[Native Massive Torrent
Tilo Chopin
Sorry but there is nothing like massive on iOS. Especially for the fast and easy and crazy modulation options.
I do wish N.I. would release a Massive 2.0.
You might get similar sounds with some synths but there is not one with such a workflow. Its even still kind of unique in the desktop world (even when there are a few similar synths today).
Disagree, @Cib: FabFilter Twin 2 is THE direct competitor to NI Massive in the Desktop and the iOS port is identical to the PC version, so that would be my recommendation. IMO, Twin 2 has better filters - much less aliasing than Massive (still has some aliasing, though). On the other hand, Massive has an extra oscilator, with comes in handy.
1) You can select from dozens of basic, analog/electric, digital/hybrid, and FX/Chords to use as the basis for your three oscillators.
2) a powerful modulation matrix, with a super easy to use UI Very easy for people to program.
As for #2, Synthmaster One, Zeeon, Nave, and ODYSSEi have great modulation matrices. I'm sure there are many others.
Are they as easy to use as Massive? That's debatable. But you can get big, complex sounds out of using them.
I thought Zed synth was the closest to Massive with its clever/ complicated modulation of buttons. Wavetables and subtractive and clever mod matrix was Z3ta, hope we get her back.
Id love to see NI Massive on iOS eh!
Synthmaster soon!
no vote for thor?
Synthmaster One is very good, no question, but the iOS version has very limited editing.
thor has many different kinds of oscillators including a good choice of wavetables, great filters, great modulation matrix and a well-done, visually and ergonomically pleasing UI.
from what I know by now I'd say it's the closest match to Massive regarding its synthesis toolbox.
@rs2000 said:
no vote for thor?
Synthmaster One is very good, no question, but the iOS version has very limited editing.
thor has many different kinds of oscillators including a good choice of wavetables, great filters, great modulation matrix and a well-done, visually and ergonomically pleasing UI.
from what I know by now I'd say it's the closest match to Massive regarding its synthesis toolbox.
Beatmakers sampler is pretty much the standard right now for Neuros and Reeses, not for creating the raw source material, but because of the layering and modulation, every single source Reese or Neuro is the basis of a minimum of ten more, this is how resampling of them works, you never delete a Reese or Neuro.
It is a shame that Beatmaker does not have drag n drop or one click resampling, once it has that, it will be a Neuro/Reese machine !!
I think groups like SALEM and White Ring may be running their equipment through guitar amps and effects, then micing the cabs combined with a DI.
I have a matched pair of Roland bass amps and I should probably line out through those. I just can't get the synth sound I "want".
My application is running many threads, and it's doing a lot of Db connection through EF 6 in many loops.That's why it's really hard for me to debug code just by looking to logs or putting break points.
I thought maybe I can see what's the issue by looking at memory but what only I can see it's that my native heap size is mostly filled by objects with size of 8,192 bytes. So I can see that problem is really happening but still have no clue why.
I have a porlem with logic pro x and NI massive. Massive is working fine so far and i can use everything but when i save the project and close it and open it again, then all my massive instances are set to the default preset. am i doing something wrong? or does anybody can help me with that? im using massive 1.3.1 X64.
Firstly, Massive has been designed to pack an unusually large number of highly versatile modulators into a fast and understandable user interface. But where Massive really aims to plant its flag is on the high-ground of sound quality.
When I visited Native's headquarters in August, Massive 's Product Manager told us that their top priority was to take a leap in sonic quality, even if this meant pushing even recent computers to their limits. The result is a synth that really does reach unprecedented heights in sound quality for a virtual instrument, but gives your computer a thorough workout getting there.
The wavetable list gives Massive's oscillators a large number of sonic starting points.Each of Massive 's three main oscillators has over 80 wavetables to choose from, divided into four categories (see the screen below). The first few tables provide the familiar saws, squares, triangles and sine waves, but there is a practically unlimited supply of raw materials in the tables, from familiar organ or synth sounds to weird and wonderful digital waves. Of course, what's really of interest is how the tables sounds when the oscillator scans through them. Nearly all Massive 's tables provide a smoothly morphing sound when scanned.
