NATIVE INSTRUMENTS Massive (Mac/Win) – EMusician
May 1, Massive 1. Its morphing wavetable oscillators give you a huge starting sound palette. Filters, effects, and a flexible signal path can bend those sounds to your every need. Envelopes, LFOs, sequencers, and MIDI remote control bring your sounds to life, and a categorized browser gives you easy access to more than factory presets.
NATIVE INSTRUMENTS Massive 1.1 (Mac/Win)
May 1, Massive 1. Its morphing wavetable oscillators give you a huge starting sound palette. Filters, effects, and a flexible signal path can bend those sounds to your every need. Envelopes, LFOs, sequencers, and MIDI remote control bring your sounds to life, and a categorized browser gives you easy access to more than factory presets. All this coupled with a high-resolution audio engine for aliasing-free wavetable interpolation comes with a massive CPU hit and a somewhat outsize control panel see Fig.
Massive”s outsize? Color-coded modulation routings make unraveling patches easy. The Mac version is Universal Binary and, therefore, Intel ready. It performed well both standalone and as a plug-in in several hosts on both machines.
Because Massive’s audio thread always runs on a single processor, or on a single core of a dual-core processor, you’ll need a fast CPU to get high polyphony from the synth’s more demanding presets. But choosing the lowest of its three quality settings Ultra, High, and Eco , freezing tracks if your plug-in host supports that, and using multiple instances of Massive to distribute the processing on multiple-processor machines will significantly improve performance.
More than Meets the Eye At first glance, Massive looks like a fairly standard subtractive synth: A closer look reveals a dedicated Modulation oscillator, a noise generator, a feedback circuit, a couple of insert effects, and a Macro Control section.
Interesting but not that out of the ordinary. It’s only when you dig into Massive’s individual modules and beneath-the-surface features that you begin to see and hear how different this synth really is. Massive belongs to the burgeoning category of semimodular soft synths.
You get considerable leeway in reorganizing the signal path, but you don’t need to wire it from the ground up, and logical limitations are in force. The Routing tab of the Central window reveals the signal flow, and you click on various icons to change things around see Fig.
For example, clicking on one of the B bypass icons routes the associated oscillator or noise generator directly to either of the master effects or to the EQ. Clicking on the Ins 1 and Ins 2 icons controls where the insert effects appear in the signal path. And clicking on one of the FB feedback icons determines where the feedback signal originates. Several of Massive’s sliders also affect the signal path. The oscillators, noise generator, and feedback circuit all have sliders for balancing their output between the inputs to Massive’s two filters.
The filter section’s F2 slider balances the input to filter 2 between the output of filter 1 and the mix of the sound sources allocated to filter 2. For instance, with the F2 slider all the way up, the filters are in series, and filter 2 does not receive any of the source mix.
With the slider all the way down, the filters are in parallel, and filter 2 receives only the source mix. In intermediate positions, filter 2 receives a portion of both signals.
The filter section’s Mix slider balances the output of the two filters to the output section. That means you can arrange the filters in series and still use the Mix slider to balance their outputs. Direct from the Source Massive’s morphing wavetable oscillators are the heart of this synth. Each wavetable consists of between 2 and single-cycle waveforms. These are actually multiwavetables with different wavetables used for different pitches similar to multisampling , resulting in nearly aliasing-free operation.
The 89 wavetables are allocated among 4 categories: You select an oscillator’s wavetable using a drop-down menu. The menu’s slot capacity suggests that more wavetables may be on the way. Additional banks of wavetables and a utility for creating your own would be welcome additions, though the 89 provided are plenty to keep you busy. You can reconfigure Massive”s signal path by clicking on the icons in the Routing tab of the Central window. An oscillator’s Wt-position knob chooses a waveform from the selected wavetable, and there are lots of ways to modulate that knob to morph between the waveforms in the wavetable.
An Intensity knob controls waveshaping-like processing of the oscillator’s output, and three modes are available: Spectrum, Bend, and Formant. Spectrum and Formant apply lowpass and formant filtering, respectively. Three varieties of Bend modulate the waveform scanning rate based on the position within the waveform.
That can radically change the harmonic spectrum of the output. A new virtual-analog oscillator mode VA Osc has been added in version 1. The aforementioned waveshaping feature is disabled in VA Osc mode.
The noise generator is standard fare, with 12 flavors of noise and a Color knob to shift the spectrum of the chosen flavor. The feedback circuit, which can take its input from various points in the signal path, has a slider for balancing its output between the two filter inputs. High feedback can push the signal over the top, but when used with discretion, this circuit adds a new dimension to Massive’s sound.
Try placing a delay or pitch-shifting insert effect in the feedback loop and enveloping the feedback amount see Web Clip 1. More or Less The Modulation oscillator in the source section is not wired into the signal path; it is an audio-frequency sine-wave oscillator that you use to modulate the other oscillators and filters.
