NI Massive is still so good for basses..
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- Опубликовано: 8 фев 2024
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My coolest gear:
Headphones - Audeze LCD-X
Amplifier - Burson Playmate 2
Microphone - Shure SM7B + Fethead Preamp 
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I own Phasplant, but still to this day, I use Massive for 95% of bass sound design, because i know it like the back of my hand.
heres a couple things:
2:55 Env 4 is routed by default to the master amp and the bypass amp, you can change that, but you should always have one of the Envelopes set on both, because if you don't the sound will play indefinitely. There may be instances where you want the master amp and bypass amp to be set to different envelopes.
The bypass can be used for clean subs, among other things, by default it is set to Osc 3, but that can be changed in the routing matrix. The amp knob on the Osc is independent of the signal send to the bypass bus, so you can have one of your oscillators bypass the entire patch and only mix back in at the very end, or you can send it through both signal paths. The bypass bus can be mixed back in at any point before, after, or in the middle of the 2 out fxs and eq, via the routing matrix.
5:20 the middle two knobs on the eq are just a bell curve. knob 2 is the gain -/+, and knob 3 is the frequency the bell is centered on. I do wish there were controls to change the frequencies of the low/high shelves, but that middle bell eq can be very powerful when you combine it with automation/modulation.
10:45 the white noise osc in Massive is really good. the standard white noise can be a little too full bodied and harsh to add top end grit, so I usually switch it to bright noise. Some of the other modes worth checking are Tape noise, which adds a little more character to the noise, Paper noise, which adds some really chaotic grit, and Murmer which is really fun for wacky ambient sound design.
The routing matrix is really good. you can change where the 2 insert effects are in the signal change, where the Feedback knob pulls sound from in the signal chain to mix it back in at the beginning, and all kinds of other things especially when you start playing with the various signal sliders scattered about the interface. First slider, >F2, just to the left of the filters, toggles whether the filters are processing in serious or parallel (up parallel, down serial), and its not an on/off, so if you set it in the middle, you're getting a mix of series and parallel at the same time, which is pretty wacky. Mix, to the right of the filters, controls the mix between F1 out and F2 out, so you can level mix your parallel filters, or bring F2 in or out in serial processing, and you can automate/modulate it, which is great. The sliders to the right of all 3 Osc's, the Noise, and the Feedback control the send mix to F1 vs F2 (up being full F1, down full F2, and middle being both equally) which is useful for parallel processing.
One cool idea for parallel processing which you could implement on this patch is modulating your noise oscillator. With the >F2 send slider all the way up (parallel), send you regular oscillators all through filter 1 only (sliders up), and send noise to filter 2 only (slider down). set filter 2 to high pass, and use the Modulation OSC Filter FM on filter 2, then set the Mod osc to either your root note, or even an octave down. As the filter modulates open/closed, it will make the overall volume of your noise osc bus modulate with the root note you are playing, giving it extra grit and making it sound more like a part of the whole sound. After they recombine, you can add distortion inserts and a feedback channel to really gritty everything up, and use the Mix slider to the right of the filters to dial in how much noise is coming through the signal. From here, if you want, you can even add a stable sine wave sub by activating OSC 3, turn its mix knob all the way down, and turn up the bypass slider to bring in OSC 3 after all the processing. Once you have all that going on, you can go back to the OSC tab and start playing with the wave phase triggers to see how different wave phases interact with each other to change the sound, just remember the wave phase trigger only updates when a new note chain triggers, so you do have to keep restarting the sound to hear the change.
While I'm at it, I want to point out one wacky experimental thing Massive has, but I almost never touch because the interface for it is clunky. the KTR OSC and KTR FLT tabs let you change the keytracking behavior of the oscillators and filters (which keytrack in key by default, great feature you dont get with most standalone filters), The problem is that it's impossible to be precise at all while changing that keytracking, and once you change it on a patch you'll never be able to get it back to proper on that patch, so you'll have to throw the whole patch out if you need it back to default. It's really interesting for experimental stuff, but not as useful outside of that.
