Massive Audio T 50 Información técnica

Operation ManualMASSIVE

10 – MASSIVEYou will see all the sounds in MASSIVE reappear at the right. Now let’s try searching for sounds another way:• click with the mouse in th

100 – MASSIVE • FM Bass: This is a typical search setting for an FM bass sound.• Rave Lead: Note that no Instrument is specied, so this search will

MASSIVE – 101• Soft Electric Piano: In this example, because Sweep/Filter Mod is selected the sound will have some sort of lter movement. As a resul

102 – MASSIVE• Chord Stab• Thin Bells

MASSIVE – 103Appendix B – Attributes ReferenceThe following pages are a reference of all attributes used in MASSIVE’s database. The attributes are ide

104 – MASSIVE• Drums: A single drum sound, a drum kit or a drum loop based on an acoustic or electronic drum kit. Typically this includes kick drum,

MASSIVE – 105SourceDescribes the source and/or synthesis technique with which the sound can be associated, always in relation to the selected instrume

106 – MASSIVEvioloncello is categorized as Bowed Strings/Big; a taiko drum would be found under Percussion/Big.)• Dry: Has no noticeable effects like

MASSIVE – 107• Soft: A general, rather subjective interpretation of a sound. Can be used to differentiate similar instruments (e.g., vibraphone with

108 – MASSIVE• Long/Evolving: A sound with a complex, moving or increasing envelope, which persists for more than just a few seconds.• Pulsating: A

MASSIVE – 109GenreDescribes the typical musical genre to which a sound would be suited. It can also stand for a particular sound’s origin.• Avantgard

MASSIVE – 113.2. Create your own soundIn this quickstart we’ll show you how to create a simple lead synth sound and introduce you to some of the funda

110 – MASSIVEtrance anthems) and commercial dance sounds like bells and arpeggiated elements go here. Sounds that are suited to create a hypnotic mood

MASSIVE – 111IndexAAftertouchas a modulation source ... 83all-pass ... 45Amp knob ...

112 – MASSIVEFFaders ... 20, 25Feedback Section ... 41le locationsdefault ...

MASSIVE – 113Loada sound ... 7loading time ... 91Loop Area Bar ... 79, 81lo

114 – MASSIVEPitchbend ... 57, 58Popup Menus ... 19Position modulation ... 39Preset Sel

MASSIVE – 115VVel ... 83Velocity ... 83as a modulation source ... 83Vi

12 – MASSIVEThe most fundamental parameter affecting the sound in MASSIVE is the choice of which wavetable to use for each oscillator. The other param

MASSIVE – 13takes the rst lter’s output signal as its input signal. In this example, we want the two lters to process the signal subsequently one a

14 – MASSIVEIn the rst case, to set up control via MIDI, rst drag the cursor to the Macro Control Section in the lower right corner of MASSIVE’s int

MASSIVE – 15This page shows us the controls of one of MASSIVE’s four envelope generators. Envelopes are signals that rst rise when a note is played,

16 – MASSIVESaving and BeyondCongratulations: you have just created your rst sound in MASSIVE! Now let’s save it in our sound library for future refe

MASSIVE – 174. Reference4.1. Signal Flow and VoicingThis section explains the exact routing of the Signal Flow in MASSIVE. We recommend reading this p

18 – MASSIVEoscillators are routed to the f2 bus, you will hear no sound! The Filter Section outputs one combined signal to the next section, a mix of

MASSIVE – 19The sound of each voice is computed independently from all others until the signal is downmixed to generate a stereo output signal (like a

The information in this document is subject to change without notice and does not represent a commitment on the part of NATIVE INSTRUMENTS GmbH. The s

20 – MASSIVEeach section. Click the Mute switch with the mouse to deactivate a particular section; click again to return to the active state. It can o

MASSIVE – 21• Click with the right mouse button to open a context menu providing a list of commands concerned with MIDI and modulation. The latter po

