It has been announced that UK Music’s CEO Jamie Njoku-Goodwin will be leaving the organisation after three years to become Prime Minister Rishi Sunak’s director of strategy.
Joining in 2020, Njoku-Goodwin served as CEO of the company and helped steer the sector through the COVID-19 pandemic. Prior to UK Music, he worked as a special adviser for former health secretary Matt Hancock and the Department for Digital, Culture, Media and Sport.
Njoku-Goodwin also played a major role in creating the new national plan for music education. He led efforts that helped secure the safe return of live music after the COVID shutdown and increased UK Music’s work on diversity and inclusion.
More recently, he coordinated the sector’s response to the challenges posed by the impact of artificial intelligence, stressing the need for effective copyright protection.
The former CEO previously responded to the post-Brexit trade deal back in December. In a statement, Njoku-Goodwin said the deal was “welcome and has removed some of the uncertainty facing the music industry”, but left “many questions” for the field, including “what it means for touring”.
“The Prime Minister has promised there will be no non-tariff barriers, so it is vital that Government delivers on this promise and ensures there are no barriers to British musicians working and touring through Europe,” he continued. “We will be seeking urgent reassurances on this from Government.
The exec also said UK Music is “eager to take advantages of the opportunities this deal will bring” and noted that Boris Johnson’s proposal to “set new frameworks for the sectors in which the UK leads the world” was “particularly exciting”.
He also previously warned that European tours will be put “at risk” by the new Brexit trade deal. Of the situation, he said the “additional costs and bureaucracy could be the straw that breaks the camel’s back”.
“There is a real risk that British musicians will not be able to bear the cost of extra bureaucracy and delays which would put some tours at risk,” he continued, the Independent reports.
Njoku-Goodwin’s predictions were correct. As a result, artists who attempted to hit the road again after COVID found themselves on the predicted “rocky road” for the first summer of European touring after Britain left the EU.
Last year, the UK government was warned again that musicians and crew “could find themselves unemployed en masse”, after a hearing at the House Of The Lords revealed the damage already being caused by Brexit on those wishing to tour Europe.
Of his departure from UK Music, Njoku-Goodwin said in a statement: “The UK music industry is one of this country’s great national assets, and it’s been a privilege to represent it for the past three years. Leading UK Music through what was the toughest of times for our sector during the pandemic, when the music industry faced an existential struggle, has been an immense honour. I’m delighted our sector is in much better shape now to take on the challenges and opportunities it faces in the future.
“I would like to thank Tom Watson, the UK Music board and the fantastic team at UK Music for all their hard work and dedication. And also the countless people across the sector who have been so supportive of me over the past three years. I wish UK Music every success for the future, and hope policymakers continue to give it the support it needs and deserves.”
A man in Barcelona has reportedly been sentenced to one year in jail after deliberately “terrorizing” his neighbors with loud electronic music every day and night for a period of five years.
The man’s neighbors had complained to him about how disruptive the “unbearably loud” music was starting in 2012, claiming it led to physical and mental issues, according to El Diario. In addition to requests from those neighbors he was also visited by local police, but all attempts to have the volume reduced fell on deaf ears.
After ignoring a warning issued in 2014 by the local municipality, the man frequently played music exceeded 57 decibels, which is significantly louder than the 35 decibels allowed by law. One officer described the noise as a “continuous ‘boom boom'” and a sister of one of the victims said her “bones were vibrating.”
An elderly neighbor reportedly testified that he suffered from insomnia and was prescribed a “sedative-hypnotic treatment.” Another neighbor’s Alzheimer’s disease is said to have worsened due to the anxiety from the loud music.
A court in Mataró ultimately ruled in favor of the victims.
“The persistence of his attitude suggests that the defendant was aware that his conduct could affect the mental stability of any neighbor because even with minimal social skills one cannot but be aware of it,” the judge said.
Consequently, the man was sentenced to one year in jail. He’s also banned from working in any job related to electronic music.
Gross Beat is the go-to plugin for many trap producers. However, you can use it in practically any genre.
So what makes Gross Beat special? And why do so many producers praise it?
In a nutshell, Gross Beat allows you to manipulate audio in unprecedented ways.
