The Wavetable Position setting within the Voicing tab separates out the individual wavetable positions for the oscillators per Unisono layer, so we can end up with a much fuller effect resulting from the blend of different waveforms, rather than simple duplicates of the three base oscillators. Firstly, within the same Voicing tab, we can turn on the Wavetable Position function and push the slider up to around 40%.Įvery selectable wavetable within Massive actually contains a blend of waveforms, which you can move through using the Wt-position dial on each oscillator. Things are starting to shape up nicely, but we want to add even more body and weight. This will give us a much fuller sound to work with. To do this, we’ll set the detune amount to 6 cents and drag the slider slowly to the right until we hit a sweet spot – in this case, somewhere around 15% of the full amount works well: You can hear the beating even with this subtle detuning in place:įor an even stronger effect than this, we can use Massive’s Unisono function to add detuned copies of our three base oscillators. You don’t need to detune the oscillators by much to get the effect, so we’ll push the pitch of OSC2 down by just 2 cents and OSC3 up by 1 cent. We can add even more movement and analogue-style instability to the sound by taking advantage of an acoustic phenomenon known as ‘beating’, wherein two identically pitched sounds are detuned from one another, resulting in a subtle phasing effect. We select the ‘Daft’ filter again in Filter 2 and set the cutoff, resonance and modulation amount as shown below. We can add some extra resonant warmth by putting Massive’s filters in series, meaning the sound will be fed from Filter 1 into Filter 2. We’ve quickly added some flow to the chords, which start off reasonably brightly then darken up over the course of their note durations. We do this by dropping the ENV1 modulation source onto Filter 1’s cutoff modulation slot, setting the cutoff to around 10 o’clock, increasing modulation and resonance, then beginning to shape the envelope itself. This is a low-pass filter type, so we can use it to gradually pull away the upper harmonics in the sound. We’ll start by experimenting with Massive’s filter section, loading up an instance of the ‘Daft’ filter on the first of its two slots. The sound is pretty lifeless at the moment, so let’s move swiftly on to injecting some movement and energy into it. Using parallel major 9 chords as our MIDI trigger, here’s how the preset sounds initially: This is to strengthen upper harmonics in the sound, as well as to thicken things up. We’re keeping OSC1 and OSC2 at root pitch, then pushing OSC3 up an octave. Our base preset uses all three of Massive’s oscillators, with the ‘Reducer’, ‘Electric’ and ‘Vulgar’ waveforms selected in OSC1, OSC2 and OSC3 respectively. In this instalment of Synth Secrets, we’re going to demonstrate this by applying just a few tricks and tweaks to a preset designed within Native Instruments’ Massive. Here’s the sound we’re aiming for: Step 1 Sometimes you just have to work a little harder to get there. However, digital synths can be just as expressive as their much-exalted hardware counterparts. Synth Secrets is a series of programming tutorials in which we show how to make a range of classic and new synth sounds using plugins such as Massive, Sylenth and Diva.ĭigital soft synths are routinely criticised for exhibiting a stale or lifeless sonic character, particularly when compared to the classic analogue synths of the 70s and 80s.
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