22 – MASSIVE• The available Modulation Sources are listed across the top of the Center Window. These include four independent ADSR envelopes as well

MASSIVE – 23This third slot can be used to set up sidechain modulation. This is a type of modulation in which a modulation source can be assigned whic

24 – MASSIVE• Moving our attention to the lower-right corner of the screen, click on the modulation handle of Macro Control 1; then drag the mouse ba

MASSIVE – 25Faders in MASSIVE are assigned in the same way as knobs. Some of the fader controls (such as the Input Fader on the lter bus, labeled “Se

26 – MASSIVEany problems; but the clipping might not be the effect you desired when setting up the modulation, so you should be aware of how this work

MASSIVE – 27The eight modulation sources are grouped into envelopes (slots 1-4) and assignable pages (slots 5-8) that allow you to choose between the

28 – MASSIVEeach Macro Control knob provides a Modulation Handle. With this handle the Macro Controls can be assigned to any parameter of MASSIVE as a

MASSIVE – 29use for automation. In this case, automation means that a specic parameter of MASSIVE – for example a lter’s cutoff or the amount of fee

MASSIVE – 3Table Of Contents1. Welcome to MASSIVE! ... 52. Installation and Setup ...

30 – MASSIVE• Also, sounds created by somebody else using a different MIDI controller might be useless for you. This is, however, no problem in MASSI

MASSIVE – 31here (or their sub-folders) will be integrated into the database when the Rebuild Database button is pressed. (See also section 4.10 for f

32 – MASSIVEVoicesThe Voices indicator shows two numbers: the rst indicates the number of voices currently being played in MASSIVE, while the second

MASSIVE – 33Save and Save AsFurther to the right from the Preset Selector popup menu, there are two shortcut buttons labeled Save and Save as. These w

34 – MASSIVE4.4.1. Wavetable oscillatorsThree wavetable oscillators form the basis of sound generation in MASSIVE. In this type of synthesis, numerica

MASSIVE – 35You can choose the specic wavetable to use for each oscillator by using the popup menu at top left. Here you will see a list of all the d

36 – MASSIVEThe Pitch display allows you to tune the oscillator up or down in frequency, adjusting it by semitones and cents (hundredths of a semitone

MASSIVE – 37and fast at the end. Visually, this is displayed below, taking BendB mode as an example. • The middle image (Intensity knob at mid positi

38 – MASSIVE4.4.3. Amplication and RoutingThe Amp knob controls the output volume of the oscillator. Use the three Amp controls (one for each oscilla

MASSIVE – 39Each oscillator also has a vertical Routing Fader at the right edge labeled F1-F2. This controls the balance of the oscillator’s output in

4 – MASSIVE4.7. Output Sections ...514.7.1. Amp Section ...

40 – MASSIVEsignals that sound like a bowed (or blown) instrument that has some “surface noise” in its sound. Also try detuning or transposing the mod

MASSIVE – 414.4.5. Noise SectionThe Noise Section incorporates the sound of a noise generator into MASSIVE. There is a Noisetable popup menu at the to

42 – MASSIVEIn the Feedback Section, you can adjust the level of output using the Amp level knob, and adjust the ratio of the output between lter 1 a

MASSIVE – 43• Now, as in the above example, click the Routing Page in the Center Window so you can see the diagram of MASSIVE’s signal ow. Then clic

44 – MASSIVENote that you can send your signal through the lter busses via a serial or parallel routing. When you use a parallel routing, Filter 1 re

MASSIVE – 45• First, the Input Fader has to be turned up to the top of its range, to the direction marked “Ser” for serial. This will direct the outp

46 – MASSIVE• Scream: this is a type of low-pass lter with additional internal feedback added; the Scream parameter controls the amount of this feed

MASSIVE – 47• Choose the allpass lter and set the Resonance control to around 50%. Then try modulating the lter cutoff with an LFO to create some p

