Native Instruments Massive VST Crack provide quick and direct control – they are automatically assigned to the eight macro commands for all KOMPLETE KONTROL S SERIES keyboards and all MASCHINE hardware.
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All the important parameters of a sound are preconfigured and assigned to these controllers. A single controller can process multiple assignments. For example, just rotate the rhythm and observe how several underlying parameters change at the same time.
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Macro controls allow you to instantly and deeply customize all Native Instruments Massive VST Crack presets without having to understand the technical structure of the sound. Macro commands essentially transform any sound into a series of possible sounds that transform seamlessly into each other.
In addition, macro-controls are the main interface to other applications. These are targets for MIDI assignments that can be easily set using the MIDI learn function. These are also the first eight parameters that are reported to a host when MASSIVE is used as a native instruments plugins.
TONE SYNTHESIS MASSIVE VST FREE
The sound synthesis of MASSIVE is based on a unique wave scanning algorithm implemented in three parallel oscillator modules. It combines the best sound quality with the greatest flexibility and controllability. Imagine a wave scanning oscillator as a multitrack sequencer. One of the tracks contains a saw wave and the other a pulse wave. In the vertical dimension, MASSIVE oscillators allow these tracks to merge seamlessly. In the horizontal dimension, the reading speed curve of a single cycle can be processed in three different bending modes.
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Massive plugin fl studio offers an unlimited number of these “tracks” in each wave table as well as two additional manipulation modes which are relevant for the time and frequency settings. Of course, the “traces” are not limited to the usual sawtooth or pulse waves.
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Native instruments massive free is supplied with 85 specially developed wave tables, each with a unique combination of waveforms and special sound properties. Finally, a modulation oscillator can be used to vary the signal from the main oscillator. It can be used for ring modulation, phase modulation (which looks like FM) and other modulation modes. A noise generator provides an additional signal source that can be mixed with other signals, creating certain effects. For example, it can be used in combination with comb filters from native instruments massive presets for a physical modeling approach to sound design.
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The basic structure of Native Instruments Massive VST Crack corresponds to the well-known paradigm of subtractive synthesis, which makes it easy to understand and at the same time guarantees that the signal flow is very flexible. You can place two insertion effects at different points in the signal flow. You can also record the signal at any time and return it to the start. For example, you can filter a sound and feed it back into the filter input. This can lead to very lively and dynamic results. Flexibility is further increased by inserting an insert effect in the feedback path.
You can send any signal from the oscillator directly to the output of the synthesizer, bypassing all filters and / or master effects. This function can be used to add a direct punch to layered and highly modulated sounds, eg. B. to add a sub-bass.
MODULATION SOURCES
MASSIVE offers different types of modulation sources which can be easily assigned to one of its parameters thanks to the innovative user interface. Several parameters can be assigned to a single macro control, which combines technical parameters into a single control – a much more musical approach. For example, you can assign the cutoff frequencies of the two filters to a macro control and label them as “Brightness”.
Massive plugin fl studio envelopes have an extended loop mode: part of the envelope can be looped and you can switch between different transitions or crossfades for defined loop start and end points. Various other options make MASSIVE envelopes truly unique.
Massive synth vst free contains two step sequencer modes: while the stepper corresponds to well-known and established operating modes, the performer can be shaped individually with each performer, making it ideal for advanced rhythmic structures. A flexible low frequency oscillator completes the list of modulation sources. The variety of possibilities is as great as it can be used quickly. This is further improved by the inclusion of templates for standard tasks for all modulation sources such as envelopes, LFOs, steppers and performers. For example, setting an envelope on a generic ADSR form is a quick click problem.
CHANGE THE FRAME
Various parameters can be adjusted on the different Native Instruments Massive VST Crack global parameter pages – parameters that most other synthesizers do not mention and cannot adjust. MASSIVE reveals its true potential for sound design. The key tracking pages map the incoming pitch information generated by your keyboard or sequencer for each oscillator and filter individually. There is even a separate key tracking control for filter cutoff frequencies and other additional parameters such as the width of a bandpass filter or the return of a comb filter. In this way, effects can be created which can be controlled by simply playing on your keyboard.
As with most synthesizers, you can adjust the bending times between pitches when playing legato notes. MASSIVE goes even further and allows you to adjust the pitch bend range or the phase of each oscillator. On the harmonization page, you can switch between polyphonic and monophonic voice processing as well as between different voice trigger options, e.g. B. simply play trills with a musical sound on your keyboard.
Several voices can be triggered by a single note. Similar to an orchestra where several violins play the same “voice”, making the sound warmer and more lively, the unison function makes your sound thick and lively. This function can also be adjusted to extreme parameters by spreading your voices over several octaves or by filling the stereo panorama – all with a single note.
THE LIBRARY
MASSIVE contains over 1300 production-ready sounds, including full libraries of previous products “Massive Expansion” 1 and 2, “Urban Arsenal” 1 and 2 and “Massive Threat”. All have predefined macro controls and have been created by professional sound designers and well-known artists. The range of styles included is as wide and diverse as the music itself and will inspire you no matter what the taste of the piece you are working on. The browser is not only intuitive and easy to use, but also provides results immediately.
MASSIVE SYSTEM REQUIREMENTS
- Windows 7, Windows 8, or Windows 10 (latest Service Pack, 32/64-bit) Intel Core 2 Duo or AMD Athlon 64 X2
- An Internet connection and a graphics card that supports OpenGL 2.1 or higher are required to download and activate this product. Once installed and activated, the product can be used offline.
- Windows (32/64-bit): Stand-alone, VST, AAX
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Tony Maserati is an American record producer and audio engineer who has worked with many mainstream artists including Lady Gaga, Beyoncé, Jason Mraz, James Brown, Mariah Carey, Notorious BIG, Black Eyed Peas, Destiny’s Child and more. His work encompasses worldwide sales in excess of 100 million units. He won a Grammy Award or his work on Beyoncé Knowles’ No. 1 single, “Crazy In Love”, a Latin Award for Sérgio Mendes’s Timeless (2006).
Maserati attended Berklee College of Music in Boston, Massachusetts for production and engineering. He relocated to New York City during the early days of the record-making business in New York City and was trained by the technical and engineering staff of legendary Sigma Sound Studios as well as the steady stream of R&B, Dance and Rock luminaries who booked the rooms there.