From the course: MASSIVE: Digital Synthesis
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Insert effects, part two: Feedback and more - MASSIVE Tutorial
From the course: MASSIVE: Digital Synthesis
Insert effects, part two: Feedback and more
- Let's take a look at the other insert effects here. I've opened up our lead sound. (electronica) The snake that's a-slitherin'. Let's look at the other things we have here. We have a simple delay, a sample and hold a bit crusher, frequency shifter and a filter. So let's go ahead and go to our routing page and I'm going to add our two forms of digital distortion here. Now, keep in mind, everything that we're doing in here is digital, but when I say digital distortion what I mean are specific types of distortion that are created from digital audio, sort of being degraded in quality. So, with digital audio, we have essentially two different parameters that we talk about: we have bit depth and we have sample rate. So, the sample rate is how many samples we have per second. The bit depth is the dynamic range or the number of bits we have for dynamic range. Now, these two modules, samples and hold, and bitcrusher, are going to work with those two parameters of digital audio. So sample and…
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Contents
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Basic layout and signal flow2m 9s
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Envelope setting and routing5m 45s
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The oscillators, wavetables, and how to use them6m 44s
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MASSIVE's wavetables8m 20s
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Bend modes7m 17s
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Filter modes7m 21s
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Alternate filter modes and modulation16m 10s
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LFO (low-frequency oscillator)11m 45s
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Envelope looping9m 1s
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Stepper10m 44s
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Performer12m 34s
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Master settings and polyphony17m 34s
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Modulation oscillator, part one: Ring mod8m 22s
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Modulation oscillator, part two: Phase mod8m 11s
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Modulation oscillator, part three: Position and filter FM8m 42s
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Insert effects, part one: Distortion7m 11s
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Insert effects, part two: Feedback and more8m 59s
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Master effects8m 47s
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Noise7m 49s
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Macro control, part one: Incoming midi7m
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Macro control, part two: Knobs8m 48s
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Sidechaining8m 40s
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Automating macros in Logic Pro6m 49s
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Automating macros in Ableton Live4m 6s
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Saving and naming3m 41s
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