NATIVE INSTRUMENTS MASSIVE MANUAL PDF
This manual will show you how to use MASSIVE and all of its features. To help And, last but not least, the manual will show how to set up modulation routings. MASSIVE FREE DEMO. Version (July ); Mac OS: MB; Windows: 98 MB; System requirements MANUALS. ALL LANGUAGES ENGLISH (). MASSIVE was designed and developed entirely by Native Instruments GmbH. .. What you are holding in your hands right now is the Getting Started Manual.
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a week ago about Massive that I posted here, but I also made a pdf guide to go. .. I didn't find any help in your manual about that. This PDF guide explains nearly every button of this great synthesizer plugin. The document is Also watch out for his 45min video tutorial about NI Massive. Massive Manual English - Download as PDF File .pdf), Text File .txt) or read online. by NATIVE INSTRUMENTS GmbH, hereinafter referred to as NATIVE.
The patcher window allows one to navigate the inner structure of user's models. Many factory-shipped objects within Reaktor can be accessed and edited, and new objects can be generated on the fly.
Each of the Reaktor modules is defined by its inner workings, and expansion thereof to the users' specification comes with relative ease.
Implementation of Core Technology with version 5 enables user to view and edit the structure of any "Core Module" building block. Although such editing can be an exceptionally powerful tool,  successful manipulation of Core Cells with predictable results requires in-depth knowledge of algorithmic implementation of signal generation and processing. Users have an ability to generate a GUI of their own to provide dynamic control to their systems.
Starting with version 4, Reaktor supports user-generated graphical content, enabling many users to generate original look and feel of their instruments. A finished Reaktor ensemble may be loaded into a host sequencer such as Steinberg Cubase or Ableton Live , and used as a stand-alone software plug-in for audio generation or processing a multi-format proprietary loader is included with the software.
Each panel control in the ensemble is capable of MIDI automation in the host sequencer. Reaktor Ensembles[ edit ] The Reaktor Library is one of the prominent features of the software, featuring a large variety of sound generators and effects that can be used as stand-alone instruments, or as an educational resource for reverse engineering.
Reaktor 4 featured a library of 31 Reaktor ensembles. The fifth generation of software came with 32 new modules though some were upgrades of Reaktor 4 Library tools. A new oscillator mode, Sync Granular, has just two granular synthesis parameters Density and Scatter that do some really nice-sounding things with the stock library waveforms as opposed to samples. It's particularly good at making natural sounds, such as bow scrapes and breath, as well as the eerie, spacious sounds that are Absynth 's speciality.
The Wave editor now has a Morphing function, which lets you combine two waveforms in different ways. All the oscillators have access to an extra morph page in the wave selector.
The Effects section has an improved Resonator and a cool Surround tool. This displays the the soundfield positions of the effect outputs, which can then be panned and spread in its entirety, and even rotated at a selected rate. There is an entirely new addition called Audio Mod, which allows you to modulate or trigger other parameters based on the level of audio signals at various points in the plug-in's signal flow.
The most obvious use for this is to create envelope-following effects, like a Moogerfooger pedal processor, but no doubt it will be put to much more twisted uses! The Modfather Massive has four assignable envelopes, all of which can themselves be modulated at various stages by each other, or by LFOs, and so on.
These are just about the most flexible, programmable envelopes you could dream up. However, unlike Absynth 's multi-stage envelopes, that are drawn by hand using breakpoints, these take a much more useable approach.
Why Native Instruments kinda sucks
The envelopes loosely follow the tried and trusted ADSR formula, but with a large degree of precise control and a multi-shape looping stage. The Loop stage defaults to off, and the Decay acts like a traditional Decay and Sustain combined. The Attack stage has a very welcome level control, making it possible to create smooth curves into the Decay stage, as well as traditional peaks. However, it's the Loop stage that is the most innovative.
Set the number of loops from one to infinity, and the stage kicks in. The 'S Loop' knob sets the duration of the loop, while 'Level' sets the difference in level between the beginning and end of the loop. The shape of the loop is set using the Morph controls.
Two pop-up lists offer 22 preset shapes, some of which are single curves, some are like LFOs, and some are just plain nuts. Two shapes are active at any one time, and the Morph knob fades the actual loop shape between the two. In the screen shot above, you can see how the grey lines show the preset shapes, while the white line shows the actual resultant curve.