You can stretch, stutter, reverse or scratch your audio. And a lot more, in just a few clicks! However, it can be a bit tricky to wrap your head around it. So in this guide, we’ll cover every detail you need to know:
The Gross Beat Interface
What makes it so special
Who to draw volume and time envelopes
My 5 Secret Gross Beat Tricks 👀
Ready? Let’s dive in 👇
So… What is Gross Beat? 🤔
So, what is Gross Beat? And why do you see it in so many YouTube tutorials?
Gross Beat is a real-time audio manipulation effect. It can warp the pitch, timing, volume, and more of any sound source.
Gross Beat is a native FL Studio plugin available in the Signature and All Plugins bundles. It can also be purchased separately if you have a lower version, and works in any DAW:
The Gross Beat Effect plugin
The plugin features 72 preset slots: 36 for time manipulation, and 36 for volume manipulation.
Each slot has its own editing window. This means you can create up to 72 different mapping envelopes.
You can then easily switch between them with your MIDI keyboard (but more on that later). If you’re a bit confused, don’t worry. Here’s a quick example:
Under Volume Slot 1, I’ve created a sidechain-like automation
Under Volume Slot 2 however, I’ve created an on/off automation
Here are some audio examples so you get the idea:
Original loopFirst exampleSecond exampleThird example
With Gross Beat, you can easily create:
stutter effects
vinyl effects
repeat looping effects
reverse effects
… and a lot more! Let’s dive in and see how this bad boy works. 👇
Overview of the Gross Beat Interface 📺
When you open up Gross Beat for the first time, you’ll be greeted with this window:
The Gross Beat interface
This is the default preset for Gross Beat. You can see each of the 72 slots (36 for Time and 36 for Volume) is empty.
If you want to get instant results, you can load one of the presets:
Loading a preset in Gross Beat
For now, let’s stick to the default preset. Gross Beat is divided into 3 main sections:
Gross Beat’s 3 main sections
In order, we have:
Time/Pitch settings and slots. The main Time knob controls the dry/wet amount. You then have 32 slots where your store your time manipulations. At the top right, the scratching clock allows you to manually scratch.
Volume settings and slots. At the bottom, the main Volume knob controls the dry/wet amount. You also have 32 different slots to store your volume manipulations. At the bottom, you also have 3 separate knobs. These help you achieve a smoother sound when clicks become apparent:
Attack: smooths the attack volume
Release: smooths the release volume
TNS: tension (slope) adjustment for both the attack and release times
Mapping envelope editing window. This is where you create your automations. As you edit an envelope, changes are automatically associated with the selected slot.
Gross Beat Editing Window: Main Controls 🎛️
Now that we understand the general layout of Gross Beat, let’s dive a bit further.
Editing an envelope is pretty intuitive if you’ve already used FL Studio. Many of the controls and options are similar to general automations in the playlist:
Editing envelopes in Gross Beat
New points are added by right-clicking. To change a point mode, right-click to open the drop-down menu.
On the left-hand side are the “snapping” options. These let you decide where the points snap to the grid.
You can also choose to deactivate snapping altogether by pressing the “X” icon.
Next are 3 more editing options:
Envelope editing options
Step Editing: this will add new control points at each snapping interval
Slide Remaining Points: all points to the right of the selected point will move as a group
Freeze Editing: freeze the envelope so no changes can be made
The length of the window is always 1 bar (i.e. 4 beats). During playback, the position of the beat is indicated by a green line:
The green line indicates where you are in the 1-bar sequence
As mentioned, there are two types of envelopes: time and volume.
With a volume envelope, the top of the window represents 100% volume. The bottom of the window represents 0% volume:
I’ve renamed a slot “Almost sidechain” and drew in this automation
This is what it sounds like:
However, things get a bit trickier when playing with the time envelopes. Let’s explore 👇
Understanding Gross Beat’s Time Envelopes ⏰
So what happens when we draw a time envelope?
Things are going to get messy, so fasten your seatbelt 😅
Remember that I said that the length of the editing window was 4 beats? Well, the height of the window is 8 beats:
The size of the editing window is 4 by 8 beats
The envelopes you draw will impact three things:
Playback speed: how fast your sample is played back
Playback direction: if your sample is played normally (“forward”) or “backward”
Playback position: what part of the sample is played back
Practically, you can draw 3 types of envelopes. Either your envelope is flat, rising, or falling:
Your envelope is either flat, rising or falling
Let’s examine all 3 cases 👇
Drawing Flat Envelopes ➡️
Let’s start with flat envelopes.
