If I have a very specific idea of a sound that I want to make, it’s always quicker to make it from scratch. They’re also great learning tools for reverse engineering sounds and understanding how they’re constructed. I think presets are great for getting an understanding of what a synth is capable of. I’m not like those synth purists who say, ‘I only make my own sounds and I’m above using presets’. How do presets influence the music you make? And the core concept uses MASSIVE X’s simplest oscillator – ’SQ-Sine-Saw’ – to create something very complex and unpredictable.
THE GLITCH MOB DOWNLOAD PATCH
This was all achieved using the paintbrush tool to draw unique LFO curves, and the modulation editor to bend and warp the Performer curves in untraditional ways, giving the patch a very unsettling feeling of speeding up and slowing down. The patch is meant to make you feel uncomfortable, confused, uneasy and unsettled.
I’ve called the patch ‘Sine Of The Times’, as it’s meant to mirror the feelings that I think we’re all going through right now, due to COVID-19, the civil rights revolution, the economic fallout, the uncertainty of the times and our new reality. Tell us about the inspiration behind the MASSIVE X patch you’ve made for us. It’s incredibly deep but armed with all the necessary tools to make some very unique and refreshing sounds. I didn’t think the average producer would have the patience for it, but those who are truly interested in new and unique synthesis techniques would be rewarded for their patience. When I was testing the beta, my first impression was that it wouldn’t be for the faint of heart. But MASSIVE X went in a really different direction, creating a synth that’s insanely deep and offers a lot of new and interesting concepts and ideas.
I was expecting a ’Serum killer’ – like the one wavetable synth to rule them all, the next synth that all EDM producers would be using to make their warpy wobble bass hits. Obviously, Serum took the spirit of MASSIVE and iterated on it with visual feedback and tons of FX, and further pushed wavetable synthesis as the modern sound of popular dance music. What were your expectations when MASSIVE X was released? The Performer alone changed the game and pretty much forced many other soft synth makers to create similar modulators, where you could draw unique waveforms. MASSIVE was also the first soft synth that offered a very simple and intuitive UI to make custom sounds that were never heard before. That’s the impact that MASSIVE has had on the culture. Pretty much every major synth maker (soft and hard) now has to have a wavetable synth in their arsenal, to the point that I don’t reach for wavetable synths first these days. Wavetable synthesis previously wasn’t very popular, but MASSIVE put it on the map, and now it will be synonymous with this time period like FM synthesis was with the 80s. MASSIVE was obviously completely game changing when it dropped – it ushered in a new era of soft synths that would go on to define multiple genres of modern dance music, like the 909 did with techno. What was your first experience with the original MASSIVE?
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