Massive's versatile envelope designer. You won't be surprised to learn that there's a lot more to them than regular LFOs, and, what's more, each one can be swapped for a 'Performer' or a 'Stepper', both of which are stage curve or step sequencers. Each LFO modulator actually has two shapes, with a crossfader for morphing between the two.
I really like this feature; if you want an LFO that's in between a triangle and a sine wave, you just make one. As well as the four basic shapes, there are about 30 more to choose from, and you can adjust the phase of each just by dragging the graph. An LFO's speed, blend and global depth controls can all be modulated, and in addition to all the regular mod sources each LFO has its own simple AD envelope that can be assigned to its own controls. This is a prime example of the wealth of features that you become happily accustomed to when programming sounds in Massive.
The only addition I found myself hoping for was a display that showed the final LFO shape, in the same way that you see the final loop shape in the envelopes. The Stepper and Performer are similar concepts, but useful in slightly different ways. The Stepper is a step sequencer, which can be applied to any modulation destination.
Applied to oscillator pitch it creates melodic sequences. Although it can have similar results, this is not true arpeggiation, as it's applied on a per-voice basis, and is not actually re-triggering new notes.
I'm surprised there isn't an arpeggiator built into Massive as there is, for example, in FM8. Like the Stepper, the Performer plays a loop of up to 16 modulation stages, but instead of static values, each step is a curve as in the screen on the first page.
Each step can behave like a simple envelope, or you can build up bigger curves covering several steps. Sixteen shapes are available for dropping into any of the stages. Similar to the LFO page, each Performer can contain two separate sequences that you can morph between. Both the Stepper and Performer provide a huge amount of scope for sound design, allowing for evolving, pulsing or strongly rhythmic sounds, as well as complex loops.
A number of the factory presets showcase these features by combining multitrack looped drums and melodies in one patch. Master Effects If all this is not enough for you, the final output section offers two master effects slots and a final-stage EQ. The effects include delays and reverbs, as well as the expected choruses, flangers and phasers. I was pleased to see that the chorus comes in mono as well as stereo versions, giving you a less CPU-hungry method of thickening the sound than the true unison.
Similarly, the Dimension Expander spreads the sound into stereo with some subtle chorus and reflections. Finally there are three tube-emulation effects for adding a bit of warmth or distortion. Surprisingly, there are no compressors in the master effects or the inserts. Given how feature-rich the rest of the instrument is, I'm inclined to think this is by design rather than an omission. The filters have to compress pretty hard to deal with the internal feedback routing, but I'd still like to see some final-stage compression.
A Face-lift For FM8 Of all the upgraded plug-ins that come with this year's Komplete upgrade, FM8 has had the biggest change, to the point, in fact, where it's practically a new instrument compared to FM7.
The graphical face-lift changes the entire plug-in to white, and everything has moved around to make it an easier instrument to use and program.
Like Absynth 4, the inclusion of the Sound Browser sees the end of the old standard front panel. As with FM7, the Easy page collects certain important controls that influence what is happening 'under the hood', in a similar way to the new Master Envelope controls on Absynth 4.
MASSIVE FREE DEMO
Kore users will find most of these controls on the two standard FM8 Easy Access pages. FM8 allows you to drop four sounds in the X-Y controller and morph between them. Four complete FM8 presets can be stored in each corner of the X-Y panel and morphed between by dragging a marker around. It's important to note that this is not loading four patches and crossfading between them, it's actually moving every parameter between the positions they occupy in each patch.
Reaktor users will be familiar with how fantastic and unpredictable this can be with just a two-way morph function. There are different ways of utilising the Morph function.
Massive Manual English
One is to load four random patches, then experiment with morphing until you get an entirely new patch to play with. Alternatively, you can create new sounds that evolve using modulators and envelopes to move the morph position.
The X-Y control can also be used as a controller for changing just a few parameters during a performance.
For example, you could save different versions of the same patch with the filter and resonance at low and high settings in different corners. One of the nicest ideas is the random factor that can be added to the morph position. By dragging what look like two scroll bars along the x and y axes, you can introduce randomness to the morph position. This is shown as scattered dots spreading out from the central position marker.
Within a few minutes of playing with the morph features I created a couple of sounds that were more interesting than anything I ever got out of FM7. Another key enhancement compared to FM7 is a comprehensive effects section. FM7 had only a delay effect, while FM8 has a dedicated effects 'rack' with 12 modules that can be added and used simultaneously. Effects configurations can be stored and recalled, and there's a generous list of preset racks.