Like the classic PPG Wave synths, most of the sounds are 'synthy', while a few (such as Guitar Pulse) can be used to model real instrument sounds. Each oscillator's Position knob sets a starting point in the wavetable, which, without further modulation, will simply produce a static waveform from the oscillator. An Intensity knob further shapes the basic sound in various ways determined by the mode selected in the menu above it. In the default Spectrum mode, the knob determines how many harmonics are included in the sound, so has a similar effect to a low-pass filter. There are then three Bend modes, which modulate the speed at which the wave plays back over the length of each cycle. Depending on the wavetable, this sounds like a subtle FM or pulse-width modulation. Finally, Formant mode gives results somewhere between a formant filter and oscillator sync.
In addition to the three main oscillators there's a noise generator and a Modulation Oscillator. The latter is not an LFO, as you might think, but a sine-wave oscillator running at audible frequencies. Instead of being added to the mix, this can be used to modulate the other oscillators and the filters. In some synths you can cross-modulate the main oscillators to create FM or ring-modulation-style effects. Massive doesn't have this provision, instead opting to use this extra oscillator. The Mod Osc is routed via a small matrix (as in the screen below). Any of the main oscillators can be ring modulated, phase modulated (which is effectively the same as FM in Massive) and/or have its wavetable position modulated, all by different amounts. This final choice can give the sound a raspy edge, and is good for simulating bow scrapes. The Mod Oscillator's pitch tracks the keyboard, so its results can easily be tuned to become a harmonic constituent of the sound.
A separate high-frequency oscillator can further shape the sound of the main oscillators and filters.Before moving on to look at the routing and filters, we'll take our first trip into Massive 's Center Window. No less than 14 pages are accessed from this section, via two rows of tabs comprising six General Pages and eight Modulation Pages. The Voicing page is home to, among other things, the voice count and Unison settings. Managing the number of simultaneous voices is an important issue with a synth as CPU hungry as Massive. Having said that, one of my favourite features is Unison, which shamelessly eats up multiple voices per note. Unison has a unique three-way action, allowing you to spread voices by pitch, pan position and wavetable position. The results are, well, massive, but you'd better limit the Unison voices to three or your computer will choke pretty quickly.
The default module order and routing can be varied in the Routing page.The filter modules can be switched between various modes, including two- and four-pole low pass and high pass, all pass, band pass, double notch, band reject, Scream, Daft, and comb. In addition to the usual frequency and resonance controls, some modes have an additional parameter. For example, the Scream filter has a Scream control that sets the frequency of driven resonant feedback. The other 'signature' mode, Daft, is the best for warm, low-end enhanced analogue sounds. The rest of the standard filter types are very smooth and quite transparent at normal levels, and the fundamental frequencies drop in level as you push up the resonance, keeping the overall level equal.
At first I was a little disappointed at this polite behaviour, and at the lack of saturation controls to add some dirt and warmth. However, I soon learned that the filters are designed to respond to the input level in an analogue way, so if you drive them hard you are rewarded with nice, smooth, compressed saturation. This is where the Feedback module comes into play. Clicking any of the small 'FB' blocks in the Routing diagram selects it as the point to route a portion of the signal back into the filters. The Feedback knob sets the level of this signal, and immediately starts driving the filter inputs, giving you anything from a subtle warmth to complete overload.
If it's total sonic destruction you're after, or if you want some other ways to shape the sound, two insert effects can be slotted into the signal path at any of the points labelled in the Routing page. The shaping stages can occur before, after, or in between the filters, and at various stages with respect to the feedback loop. The insert effects include additional filters, sample and hold, a bit crusher, and sine and parabolic shapers. My favourite is the Frequency Shifter, which lets you blend in a pitch-shifted version of the main signal. By including an insert effect in the feedback loop, you can aggressively mangle the original sound.
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