48 – MASSIVEAs you can see in this picture, there are a number of small buttons labeled “ins1” and “ins2” present in the Routing Page, placed in vario

MASSIVE – 49• The Dry/Wet Control adjusts the balance between the unprocessed (dry) signal at the left and the delayed (wet) signal at the right.• T

MASSIVE – 51. Welcome to MASSIVE!Thank you for choosing MASSIVE! This new software instrument combines a unique synthesis engine with unparalleled eas

50 – MASSIVETry using the Frequency Shifter within the Feedback bus to shift the frequency of the feedback signal and mix it with the main signal. Try

MASSIVE – 514.6.8. Parabolic ShaperThe Parabolic Shaper is a waveshaping effect like the Sine Shaper, but with a different shaping curve: where the si

52 – MASSIVEAs with most synthesizers, you can trigger single notes by using a MIDI keyboard or other controller. However, technically speaking, you a

MASSIVE – 53further in section 4.1 on Signal Flow. You can specify the oscillator to be used as source of the Bypass signal within the Routing Page of

54 – MASSIVEsounds can become less present and lose clarity when too much reverb is used. Note that you can also try using the dimension expander or a

MASSIVE – 55• Delay: an echo effect. Delay Simple is a stereo delay, with controls for Damp (a low-pass lter with adjustable cutoff on the delayed s

56 – MASSIVEthe output meter. However, even if you want a distorted sound, you will likely get better results by using one of the Insert Effects or th

MASSIVE – 57In this section we will describe all the controls and parameters for each Page of the Center Window.4.8.1. General PagesThe General Pages

58 – MASSIVEThe Vibrato block controls the pitch oscillation around the base pitch of the played note:• The Vibrato Rate Control sets the speed of th

MASSIVE – 59In the lower part of this block, you will nd two parameters to control this envelope: the Attack Time Fader adjusts the attack of the env

6 – MASSIVE2. Installation and SetupBefore continuing further in this manual, you should rst install MASSIVE on your computer. A step-by-step install

60 – MASSIVE• The User Response is freely assignable and you can tweak it according to your wishes.You can choose to assign one or the other of these

MASSIVE – 61When you click on a Breakpoint, both the x- and y-axis display small lines pointing to their coordinates. The coordinate numerical values

62 – MASSIVEYou will nd the same basic layout structure here as in the Keytracking Oscillator Page: a Mapping Area on the left, and a Mapping Selecto

MASSIVE – 63At left, the Voicing Area allows you to dene the polyphonic scheme that you want to use for MASSIVE. From top to bottom, we nd the follo

64 – MASSIVEBelow these two number elds, we nd the Mono/Poly Switch. This switch lets you choose from three polyphonic modes:• Polyphonic allows yo

MASSIVE – 65Generally, for each of these parameters, the additional voices will sound more and more “distant” from the original voice. That is why thi

66 – MASSIVEHere are two examples to understand how this works:With the settings as above, the four active voices will be tuned according to the follo

MASSIVE – 67RoutingAs you can see in the image below, the Routing Page shows you a graphic representation of the signal ow in MASSIVE:Here you can se

68 – MASSIVESetting the position of these effects can make a big difference in how they modify the sound. Note that you can only have one “ins1” and o

MASSIVE – 69The Preset Quality buttons switch between two quality modes. High (using oversampling) should be used whenever possible, but note that the

MASSIVE – 73. QuickstartWelcome! After installing MASSIVE on your computer, this is the place to start getting acquainted with its main features: two

70 – MASSIVE• The modulation handle (the little cross at the right of each tab header) allows you to assign this modulation source to the desired des

MASSIVE – 71Decay and Release shapes are logarithmic. With this Switch activated, the Decay shape becomes linear as well.• The Trigger Mode Switch ca

72 – MASSIVE• The Keytracking Fader controls the inuence of the incoming note’s pitch on the overall envelope amplitude as follows: the higher the p

MASSIVE – 73moving on. Second, a morphing function provides you with two selectable sustain shapes, allowing you to morph the actual sustain shape bet

