How can I introduce Massive? I could describe the interface, take a snapshot of its precise appearance, and list the technical specifications, but is that really what you want to read? This type of information is now easily available everywhere; just refer to the manufacturer's website. That's why I think it's much more useful to identify the "quid," the decisive reason, why we should be willing to shell out around €300 for a software plug-in.
We would like to point out that today with this sum, on the second-hand market, we can find a North Micro Modular or Waldorf Micro Q. With just under double, we can take home a B virus or Waldorf Microwave XT, a new Dave Smith Evolver desktop, or a new Alesis Micron. You're probably wondering why I'm comparing hardware when we're talking about software here. You'll find the answer for yourself once you try Massive. Specifically, it's no longer a matter of distinguishing hardware from software, analog from digital, but of closing your eyes and listening.
Tools used for the Test
I used two computers for this test, a Apple 2.1GHz iMac G5, with 1GB of RAM and a 250GB hard drive, sound card motu 828 MKII, sequencer Logic Audio Pro 7.1 and a Mate M1, Pentium 4 processor, 3.4 Ghz and 2Gb of Ram; The operating system is XP with Service Pack 2, sound card RME Fireface 800 and as a “sequencer” Cubase SX3. For listening, a pair of monitors were used in the first position KRK RP5 and a pair of EVENTS SP8, while for the second position of the classics Yamaha NS10 M and the PMC TBS2-A. Like the midi controllers, in both cases a system was used Kore with a master's degree CME Hours.
First approach
Once installed and launched the program, we only need to browse a few "presets" to understand how Massive works. The design is very clean (Fig.1) and the controls are extremely easy to use. Considering that this product is already compatible with Kore, we can immediately benefit from the division of the "presets" into categories, via the convenient Browser. Try selecting Drums, and choose LowFi Box, just press a button on the "controller" to get a nice synthetic "groove". The same thing if you are looking for a "lead", a "pad" or any other sound. Also in the Browser screen are the eight rotary controls of the Macro Control, which allow you to manage multiple parameters by acting on a single knob.
After a few minutes of listening, it's immediately clear that we're dealing with a very versatile instrument. The presets range from sweet, harmonious, smooth sounds, violent timbres, to dramatically distorted sequences. We're dealing with a synth that, to paraphrase a famous joke, "can be feather or can be iron." We can find everything: classic analog basses and leads clearly reminiscent of the '70s, cold and sophisticated sounds, cornerstones of baroque electronica from the '80s, violent industrial sounds, or chaotic sequences worthy of the best IDM around. Although the product has the ability to do so, I note the lack of synthetic string ensembles or convincing choral vocals. I'm not talking about acoustic simulations but, more than anything, those purely synthetic-flavored sounds that are always useful in a mix to give more presence to certain parts. Overall, the database that comes with Massive (Fig.2) is a sort of Pandora's box where ideas rage like a storm. In the unfortunate event that there isn't a "preset" suitable for our style, I guarantee you that it will be worth spending a few minutes programming this tool. The results will not be long in coming. Are you short of ideas? Go to the GLOBAL panel (Fig.3) and try some "randomization." You'll see some great things!
First patch and impressions
After trying out a few sounds, the temptation to create something personal is very strong. Let's satisfy it immediately by getting to work! The initial sound is a classic sawtooth waveform, unfiltered. By moving the knob dedicated to the position in the Wavetable (Wt-Position), we can observe the wave morphing from sawtooth to square. The Intensity knob, on the other hand, varies its behavior depending on the selected mode (Spectrum, Bend, Formant), allowing you to further transform the timbre before moving on to the filters. Let's try a very simple sound, namely the classic Hoover Lead (or Supersaw Lead). We already have the sawtooth (Fig. 4-1), therefore all that remains is to click on the VOICING tab (Fig. 4-2) and configure the signal as monophonic and 16-voice unison. Next, we set to ON(Fig. 4-3) the Unison Spread button and move the slider slightly to the right. Et voilà. The basic sound is ready. All that's left to do is make a few small adjustments to the glide, and perhaps activate other oscillators for a fuller sound that's more suited to our mix. In this case, I opted for a Hoover with oscillators spaced an octave apart from the previous one and slightly saturated: excellent for doubling electric guitars in the mix. Unfortunately, this patch increased the CPU load on both the Mate 1 and the iMac G5 by 70%. What happens if the maximum load threshold is exceeded? In this case, the Native Instruments programmers were very smart. The program signals saturation, cutting off the sound, without slowing down the system.
Wavesequencing and drums
Massive's true strength lies in its extensive modulation matrix. All parameters are controllable, providing four envelopes and four programmable modulators (LFO with crossfade, Performer and Stepper). This architecture allowed me to easily create a "wavesequence" and a "drumloop". For those who are not yet aware, each single oscillator in Massive is actually a "wavetable" with high-resolution interpolation, this allows the movement of the waveforms in the table very fluidly, and the resulting sound will be significantly different from synthesizers with similar characteristics (Access Virus, Waldorf Microwave XT, PPG Wave, etc). The file 1_LC_Crackle.mp3 created by my programmer friend Luca Capozzi (Fig.5), is a simple example.