You can apply each of its modulation types — ring, phase, wavetable position, and filter cutoff frequency — to one target. A single knob sets and displays the modulation amount for each modulation type, but the settings are independent. You’ll see how important the Modulation oscillator is to Massive’s sound by stepping through the factory preset bank; most of the presets use it, and many use it to modulate several targets. The sustain stage of Massive”s envelopes allows you to morph between pairs of preset shapes and loop the chosen shape a fixed or unlimited number of times.
As with all subtractive synths, Massive’s filters are key to sculpting the sound. Aside from the flexible routing scheme, the feedback circuit, and the option to place insert effects before, after, and between the filters, you’ll find some uncommon features. In addition to the standard 2- and 4-pole lowpass and highpass filters, you get bandpass and band-reject filters with variable bandwidth. Allpass, comb, and double notch filters are useful for phasing and flanging effects.
Three lowpass variants called Scream, Daft, and Acid round out the filters. Scream has built-in feedback. Daft makes an especially good target for the Modulation oscillator. Acid is modeled on a famous mono bass synth read: Roland TB Massive’s two master effects, which appear before the EQ at the end of the signal path, include the usual suspects: In addition, you get three tube-amp simulations and a room simulator called Dimension Expander that produces subtle and clean spatial effects.
The EQ offers low and high shelving with a tunable center band that you can boost or cut. The insert effects lean toward distortion. You get a bit crusher, two styles of waveshaping, a hard clipper, and an unusual sample-and-hold effect that quantizes the incoming waveform by sampling it at regular intervals and holding the sampled level in between. You also get a simple delay line mono, no sync, no feedback , lowpass and highpass filters in series, and a frequency shifter.
The frequency shifter is an unusual and welcome inclusion; it shifts all of a sound’s overtones by an equal amount, thereby completely changing its timbre as well as shifting its pitch.
A Novel Twist I’ve saved one of Massive’s most impressive features for last. The design and implementation of modulation in Massive is as stunning as the signal routing. To start with, you get eight modulation sources: You can use that, for example, to attack quickly to one level, then decay more slowly to a higher level. The sustain stage is a morphing looper.
You choose 2 shapes from 22 preset possibilities , the number of iterations of the loop from off to continuous , the beginning and ending level of the loop, and the morph amount between the chosen shapes see Fig. In addition to the standard sine, saw, pulse, and triangle waveforms, you get 31 unusual shapes, including 4 random-step patterns. You can swap any of the LFOs out for either of two kinds of pattern sequencer.
A standard step sequencer is useful for pitch sequencing. The step Performance sequencer resembles the step sequencer, but each step is actually a curve. The Performance sequencer can generate very complex repeating patterns, and it becomes even more powerful with the addition of a pattern-randomization scheme in version 1. As with the LFOs, you can crossfade between two Performance sequencer patterns. The scheme for assigning modulators in Massive couldn’t be simpler.
Each modulator is numbered, and for easy recognition they are color coded by type. Virtually every control on Massive’s panel, including the modulator settings, has one or more empty boxes below it. You apply modulation to a control by dragging a cross-shaped handle from the modulator to one of those boxes. The modulator’s number and color appear in the box, and you drag it vertically to set the modulation amount.
As you do, a color coded ring knobs or bar sliders and numericals appears to show the modulation amount. A glance at the control panel shows all the modulation in place, and the numbering and color coding make it easy to unravel.
On the Side Sidechain modulation is another Massive innovation. For many of the controls, the rightmost modulation box is labeled SC. You can use that box for normal modulation, but alternatively, you can use it to control the amount of the other modulation inputs. For instance, you could assign an envelope to control the amount of an LFO or Performance sequencer applied to the Wt-position knob, or you could assign MIDI Velocity to control the envelope amount applied to filter cutoff.
Massive’s Performance sequencer uses shapes as modulation sources at each step in the sequence. But Massive also provides eight macro knobs along with direct access to key tracking, Velocity, Aftertouch, and a clever random-value trigger. You assign each of these sources to target knobs and sliders by dragging its handle, just as you do with the modulators.
The random-value trigger emits a random value each time a MIDI note is received. Apply that to pitch for a sample-and-hold effect or to attack and decay time for subtle variations in volume contour see Web Clip 2.
A highly customizable randomization scheme produces surprisingly useful results.
MASSIVE FREE DEMO. Version (July ) The download links for Mac and PC versions will be sent to your email address. Email. Country and Area. macOS , or (latest update), i5. Windows 7, Windows 8, or Windows 10 (latest Service Pack, 32/bit) Intel Core 2 Duo or AMD Athlon 64 X2. MASSIVE is a sonic monster – the ultimate synth for basses and leads. The virtual-analog concept belies the contemporary, cutting-edge sound it generates.
Massive reinstall on mac sierra
The package comes in five different versions based on the purpose of usage. NOTE: It is to be noted that each of these versions comes in various editions and to get access to the latest features, only the last version of our preferred edition should be downloaded. The latest version as released by the company can be accessed from their https:productkeyfree.
More than Meets the Eye
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VIDEO REVIEW: Komplete : Synths : Massive : Specifications | Products
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