a Carbon wavetable loaded into OSC3. Many other wavetables could have been used to achieve similar results, so you definitely experiment with others to find your own variation on this sound. There is great flexibility when you attempt to synthesize a bomb explosion in NI Massive. You can also see that the Modulation Envelope we set up earlier has been assigned to control to Intensity and Amp knobs of each of the oscillators. One more thing to take note of before moving on is the filter routing assigments for each oscillator.

Now we can set up the Filter1 panel with a Lowpass4 filter and adjust the Cutoff parameter accordingly.

We are about to add some Feedback, Insert Effects and noise, so setting up the Routing tab first will allow us to control how these things affect our sound overall.

Brown Noise and Feedback are introduced at this point. The Feedback is especially integral to synthesize a bomb explosion properly.

A Sine Shaper insert effect and a Hardclipper insert effect are added to provide more grit and drive to the sound.

The total number of Unison Voices is increased to two on the Voicing tab.

The Restart Via Gate feature is enabled on the OSC tab and the starting position of OSC1 is set. It is absolutely necessary to have this type of sound delivered exactly the same each and every time it is triggered. To synthesize a bomb explosion like this is an exercise in understanding how a sound like this actually works in the real world and then trying to recreate every part of the mechanics behind it.

The last step in designing this explosion is to set up a Dimension Expander on the FX1 tab, a Reverb on the FX2 tab and the finish shaping the sound with the EQ unit. If you have been following along with the lesson up to this point you will know that although the sound is pretty good, it is nowhere near great. So we need to spend a little time spicing it up with some additional processing in your DAW.

Parallel processing is the key to making ti all come together. It helps preserve the original sound and the dynamics, while increasing impact and presence. Below is an image of the mixer board setup, as well as the setup for each of the three plugins used. An EQ is placed directly on the sound’s channel. A compressor and a reverb unit are both loaded onto auxiliary channels which we rout the sound to via individual busses. The sends happen Pre Fader and the setting of the compression and reverb are extreme, but since they are layered with the original sound at a lower volume level it all works out just fine. Keep in mind that there are any number of things you can also do to intensify this sound or otherwise tweak it to your liking. EQ, compression and reverb are just the basics and you should expand upon what we’ve done here to make it your own.

Here is the final sound.

Cheers,
OhmLab

The post How to Synthesize a Bomb Explosion Sound in NI Massive appeared first on Native Instruments Massive tutorials.