A flat envelope will play your audio “forward“, and at “normal speed“. The height of your envelope will determine which section of the sample is played back.
Here’s a quick example of an acapella you’ve all heard before.
A famous acapella
If you draw a flat envelope at the top of the window, you’ll just hear the original sample:
Here, the sample will play back normally
So, what happens if I draw another flat envelope, but a bit lower?
Drawing 2 flat envelopes
This is what it sounds like:
2 flat envelopes
You can hear that after 2 beats, the audio jumps back. It then plays those same 2 beats again.
That’s because on our envelope, we’ve gone down 2 beats:
Jumping “back in time” 2 beats
However, the audio is still playing forward, and at normal speed. That’s because we’re still only drawing flat lines.
Looking for more cool ways to manipulate your audio? Check out this video from Aden:
Drawing Falling Envelopes ↘️
Let’s now look at falling envelopes.
As you start bringing the envelope down, your audio will slow down.
Here are 3 examples and how they sound:
Drawing falling envelopes
Example 1Second exampleExample 3
As the audio slows down, the pitch also drops.
If you keep drawing a steeper slope, the audio will eventually start playing backward.
Here’s a quick example:
Here, the audio will play backward
Audio plays backward
This happens when your slope is steeper than -1. Confused? Let me explain.
Here are some examples of envelopes and their slopes:
How to calculate a slope
So if you’re slope falls below -1, your audio starts playing backward. As you lower the slope even more, the audio will gradually speed up. When you reach a slope of -2, the audio will play backward, but at normal speed.
Note that with a slope of exactly -1, the audio simply pauses.
No sound will be outputted. This is because the audio is stuck between “forward” and “backward” playing.
Drawing Rising Envelopes ↗️
We’ve covered falling envelopes. So now let’s look at rising envelopes.
As you would expect, this will cause the audio to play faster.
As a consequence, the audio will also be pitched up:
Drawing a rising slope
Here is what it sounds like:
A rising slope makes the audio play faster
As the slope becomes steeper, the playback speed increase. When your slope becomes vertical, the audio will simply jump forward in time.
About the Buffer Size and the Safety Line in Gross Beat
Sometimes, you will get moments of silence. This means no audio is outputted.
Why does this happen? Because Gross Beat doesn’t have anything to play back.
Gross Beat works by storing audio in a buffer and then playing it back. However, if not enough audio has been stored, Gross Beat can’t play it back!
Here’s an example. Say you want to play your audio backward and from the start. You would need to draw a line that is steeper than -1:
Drawing an envelope so the audio plays backward
Here is what it sounds like:
Notice the silence at the start?
During the first 4 beats, nothing is played. This is because Gross Beat has nothing stored in its buffer yet. So it’s impossible to play something backward.
It’s only when you get to the second bar (the next 4 beats) that you hear the audio. Gross Beat is now playing what is stored in the previous 4 bars, backwards.
Practically, this is represented by the grey “Safety Line”:
The grey safety line
The grey safety line shows you if audio will be played during the first 4 beats:
Above the safety line. Gross Beat has audio in its buffer and will play back something
Below the safety line. Gross Beat doesn’t yet have audio in its buffer, so no sound will be outputted
Note that this is only valid for the first 4 beats. Afterward, Gross Beat will always have something in its buffer to play.
Great… But What About Curved Envelopes?
So far, we’ve only covered “straight” envelopes. By that, I mean envelopes that are always straight lines (either flat, rising, or falling).
So what happens to our sound if we curve an envelope?
What happens with a curved envelope?
Creating a falling pitch
Curved envelopes will create a rising or falling pitch. This is reminiscent of slowing down a track on vinyl.
The best here is to experiment with different curves and see what you like. Depending on the steepness, the audio might slow down, then accelerate again for example.
Gross Beat Advanced Controls 💪
We now have a full understanding of how to draw envelopes in Gross Beat 🙏
Let’s take a look next at some handy controls.