My man. I'll keep getting back to your comment when I open Massive !
and i'll be coming back for your video, when i fire up the old Massive .. nice work mate!! @@ModestIntentions
@@ModestIntentions I also completely forgot to mention Macro knobs. You mentioned that if you go crazy changing knobs on your patch, you may have a hard time getting back to what you originally had, well just use a Macro knob. take an unasigned one, and assign it to the knob you want to tweak. turn the macro knob all the way up and start dialling in the change amount. you can take the same macro knob and assign it to other parameters aswell to push the sound, but you will always be able to return to the original positions by turning the macro knob down, then you end up with a one-knob macro that you can automate to change up the sound.
@@ModestIntentions also, thanks for the pin 😁
Sometiems I think you are a brotha from another motha, Martin. I was dissatisfied with Serum for a long time and couldn't quite tell why. I used to make absolute killer basses when I started and everyone was using massive. That's what I learned all patch design on. Then came Serum and all my basses didn't suck at best but nothing special, nothing astounding. (And I have to say, I have never heard a Serum bass that made me go WOW!!!!! EVER!)
Middle of last year I decided to install Massive again and it was clear as day. Serum Basses sound lifeless and sterile compared to Massive, they lack lowend and ACTUAL MUSICAL MELODIC BASS. While Massive is limited in some ways and the sounds sound less pure(not a bad thing imo), it makes way for more awesome bass overall. I also love the sound of all of the effects.
Thanks for the video. Always appreciated when you share your knowledge, especially on Massive. Ive been looking for good tutorials on massive that deal with more modern and contemporary bass design, but my research was rather fruitless. Mans always coming through with the JUICE for the team.
You’re a force to be reckoned with! Loving your videos and this massive one is just 👌
Thanks man! Let's keep finding this algorithm so I can make more of them! Appreciate your support!
Wow. Thanks. I have really improved in doing basses in seb bank
My basses will never gonna be the same again bcuz uf u bro, hi from Germany, awesum
A comment in support of my teacher and just a friend, yes, Martin's friend!keep it up !Great guide, deep bass!!! Big up ^^
This is crazy man! Thanks so much for sharing
I'm absolutely in love with you. LOL
08:00 hoooooly fuccccc
really sounds like massive =) good one =)
Honestly it's shocking how relevant Massive is still
i still see it used all the time, but i never see anyone using massive 2, i’m curious why
@TheShredFaster that's a great question. It's the one everyone should ask themselves lol. I'll need to toy around with a demo
Yeah, in the past, Massive was gold standard and since Serum, people think Serum can replace Massive? It's looks cooler, visible wavetable and so on. But it's not that great advantage. Also today Massive sound's massive an is massive, the sound is top notch, the filters and shapers are so crazy and unique, the workflow is good and I feel what you feel. For some reason it sound so much better on it's own. It's mathematical but it feels like magic.
From what I've heard, almost all plugins are programmed on the same framework, so technically, the wavetables processing should be the same. Yet just because of the workflow that massive suggests, the outcome is completely different, and as you mentioned, at times it's unique and much better
Крутой синт. Для классических dubstep wobble басов самое то.
Keytracking
massive is fucking awesome and the presets you can find is amazing for 2010-2017 era sound it just sounds right
I so want them. I have literally zero lol
@@ModestIntentions dude there is a pack with 50k presets wait i will find it
oh literally can't share it here in any way
i couldn't find your e-mail but i will try your soundcloud cheers@@ModestIntentions
никогда не думал, что у меня будет ностальгия по vst
Да, ностальгия по массиву подкралась прям оооочень незаметно..
хпахпахп, от видео задумался, не пришла ли пора считать этот плагин ламповым, от того что так хорошо состарился, в позитивном смысле
:DDDDDDDDDDDD
да-да, хорош, но как-то серум более визуально интуитивен..
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