74 – MASSIVEselect 2, the envelope will go from the start point to the end point, and back to the start point, and then it will jump to the Release st

MASSIVE – 75Click on one of the four green tab headers to select the corresponding modulation source and display its Modulation Page with all its para

76 – MASSIVEcomplete cycle; for all other sources this is actually one step within the sequence. The lower value determines the temporal unit; e.g. a

MASSIVE – 77Note that each LFO in MASSIVE is actually a double LFO: the modulation source features a morphing function that allows you to interpolate

78 – MASSIVEIn the lower part, you will nd two parameters for this envelope: the Attack Time Fader adjusts the attack of the envelope, and the c adju

MASSIVE – 79On the top of the Display, a Loop Area Bar shows the step numbers. On this bar, a yellow triangle indicates the current step being played.

8 – MASSIVEto turn it on. If your MIDI device does not appear here, there may be a problem with the installation of the device itself (or its software

80 – MASSIVEFor example, in the image above, we can see that:• The loop includes the steps 5 to 16.• The Glide Modulation Control is at a middle set

MASSIVE – 81The steps are depicted in the Performer Graphic Display. Each step displays its loaded waveform.You can choose a specic waveform for each

82 – MASSIVEcontrolled by the Rate/Ratio Control, in the left block of controls described earlier (“Common Controls for LFO, Stepper and Performer.”)A

MASSIVE – 83• Only the steps 1, 3, 5-9 are affected by this amplitude modulation (as shown by the lower Step Activation Row).• The Sequence Morph Co

84 – MASSIVEYou will nd that most of the preset sounds included in MASSIVE’s library already have assignments made to the eight Macro Control Knobs,

MASSIVE – 85contained within separate sound banks, with all its organizational problems. Instead, the settings for each sound are saved into single l

86 – MASSIVE4.10.2. Searching and Loading Sounds with the BrowserThe Browser View is the place where you search and load your MASSIVE sounds, and wher

MASSIVE – 87The attributes are grouped into columns, the categories. For instruments, the categories used are Instrument, Source, Timbre, Articulation

88 – MASSIVEattributes. Each additional attribute that you select reduces the total number of matching KoreSounds in the list at right. The remaining

MASSIVE – 89Working in File Tree View’s is straightforward, as it is similar to the way you work with les in the operating system itself. You can sel

MASSIVE – 9Result List to the right. Above, you will see the eight Macro Control knobs (see section 4.2.5) as well as the Master Volume Control (see s

90 – MASSIVEThese are the default locations for the user content folder. You can add further locations within the Browser Tab of the Options Dialog. T

MASSIVE – 91it from the display. Vice versa, clicking the label of a column that is currently not displayed inserts the column into the table.You can

92 – MASSIVEexport the list to a le and create another one. All exported lists can be imported again for future use. Note that those program lists li

MASSIVE – 93• Comment: this eld can hold any information you want. Often it is used to describe a KoreSound in terms of its possible usage, and also

94 – MASSIVEbe found in “My Documents/MASSIVE/My Sounds” in Windows XP (“[User]/Documents/MASSIVE/My Sounds” in OSX). Note that you can access this fo

MASSIVE – 95Probably the rst thing you did was to click on Synth to nd a sound, as MASSIVE is a synthesizer. You’ll wonder why we’ve included so man

96 – MASSIVEAs you can see, this column is subdivided into seven smaller groups, each of them serving a specic purpose. We’ll start from the top and

MASSIVE – 97The next six Attributes are grouped in pairs and specify the sound’s source:• Solo/Single – Ensemble/Kit• Small – Big• Dry – ProcessedT

98 – MASSIVEThe Articulation ColumnThe Articulation column serves two purposes: It describes how the sound progresses over time; and it gives you info

MASSIVE – 99The Genre ColumnThe Genre column describes the musical style with which a sound can be associated:This set of Attributes is the last step