Firstly, here are 2 useful shortcuts to move points:
Hold Control if you just want to move a point up or down
Hold Shift if you only want to move a point left or right
To reset an envelope, go to Options –> Reset:
Resetting an envelope
If you want to reset a curve to a straight line, simply right-click on the tension point.
Another handy tool is the “semitone pitch” option. This lets you pitch the audio by semitone increments:
Easily pitch the audio up or down a semitone
Finally, a really cool feature of Gross Beat is slot automation.
Under any time or volume slot, right-click and select Create Automation Clip. Each slot has an assigned value that can be copied to the automation clip.
Simply right-click a slot and select “Copy Value”. Then paste it into your automation clip. This enables you to easily switch between patterns:
Automating switches between slots
So, When Do I Use Gross Beat? 🧐
By now, you’ve understood the limitless possibilities of Gross Beat. But here are my 5 favorite techniques I like to use.
Create Sick Turnarounds
Creating interesting turnarounds can be tricky.
A turnaround (or transition) is simply a passage at the end of a section that leads to the next section.
Let’s look at an example. I have this loop, and I want to create a transition before the saxophone comes in:
Initial loop
What I would do here is place Gross Beat on the Master. Then, I create an automation clip like such:
This is where I want my transition
In this case, the automation is activating slot 20. Now I am going to experiment with different envelopes until I find something I like!
Here, I ended up with this:
A nice transition
Which corresponds to this envelope:
Creating a transition in Gross Beat
Of course, you can also scroll through available presets! Note that you might need to play with the “Trig sync” and “Pos sync” options at the bottom. This will make your transition activate at the right time.
Create New Track Ideas
Let’s say you find a really cool sample. You want to start a track with it, but you’re not sure how.
Messing around with Gross Beat is a great way to spark new ideas.
Here I have the following loop which I really like:
A synthwave type of loop
I then played with different time and volume envelopes. A good idea here is to start with presets and tweak them.
I finally settled on the following shapes:
You can see I used a Trance Gate envelope for the volume (in light red)
Which sounds like this:
Creating a brand new loop
A good tip is to play with the Dry / Wet knobs. This allows you to dial in the effect subtly into your loop.
Next, I render everything to audio. This lets me chop and re-arrange the sections I like:
Chopping up the loop
Nice 😍
Chopping Up Drum Breaks
Playing with Gross Beat is a great way to create new drum patterns.
For this, I especially like the “Stutter” presets.
Try automating the slot selection in the playlist to chop up your beat:
Chopping up an amen break
This is what it sounds like:
Chopped up amen break
The easiest and fastest way to chop up drum breaks!
Create Unique Delays
Another cool way I like to use Gross Beat is with the Dry/Wet knob turned to almost zero:
Dial in a minimal amount of effect
This allows me to dial in some extreme effects. One example is this stutter pattern. By setting a small amount, I can create a delay-like effect:
Loop without processingWith Gross Beat on the lead arp
Create Reverse Vocal Atmospheres
Finally, another trick I like to do is the reverse a vocal. Here I’ve got a vocal loop:
My vocal loop
I am going to use Gross Beat to reverse the loop. Here, I’ve used the WishWash 2 preset:
Reversing the vocal
This is what it sounds like:
Reversed vocal pattern
Render everything, then select and blend in with the original!
Blending in the two
That’s It For This Guide! 🙏
That’s it for this guide on Gross Beat!
I hope you learned some new tricks that you can now apply to your music. Gross Beat can be quite a tricky plugin to fully understand. But hopefully, this guide will have inspired you to try it out!
Got any questions? Drop me a line over at [email protected]
Doja Cat and the German metal band Chaver have near identical artwork for their respective forthcoming new albums – both of which are out on the same day.
Doja Cat took to social media on Tuesday (August 29) to reveal ‘Scarlet’, the long-awaited follow-up to her 2021 record ‘Planet Her’, which will arrive on September 22.
She shared the album artwork in a since-deleted social media post, which featured a purple-pink arachnid with a drop of blood above it. It was soon revealed that Chaver’s new album artwork for their record ‘Of Gloom’ – revealed on July 29 and also due for release on September 22 – is almost exactly the same, except for the shape of the blood droplet and the positioning of the spider’s legs.
According to reports, the covers originated from the same artist, Dusty Ray, but it’s not yet clear how the overlap of artwork has happened. It appears the artist is aware of both covers, with Consequence reporting that they previously shared the image of Doja Cat’s cover on X (formerly Twitter).