The sequence of waveforms, in this “patch”, is controlled by an envelope “mixed” with an LFO, for the first oscillator (Fig. 6-1), and a Stepper for the second(Fig. 6-2). The filters are mixed via Macro Control 2, (Fig. 6-3) in this way the sound is radically modified by passing from a Pad to a sequence. I'd say it's not bad as a first clumsy attempt at programming the product! The "files" 2_LC_Eveline and 3_LC_Krance are examples of two percussive sequences. The first sound is obtained by synthesizing the kick drum and percussion through the first two oscillators. The third oscillator is controlled by a Stepper and the resulting sound is a pseudo-organ; two Performers control the sequence of the first two oscillators. The Scream filter (Fig.7) is controlled by a Performer, a Stepper, and appropriately modified “tracking” to try to give more homogeneity to the sound across the octaves. A slight Frequency Shifter insert, a “panning” modulation, and a couple of effects to get our patch ready and waiting. All this without even reaching 35% processor load. Not bad at all. The sequence of the second file, on the other hand, is obtained by modulating exclusively the two Comb Filters in parallel and using a single oscillator, a minimal percentage of Noise, and above all, a very high percentage of Feedback. The ability to choose the signal return point in the “routing” screen allows us to create even more interesting sounds.
Other techniques
The presence of Feedback and Comb Filters lead us to experiment with the use of physical modeling. Some Massive presets can already give you an idea of the potential offered by this technique; we will therefore try to model a string using an impulse and a small amount of noise, for non-linearity. In the file 4_LC_StringModel.mp3 you can listen to the final result of our experiment. The basis of physical modeling is to send a pulse (or exciter) to a resonator. In the case of a string, it is plucked and the vibration resonates within the body of the instrument, thus creating the final sound. Our pulse will consist of a Squ-Sw1 waveform, for the first oscillator, and a Sin-Tri for the second. Here it is interesting to observe the behavior of the Intensity knob. For the first oscillator we chose to use the Formant mode, making our oscillator take the shape of a Pulse with a fairly narrow oscillation range. In the second oscillator, the mode is set to Spectrum so that the two pure waveforms contained in the wavetable can be mixed. In our case, we chose a Sine containing some of the Triangle's harmonics, in order to soften the cold sound of the Pulse. The Modulation Osc will control the phase of the first oscillator so you get a darker or brighter sound depending on its position. Noise, finally, adds that non-linearity that will give our impulse a little more dynamics. The two oscillators and the noise are controlled by the first “envelope”, configured to obtain a very short sound. Now it's the filters' turn and that's where the magic happens. For our purpose we will use Comb Filters. For those who don't know, this type of filter is nothing more than a "delay" with "feedback". The delayed signal generates a counterphase with the input signal, thus removing certain harmonic contents. Furthermore, the echo produced tends to fade over time. These types of filters are basic and fundamental building blocks for the physical modeling and reproduction of resonant bodies. In our case we will use a pair of Comb Filters spaced an octave apart and with the Damping controlled by the “keytrack”. This way we will have the lower notes longer in duration, and the higher ones shorter for a correct simulation of a plucked string. Adding feedback, reverb, and spatialization will give the right body to our sound, thus creating a basic model of a string instrument. Anyone who wants to try their hand at additive synthesis will be in for a pleasant surprise: Massive's list of wavetables includes around ten oscillators suitable for the purpose. The file 5_LC_Organ.mp3 shows you a very simple emulation of an organ, created simply by playing with the formants of these oscillators. The further we go, the more this little toy shows itself to be an extremely interesting tool.
Mix and live performance
Let's see how Massive performs in both the studio and live settings. In the studio, we tried adding the plugin to an existing mix. In this case, a custom sound by Luca, Spring Star, was used, and the "Edge Optional" pad, available in the plugin's database, was added to the mix, slightly modified in terms of polyphony and release, so as not to require more resources than are actually necessary for the performance. The pad fits perfectly into the mix without clashing with existing tracks, adding smoothness to the harmonic progression. We tried other presets, especially sequences and drum loops. In existing mixes, it was a painstaking search to choose which drum loop to pair with the existing ones. Fortunately, the Massive Groove preset performed well in our test, adding more movement to the song. The bass is clear and never intrusive, while the high frequencies require a small EQ tweak to keep them from standing out too much from the mix.
In the "live" field we have enough material to let our imagination run wild. Do you have an evening planned? Equip yourself with a laptop, an audio interface, a 61-key master (Fig.9) with many “controllers” and Massive. You won't need anything else. The software allows you to create custom playlists with the sequence of presets you'll need for your performance. If you're lucky enough to own Kore, any control keyboard, even one without any knobs, will suffice to have full control over the entire system. Since version 1.1, Kore has corrected those small imperfections reported by some users. The “preset” management now works excellently and it's possible to create lists that can be scrolled with the help of a single button. The rotary controls respond well and the scrolling of values is very fluid although, at times, the screen may give the impression of a jerky movement. Don't worry, it's a small interface flaw; your ears will confirm it.
Why Massive?
