![]() Send B and bring this over here and connect it to the beginning of our chain, and now, I have a additional oscillator to work with. So, what I’m going to do is, break this, break off all these. If you go over to the, Insert effects, you’ll see oscillator. However, instead of having three of these, they threw in an additional three subtractive oscillators. Now, if you aren’t familiar with the original Massive, you may be asking, well they got rid of an oscillator… And that’s true, we got two wavetable oscillators instead of three. So, not only do we have all these wavetables to work with, we’ve had a lot of ways we can mess with them, and morph them. But this itself has a few different versions. One new one they created was called Gorilla, which I really like. Well, now that we’ve got even more of those, and each of them has their own sort of subset as well. We had the spectrum bends and format, allowed you to kinda morph the waveforms in various ways. If you remember, the original Massive had that as well. Each of these Oscillators also has a bunch of modes, I call them like, “Morph modes.” And they actually brought some of the original Massive ones along under remastered, which is a nice touch. So, two Wavetable Oscillators, a lot of Wavetables here. And it creates so much flexibility in this synth.Īlright, so let’s jump in and start with our Oscillators up here. And you’ll find that I keep coming back to the Routing panel. I’m gonna go through all the different modules up here. There’s a million things you can do with this Routing panel. So, that’s just a basic example of how to use this. Then now, we get our crush sound, that is then is then filtered. All we have to do is disconnect our filter, and our Bitcrusher, and reconnect things in a different order. So, maybe I’m thinking, well, you know, I want the Bitcrusher before that. As I change this frequency, the cutoff of our low pass filter doesn’t make it rounder, it just changes the sound going in our Bitcrusher, which then kind of brightens it again in various ways. So don’t- right now because the filter is before it. Let’s say, I set up insert effect B, as a you know, maybe distortion. The oscillator is going into insert effect A, which then goes into the filter, which then goes into insert B, insert C, and then out into our effects and eventually out the end. We have the filter F, that’s represented down here. And then it goes through a chain, we’ve got A, B and C insert effects, that’s A, B, and C. So, right now we’ve got Oscillator one and two, Noise one and Noise two down here. Right here, we’ve got how everything is connected. However, Massive X has taken that idea and ran with it creating pretty much a total modular architecture. Or I could put it after the filter, a few things like that. So, if I click there, it’s position between Oscillator and Filter. And this allowed you to do a few things like these instant effects down here, you could determine where they were in the signal path. If you remember, old Massive, original Massive, it had a Routing panel as well. ![]() O, the centerpiece of this thing is the Routing panel. But I’ll also touch upon, you know how things have changed from Massive, what they brought along and how they’ve changed it. Why it stands out from other synths, why you should care. So, this is Synth Spotlight, I’ll be focused on the usual thing which is what makes this synth interesting. It’s a totally new synth from the ground up, but it still has some elements from Massive so, it feels like Massive and a brand new synth at the same time. Massive X, this is a big overhaul of Massive. I was graced by the gods (by whom I mean Native Instruments) with an early release of Massive X and I was able to play around with it to create this comprehensive video review.
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