Announcing ‘Of Gloom’ back in July, Chaver praised the cover that was “masterfully” created by Ray who has “been with us since our first album”, adding that it “serves as a captivating contrast to the album’s intense music, setting the stage for a trip to a place of pain”.
Doja Cat ‘Scarlet’ (CREDIT: Instagram)
Chaver ‘Of Gloom’ (CREDIT: Instagram)
Doja Cat’s most recent single ‘Paint The Town Red’ was released on August 4, marking the singer and rapper’s second release of 2023 following comeback single ‘Attention’ which landed in June.
She’s also announced her first-ever North American arena tour kicking off later this year, with Ice Spice and Doechii as support – buy tickets here.
Back in July, the artist deleted her Threads account and lost 180,000 followers on Instagram after criticising her fans in a series of posts. She had posted a series of tweets lashing out at her fans, particularly aimed at fan accounts who refer to themselves as ‘kittenz’.
Earlier this month, it was reported that she had lost around 500,000 followers on Instagram. Doja has since responded to the unfollowing spree, writing that she felt like she’d “defeated a large beast that’s been holding me down for so long”.
The legendary Burning Man event kicked off this week, and we already have high-quality aerial images of this year’s Black Rock City.
Satellites operated by the space technology company Maxar Technologies snapped a number of stunning images during the day to capture Burning Man’s size, makeshift roads, vehicles, camps and more one day ahead of its official start, per Space.com.
Maxar Technologies’ aerial photo of Burning Man Festival, taken on Sunday, August 27th, 2023.
Maxar Technologies
In addition to Maxar Technologies’ images, European Earth-observation satellite Sentinel-2 flew over the Black Rock City metropolis in Nevada on the same day.
A fire was spotted on the main plaza, but it was not the blaze of Burning Man’s 75-foot tall icon, which annually occurs on the penultimate night of the event.
The theme for this year’s event is “Animalia,” an abstract view on the innate linkage between humankind and the animal world.
“This year’s Burning Man theme will celebrate the animal world and our place in it—animals real and imagined, mythic and remembered—and explore the curious mental constructs that allow us to believe that imagined animals are real, real animals are imagined, and that somehow, despite all evidence to the contrary, mankind is somehow not part of the animal kingdom,” Stuart Mangrum, the director Burning Man Project’s Philosophical Center, wrote in The Burning Man Journalat the time of the theme’s reveal.
Burning Man 2023 began on August 27th and will run through September 4th, 2023.
Introduced in 2019, Massive X is the successor to the famous synth Massive.
It features a modernized look and more advanced capabilities. But how does it fare compared to behemoths like Serum or Vital?
This is what we are going to find out! In this guide, we are going to cover:
Massive X’s general interface and workflow
How to generate and process sounds
Massive X’s modulation options
3 tips to get the most out of this synth
And hopefully by the end of this guide, you’ll know if Massive X is for you 😉
So strap in, and let’s dive into the world of Massive X.
A Bit of Background on Massive X
If you’ve spent any time on electronic music production, you’ll know about Massive.
Introduced in 2007, Massive quickly became a cornerstone of music production. In particular, bass music emerged from Massive’s insane capabilities:
The almighty Massive synth
At the time, Massive distinguished itself with its amazing amount of features. You had crazy oscillators, smooth filters and clever modulation options. Furthermore, the synth was packed in a user-friendly interface.
However, competitors slowly appeared, rivaling it for the top soft synth on the market.
In particular, Serum and Vital have established themselves as serious contenders.
So Native Instruments got to work, and introduced Massive X in 2019. Massive X is described as the next-generation polyphonic wavetable synth. But was it worth the wait? Let’s find out 👇
Massive X Interface Overview
Right, let’s get into it. First things first, let’s look at Massive X’s layout:
The Massive X synth interface
Massive X’s interface will be familiar to those having used Massive. In fact, if you’ve used any synth based on wavetable synthesis, you’ll quickly get the hang of Massive X.
Interface Breakdown
Let’s quickly cover each section, before diving into more detail. In order, we have:
Header section. This is where you save and load presets. You also have 16 assignable macros, as well as MIDI controls such as Pitch Bend.