Over the years I have had the opportunity to test various platforms: Pure analog (Fig.10), 80s digital “samplers”, “workstations”, “virtual analog”, each with its own personality, strengths or weaknesses; none has ever managed to achieve a total integration of the features discovered in this simple “plugin”. In a synthesizer, what really makes the difference is not the quantity of oscillators or filters present, but rather the modulation matrix. The more parameters we can modulate, the greater the timbral capabilities of the machine become, just one more modulation source is enough to drastically increase the tonal range. What distinguishes Massive from other products on the market are therefore all those “features” that we would obtain by buying many different products and not just one. Above all, I feel I must mention once again the quality of the modulation matrix. Every single parameter of Massive is modulable, I always want to emphasize this. I have only found such a capillary nature on some modular synthesizers or on Kurzweil (Fig. 11), equipped with “VAST”, the company's proprietary algorithm. Massive, moreover, is the first A synth that combines such potential and complexity with a very simple interface. Learning to use this product takes very little time, and within an hour you'll feel like a master. Furthermore, the presence of two types of integrated step sequencers allows you to create highly advanced sounds, wave sequencers, and rhythmic sequences, both instrumental and percussive. It may seem superfluous, but if it had also included a simple up/down arpeggiator and a few more effects, the potential offered by this synth would have been almost perfect.
Dear readers, what can I tell you?
I wrote this article together with friends Luke Capozzi, “sound designer” and Luca Thomas d'Agiout (Fig.12), composer and arranger of soundtracks. Our aim was to convey in words the same sensations we experienced playing and manipulating this little marvel. Sure, we got carried away at times, but I assure you we always maintained a certain objectivity in describing the product's strengths and weaknesses. Until now, I had never tried a synthesizer with such complete integration of the characteristics described: broad modulation, extremely easy control, a wide range of tones, great spatiality of sound... truly a small masterpiece. After all this praise, however, I feel it is appropriate, at this point, to highlight the small shortcomings we found.
First of all, the idea of separating the assignments of the Macro Controls from the rest of the program. In other words, the physical “controllers” you assign in the Macro Control will be the same for all sounds. Have you set the Mod. Wheel to the second Macro Control? Good! You'll find it everywhere. I can understand, given the integration with Kore, that this choice is due to the need to be able to control different parameters always with the same controllers but, on the other hand, it must be recognized that in this operating mode it is not possible to assign the modulation amount of a physical controller except via the Macro Controls; this means that direct assignments will only provide you with the full range of the parameter to be controlled. This can be very useful if you want to assign, for example, a knob on your control surface to the filter frequency, but it would be practically useless if the filter wanted to be controlled with theaftertouch. In fact, in this case, you would get the filter frequency completely closed until you press the Aftertouch, precisely because it is not possible to decide how much the directly assigned controller should influence the parameter.
Another big flaw is the amount of CPU used in certain situations. Polyphony, Unison e Release They can dramatically impact the performance of this instrument and must therefore be adjusted surgically. My advice is to work very carefully during the programming phase, considering the final stage of the mix as your objective. Adjust the polyphony to the amount you strictly need, as it is a waste of resources to assign, for example, 16 voices when the Voices display (Fig. 13) does not exceed 8 or 10 voices. Try to increase the Release to high values only if you desperately need it. It is better to use delays or reverbs during the mix phase, as this little monster is as beautiful as it is resource-hungry.
We'd like to dedicate a final word to the included sound library, consisting of over 400 presets of various types. We tried to test as many as possible, and we can tell you that the most interesting are undoubtedly those categorized as Multitrack, which feature exciting electronic sequences like "Massive Groove," "Loop Scanner," or "Warpx." The quality and complexity of these sequences has led to a false rumor circulating in forums that Massive is a "drum machine," a multi-effects program, or even a sampler. Some of the pad sounds are also very beautiful, enveloping and constantly changing, such as "Donor" or "Earthly Purpose." It also features sounds that have been overused in dance music all over the world: classic "saw leads," "syncs," electronic bass, and "techno." The sound palette offered by this synth is truly rich and varied, but I didn't like the organization of the banks. Those who read the article carefully will have noticed that I spent more time on sound programming and the potential offered by the filters than on the set of "patches" developed by NI.
For the timbre potential of Massive, I would have expected that the Ni If only I had spent more time programming the banks, it's true that most of them are above-average in quality, good and interesting, but it's also true that they don't even remotely reflect the full potential of the software. This is a huge flaw for such an ambitious and successful project. We have in our hands a very powerful "software," but it's not supported with sound banks commensurate with its capabilities. Those with an external control surface and a little familiarity with synthesis will be thrilled to create a custom sound palette, while those without technical or tempo knowledge can either create new sounds using the Random function or limit themselves to using the 400 "presets" included in the package. If I had to summarize the power of the product in a few words, I could say: Massive is like water. It can caress your skin or split a mountain in two.
USEFUL NEWS
Producer: Native instruments
Model: Massive
Website: www.native-instruments.com
Distributor: www.midimusic.it
Price: Euro 270 + VAT
Article published in CM2 Magazine. Thanks to Mr. Luke Capozzi for having contributed to the writing of the article.
