Ni Massive Pdf
If you save a version of this patch, it will no longer be readable by the plug-in directly. For example, you could save different versions of the same patch with the filter and resonance at low and high settings in different corners. 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. All the oscillators have access to an extra morph page in the wave selector.
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. The real beauty of this system, however, is that you don't have to fix anything one way or another, and can experiment to find the best blend. You could then select whether the oscillator played a sine or a square.
Set the number of loops from one to infinity, and the stage kicks in. An Intensity knob further shapes the basic sound in various ways determined by the mode selected in the menu above it. Surprisingly, there are no compressors in the master effects or the inserts. This is where the Feedback module comes into play. Finally, Formant mode gives results somewhere between a formant filter and oscillator sync.
However, it's the Loop stage that is the most innovative. Macros inexplicably split across two Kore pages.
In Kore, opening a Singlesound inserts the parent plug-in, which is displayed as a simple, thin rack device. 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. The Envelope window can even be resized like a normal window, meaning that you'll spend less time hunting around with scroll bars. Additional details on these features are provided in the following sections.
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. If the waveforms in a wavetable are arranged so that they change incrementally from one to the next, you can scan through the table and create smoothly evolving sounds. 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! Alternatively, you can create new sounds that evolve using modulators and envelopes to move the morph position. The Mod Oscillator's pitch tracks the keyboard, so its results can easily be tuned to become a harmonic constituent of the sound.
Even better, you can apply modulation and envelopes to any of these faders so that sounds morph between different routings. There are different ways of utilising the Morph function.
The Effects page has benefited from the make-over and now sports graphical controls instead of a list of numbers. The life of a Native Instruments user has often been one with more than its fair share of admin and regular updating. 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? For me, the biggest improvement is the graphical overhaul. The Stepper and Performer are similar concepts, but useful in slightly different ways.
One of the nicest ideas is the random factor that can be added to the morph position. More interestingly, though, if you can modulate the wave selection control, you can create sounds that change over time.
The graphics are sharper and brighter, and the plug-in window is larger, making all the modules less fiddly to use. The shaping stages can occur before, after, or in between the filters, and at various stages with respect to the feedback loop. The results of the Master Envelope's delta values are superimposed on the Osc Amp graphs in the Envelope page.
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NI Massive Mega Guide
The password field is case sensitive. In addition to the usual frequency and resonance controls, some modes have an additional parameter.
No built-in true arpeggiator. However, the sound generation technique is not the main area where the synth aims to break new ground.
Applied to oscillator pitch it creates melodic sequences. The effects include delays and reverbs, as well as the expected choruses, flangers and phasers. The Mod Osc is routed via a small matrix as in the screen below.
It's still a steep learning curve, however, and the morph controller is a much more fun way of generating new 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.
This last module is a very welcome addition that scales all the Oscillator Amp envelopes simultaneously, giving you fast control over the amplitude envelope of the whole patch. The Bypass fader can then be used to mix this into the final output, allowing you to create sounds that blend both filtered and shaped sounds with pure sources. The results are, well, massive, but you'd better limit the Unison voices to three or your computer will choke pretty quickly. Note that the user interfaces for the base station and multiple antenna mobile stations are very similar as both support multiple antennas.
This was for presets using one to six voices, which is actually enough for most patches as the sounds are so, well, massive. Infuriatingly, though, anatomia y fisiologia de la glandula tiroides pdf the default Massive template in Kore splits the Macros over two pages. This is a prime example of the wealth of features that you become happily accustomed to when programming sounds in Massive. In addition to the three main oscillators there's a noise generator and a Modulation Oscillator.
Having said that, one of my favourite features is Unison, which shamelessly eats up multiple voices per note. You may have noticed that none of the modules has any dedicated envelope or modulation controls, only small fields under each knob. Similarly, there are dedicated velocity and tracking settings for each of the envelopes.
For example, you might have a simple wavetable that consisted of a sine wave and a sawtooth wave. However, though capable of it, it is not trying to be an analogue modelling synth in the way these synths are. You can make changes to the sound, and save it, and the patch can still be read by the plug-in on its own. One is to load four random patches, then experiment with morphing until you get an entirely new patch to play with. There are then three Bend modes, which modulate the speed at which the wave plays back over the length of each cycle.
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