Tuning section. This includes your overall pitch and glide controls.
Oscillator section. This is where your sound is generated. At the heart of Massive X are 2 wavetable oscillators; more on those later 😉. You also have 2 Noise layers and 2 PM (Phase Modulation) oscillators for FM synthesis.
Processing section. Once your sound is generated, it’s time to process it. In order, you have a filtering section, an FX section, an Amplification section, and a Stereo Effects section here. These effects include the classic Dimension Expander, Quad Chorus, and Stereo Expander.
Navigation bar. Here, you decide what the Modulation Editor is going to display. It’s also from here that you will drag your modulation to any parameter you want. This is also where you access Voicing and advanced Routing options.
Modulation Editor. Want to create some movement in your sound? This is where the magic happens. We’ll go over every option more in detail later. But in summary, you have access to
3 Custom Performer envelopes for pattern modulation
9 envelopes that can be switched between Modulation Envelope, Exciter Envelope, Switcher LFO, and Random LFO
4 Trackers for keyboard tracking modulation
If any of this sounds confusing to you, make sure to check out our guides on Wavetable Synthesis, ADSR envelopes, and LFO modulation 😉
Let’s start off from the top. Massive X’s header section features 3 main parts.
On the left are the Pitch Bend, Modulation and Aftertouch controls:
MIDI modulation controls
These can be linked to your MIDI keyboard (if it features a Pitch Bend wheel for example)
This is also where you access Massive X’s main menu. To the right, you then have 16 assignable Macros.
If you’re new to sound design, Macros are a common way to control several parameters at once.
Here’s a quick example. I’ve assigned Macro 1 to:
The wavetable position of OSC 1 and OSC 2
The cutoff frequency of a high-pass filter
The amount of reverb
Assigning a macro to several parameters
This means I can now control these 4 parameters with just one knob:
Using Macro 1 to control several parameters
To assign a parameter to a macro, simply click the macro number, then the parameter.
Much like the original Massive, Massive X works with small boxes to assign modulation. However, you can also click directly on the parameter to assign a single parameter:
These white boxes are where you assign modulations
Massive X Oscillator Section
Right, let’s dive into the core of Massive X: the oscillators 😎
With Massive, you had 3 oscillators to play with. Surprisingly, Massive X has reduced the number to just 2 wavetable oscillators:
Massive X’s 2 oscillators
However, many will argue this is where Massive X’s strength lies. Some of these wavetables give out truly unique vibes.
After choosing a wavetable, you can easily morph between frames by turning the main knob.
You can adjust the level of each oscillator with the vertical slider.
A unique feature of Massive X is the Wavetable Mode. This determines how the wavetable is “read”:
Choosing a wavetable mode
Switching between modes has a significant impact on the sound. Each mode also comes with 2 custom knobs that allow further manipulation. By default, the wavetable mode is set to “Standard” and comes with Filter and Phase controls.
However, selecting the “Gorilla” mode offers the knobs “Over” and “Bend”:
Gorilla mode
Let’s see how changing wavetable mode impacts the sound:
Switching between wavetable modes
Each wavetable mode also has a set of custom settings underneath the icon.
FM Synthesis in Massive X
Below the oscillators, you get 2 Phase Modulation oscillators (PM1 and PM2):
Massive X’s phase modulation oscillators
These allow you to access FM synthesis capabilities. If you’re new to the world of FM, check out our guide here 😉
There are 6 waveforms to choose from, and each PM oscillator can modulate either or both sound oscillators. To do so, simply select the PM and increase the amount:
Here, OSC 1 is being modulated by PM1
The “Aux” option lets you modulate from any other sound source within Massive X. You can explore this option more in detail in their manual.
Finally, there are 2 Noise layers that you can add. Each one comes with a huge amount of presets. You can add your own noise recordings here:
You can add your own noise layers in Massive X
Noise layers are a great way to add a bit of grit and dirt to your sounds. I find they work especially well on pads:
Pads with no noise layerPads with the “Valve” noise layer
Massive X Filter Section
Next, we move on to the filtering section.
Massive X offers 9 different types of filters:
Massive X’s filters
Each filter comes with a custom set of parameters:
Comb vs Monark filters
A common control here is the “KTR”, or key-tracking. Increasing the amount will make the filter follow the MIDI pitch. This enables each note to have roughly the same velocity, despite being in different octaves.
