Click here to view the video on YouTube.

This tutorial shows you how to recreate Beyonce’s Back to Black Bass using Native Instruments’s Massive Synth. As a 3-Oscillator patch with minimal effects, this is an awesome bass sound that does a great job of using custom envelope shapes to subtly highlight the different aspects of the sound. This NI Massive Back to Black Bass can be used in a number of creative ways straight out of the box, but try experimenting with different effects and filters to and make a truly one of a kind bass sound.

Start the NI Massive Back to Black Bass by setting the Wt-position and Intensity of OSC1 to 60%, and the Amp to 85%. Assign OSC2 a Roughmath II Wavetable and set the Wt-position to 40%, the Intensity to 95%, and the Amp to 50%. OSC3 should be assigned an Additivmix 1 Wavetable with the Pitch dropped to -12 semitones (an octave). Set both the Wt-position and Intensity to full, and drop the Amp to about 70%. Activate the Modulation OSC and turn the Phase on for Oscillator 2.

The NI Massive Back to Black Bass effects are pretty straight forward. Filter 1 should be assigned a Lowpass 2 filter. Turn the Cutoff all the way down, and set the Resonance to about 20%. Assign a Tele Tube distortion to FX1 and set the Dry/Wet to 60%, the Drive to 30%, and the mix left at 50%. Enable the EQ and lower the High Shelf to 30%, but slightly boost everything else. Activate the Noise module, and set the Amp to 50%. Insert 1 should be assigned a Sine Shaper, and the Dry/Wet set to 25% with the Drive set to 40%.

Finally, Envelope 3′s parameters should be Delay all the way down, Attack at 30%, Attack Level at 75%, Decay at 40%, Decay Level at 20%, and Release set to 80%. Assign Envelope 3 to modulate the Cutoff of Filter 1 completely. For Envelope 4, turn both the Delay and the Attack all the way down, but set the Attack Level at full, the Decay at 35%, the Decay Level to 70%, and the Release to 50%. Set LFO 5 to a Ratio of 1 over 32, and choose both Curve Selects to be Sine wave. Enable Pos, Sync, and Restart. Assign LFO 5 to modulate the Amp of OSC3 by a little amount. This completes the NI Massive Back to Black Bass.

The post Recreating Beyonce’s Back to Black Bass using NI Massive appeared first on Native Instruments Massive tutorials.

Are you looking for beautiful soundscapes and drifting chords in a Boards of Canada style sound ?

Various older analogs have inaccuracies. Massive out the box has a clean/digital sound to it. We’ve built these sounds from the ground up to include inaccuracies and defects inherent in older analog synths. The sounds themselves have been inspired by countless hours of listening to BoC’s albums to give you a rich bank of beautiful sounds.

What’s Included?

The 50 preset Massive bundle on offer here included 10 Arps, 8 Bass, 4 FX, 6 Keys, 3 Plucks, 9 Sequenced Pads, 10 Sustained Pads .

As of right now you can get your hands on this product for only $17.

The post Hexagon – 50 Analog / Boards Of Canada Inspired Sounds for NI Massive appeared first on Native Instruments Massive tutorials.

Click here to view the video on YouTube.

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.

Click here to view the video on YouTube.

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.

Click here to view the video on YouTube.

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 Scrap Yard NI Massive Wavetable Sound Design – Bass appeared first on Native Instruments Massive tutorials.

Click here to view the video on YouTube.

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 Prometheus Movie Sound Design – Designing an NI Massive Prometheus Siren appeared first on Native Instruments Massive tutorials.

Click here to view the video on YouTube.

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.

Click here to view the video on YouTube.

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.

The post How Did Feed Me & Gemini Design The Whiskers Bass? Here’s Something Similar Using NI Massive! appeared first on Native Instruments Massive tutorials.

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.

Click here to view the video on YouTube.

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.