The other new module gained by FM8 is a powerful and comprehensive arpeggiator, with a step pattern editor and template library. FM8 makes it easier to get your hands dirty and program your own sounds. The Expert pages are all laid out in a more comprehensible fashion, and there's a useful Ops page that displays the FM Matrix along with the key parameters from every operator. It's still a steep learning curve, however, and the morph controller is a much more fun way of generating new sounds.
Anyway, the Browser makes a huge number of sounds instantly accessible. FM7 sounds loaded into FM8 sound better and clearer than they did before. A new High Resolution setting also gives the sound quality a noticeable boost, by using higher internal sample rates at various stages.
Massive Performance By this point you'll see that Massive earns its name in terms of the scope of its sound generation, routing, and modulation abilities, but what about the sound itself? What we know is that NI decided to prioritise audio quality over CPU efficiency, and run everything at high sample rates. Like MP3s compared to CDs, virtual instruments are usually a compromise, with any corner that can be cut being cut.
So how much difference does Massive 's uncompromising approach make? I won't keep you hanging, Massive sounds good. Really good. Just flicking through the presets to the stand-out sounds the preset library varies a lot in quality reveals a clarity and depth you just aren't used to hearing from a soft synth.
It will then change the range of those other two slots. The next two tabs in this section are assigned to keytracking for the oscillator and filter. The oscillator keytracking can be switched off for designing non-tuned percussive sounds. It also has standard linear or user controlled settings for each of the oscillators. The filter keytracking works in a similar way, but instead of working with the pitch, they affect the filter cutoff. There are two user definable responses, and you can set these for either or both of the two filters.
They can also be disabled, just like with the oscillator keytracking. The trigger settings will change the way the sources for modulation act. They can be set to restart the mod source with each note, or you can set it to use one of the two legato modes legato and legato trill. The unison settings include spread controls for pitch cutoff, wavetable position and pan position. Each of those three unison settings can be switched on or off, and they can all be enabled at once if needed for a particular type of sound.
The Routing section has some useful features built-in. It basically enables you see the synth as a flowchart, as it shows the path that the signal takes going from the oscillators to filters, and on to effects and other parts of the synth.
At certain junctures in this flowchart, there are extra modules which let you add functionality to achieve the type of sound you may be after. After the oscillators on the left side of the Routing display there are Bypass selectors labeled B. Also, the two Insert effects that I mentioned earlier can be enabled at many different points in the flow of the signal.
The envelopes are separated by tabs, and each of them is identical. Their basic structure is of the ADSR type, but they have some extra features included as well. There is a graphic display for the envelopes that reflects the settings you adjust for them.
You can also click on the envelope itself and drag it around to make changes. Sliders are available on the left side to make adjustments for the velocity sensitivity and keytracking.
As just mentioned, there are some extra features which go beyond a normal ADSR envelope. The first one I wanted to mention is the Delay control. This lets you add an adjustable amount of delay before the attack stage begins. The attack and decay stages are standard each has time and level settings , but the sustain stage of the envelope needs a bit more of an explanation.
Using the Sustain Morph control, you can morph the shape between two separate shapes. The two shapes can be selected from the two Morph menus. The last control for this stage controls the sustain level. The only control for the last stage is Release which determines the release time. Some envelope presets are available, and you can save your own as well.
Three play modes for the envelopes are also included: Gate, One Shot and Hold.Although of course the wavetable engine that produces the raw signal is also very important for the final sonic impression. The other 'signature' mode, Daft, is the best for warm, low-end enhanced analogue sounds.
You will find the same basic layout structure here as in the Keytracking Oscillator Page: A detailed explanation of all available attributes can be found in Appendix B. This is probably the least dramatic of all the NI upgrades, but there's still quite a lot in Absynth 4 to keep devotees happy. It is made up mostly of Attribute pairs: However, unlike Absynth 's multi-stage envelopes, that are drawn by hand using breakpoints, these take a much more useable approach.
The Routing section has some useful features built-in. Although such editing can be an exceptionally powerful tool,  successful manipulation of Core Cells with predictable results requires in-depth knowledge of algorithmic implementation of signal generation and processing.
This is particularly useful if you want to open a KoreSound file that is not within your library folders.