Without going into too much detail, here are the main characteristics of each filter:
Asimov: a classic low-pass filter inspired by the 80s
Blue Monark: multi-mode filter inspired by NI’s Monark synth
Comb: creates a sort of flanging effect
Creak: an experimental filter suitable for distorted sounds
Groain: a multi-mode hybrid filter/flanger
Scanner: a multi-mode filter inspired by classic analog synths
SVF, SVF Parallel, and SVF Serial: these filters have the “cleanest” sound, making them suitable for precise sound shaping. You can set them up in parallel or in series.
As always, the best is to experiment and find what you like!
Massive X Effects Section
Massive X features two distinct types of effects: Insert and Stereo effects.
Insert effects are part of the voice structure itself. Think of them as an integral part of the sound.
These effects cover things such as distortion, ring and phase modulation, and frequency shifting:
List of Insert Effects
On the other hand, Stereo Effects are applied to the entire mix. These affect the sound at the end of the chain.
Stereo effects include classic effects such as EQ, Flanging, Reverb, Chorus, and more:
List of Stereo Effects
Massive X features 3 slots for Insert Effects (named A, B, and C) and 3 slots for Stereo Effects (X, Y, and Z). Let’s dive into all of this more in detail 👇
Insert Effects
By default, the first Insert Effect (labeled “A”) is located before any filtering:
Insert Effects routing in Massive X
In this example, you can see that the Bit Crusher effect is applied before the Asimov filter.
Insert Effects B and C are applied post-filtering. Note that routing can be customized to suit your needs. Simply double-click on a line to erase it. You can then draw new connections.
Insert Effects cover a range of harmonic enhancement and distortion effects. Here are some of my favorites:
Anima: creates some really cool harmonic resonances.
Here, I am automating the Pitch and Smear of the Anima effect
Bit Crusher: a great tool to get that LoFi sound
Frequency Shifter: perfect to create inharmonic risers and tension
Automating the Frequency Shifter
Sample + Hold: creates some weird, metallic distortion. Try setting the mode to “Fix” and playing with the note number.
Stereo Effects
As we touched on earlier, stereo effects are applied at the end of the chain.
By default, the 3 Stereo Effects are named X, Y, and Z. They are routed in series, one flowing into the next:
Stereo Effects routing
You can experiment with 2 other routing options. This will change how the effects interact with each other.
Some of the stereo effects include the following:
Dimension Expander: a classic feature of the original Massive synth. Combines chorus and stereo enhancement.
Nonlinear Lab: offers some interesting distortion results, especially when playing multiple notes
Using the nonlinear lab distortion
Stereo delay: offers control of the delay time of the left and right channels.
One trick you can try is to load 3 different effects. Then, switch the routing to see how it affects the sound:
X+Y+Z routingSame source, but with an X+Y>Z routing
Massive X Modulation Envelopes
Finally, let’s look at the Modulation section of Massive X:
Modulation section of Massive X
Massive X can display 3 modulation envelopes at a time. In order, we have:
3 Performers (P1, P2 and P3). These are customizable sequencers that can create rhythmical movements.
9 Modulators (grouped by groups of 3). E1 is set by default to the Amp-Envelope (i.e. the ADSR of the master volume). Every other modulator can be re-assigned to any of 4 different modulators:
Modulation Envelope
Exciter Envelope
Switcher LFO
Random LFO
4 Trackers. These are modulations that will track the keyboard. For example, a filter could open up gradually the higher the note.
Let’s dive into all of these modulations more in detail.
Performers
Massive X features 3 different performer envelopes.
Essentially, these let you create complex patterns for your modulations:
I am modulating the filter cutoff with this complex step pattern
Here’s how it sounds:
Using a custom pattern to modulate a filter
One handy trick here is to use the “Level” knob to control the amount.
This creates a smoother effect:
Using the Level to dial in the amount of modulation
To create your own patterns, you have two main tools:
Grid division. This is where you decide the rhythmic division of your grid:
Massive X’s grid division
Painting tools. Here, you can choose from a number of shapes to draw on your grid:
Painting tools
You can also decide to loop certain sections of your pattern. For this, use the horizontal slider:
This will loop only the first bar of the pattern
Finally, changing the “Rate” will affect how fast the performer applies.
Pro-tip: LFOs in Massive X are not easily customizable. So you might find it easier to work with Performers instead 😉
Modulators
Modulators are the main way to modulate sound in Massive X. By default, Modulator 1 is set to the Amp Envelope. This means it controls the ADSR of your sound:
Modulator 1 controls the ADSR of the sound
However, this doesn’t mean it cannot be applied to other parameters too!
Then, you have 8 more modulators that can be used. Each one can be assigned to one of the 4 following types: Modulation Envelope, Exciter Envelope, Switcher LFO, and Random LFO.
Modulation Envelope
A modulation envelope features the standard Attack, Decay, Sustain, and Release settings. However, Massive X offers a few more bells and whistles.
For example, you get 2 “Hold” knobs. These let you extend the time between the Attack / Decay and the Sustain / Release:
Increasing the Hold time between Attack and Decay
If any of this is confusing to you, make sure to check out our guide on ADSR Envelopes 😉
You also get an Envelope Level knob. This defines the overall level of the envelope.
Exciter Envelope
The Exciter Envelope is a very fast ADSR Envelope. It is particularly suited to create percussive sound:
The Exciter Envelope
The best here is to experiment on different parameters and see what you get.
Switcher LFO
Surprisingly, Massive X doesn’t feature customizable LFOs. Instead, you get a choice of 16 different LFO shapes:
16 different LFO shapes
If you’re not sure what an LFO is, check out our full guide over here 👈
You can choose to sync the LFO rate to your project or set it in ms. Pro-tip: try increasing the rate to create some tension! You can do this with automation, or with another modulation:
Increasing the LFO rate controlling the filter cutoff
Random LFO
Finally, the Random LFO lets you inject randomness into your modulations:
Random LFO shaper
Increase the Amp Jitter knob to create sudden jumps in values. If you want to learn more, check out the Massive X manual.
3 Tips to Get the Most Out of Massive X
Finally, let’s wrap up this guide with 3 useful tips for Massive X.
Use Routing to Sculpt Your Sounds
I haven’t touched on Routing too much in this guide yet. However, this is where a lot of Massive X’s power comes from:
Massive X’s Routing setup
Here, you can decide precisely how each component interacts with each other. Ultimately, this is how you gain control over your sounds.
For example, you can use the routing tab to apply a specific filter over a noise layer:
In this example, the Asimov filter (F) applies to the 2 oscillators. The Noise 1 layer however bypasses the filter and is routed directly the the first Stereo Effect (X), an EQ. This EQ only applies to the noise layer. This is because my main sound feeds directly into the second Stereo effect (Y):
Sculpting my noise layer separately from the main sound
Routing can also be used to apply different effects to different oscillators.
Expand Massive X to 5 Oscillators
As mentioned, Massive X only features 2 main oscillators.
However, each Insert Effect can be used as an additional oscillator:
Using Insert Effect A as an oscillator
Practically, this means you can extend Massive X to 5 oscillators. This can come in handy if you want to layer in a sub under your main sound for example.
Harmonize with Advanced Unison
Another aspect of Massive X we haven’t talked about is its Unison features:
Unison in Massive X
Unison lets you add voices to create a chorus-like effect. Slightly detuning the voices with the “Spread” slider is how you achieve the classic Reese bass.
However, Massive X goes one step further and provides a “Scale” mode. This lets you add voices that create chords over your main note.
There are some really wacky scales to choose from, so go nuts!
So… Is It Worth the Upgrade? 🤔
That’s a wrap for this comprehensive guide on Massive X! I know I haven’t covered every single knob and feature of this synth. But hopefully, this has given you a good overview of how Massive X operates.
I would recommend downloading the free trial version of Massive X, and finding out if it works for you.
If you have used its predecessor Massive in the past, then you’ll master Massive X quickly.
Personally, I have found some interface choices a bit perplexing. For example, the lack of any visual representation is a bit annoying. Especially when playing with LFOs, it’s handy to actually see the parameters moving. But in Massive X, everything is more or less static.
Its architecture is also quite inflexible. For example, there is no way to quickly switch the order of effects without going to the Routing tab.
Nevertheless, Massive X remains an extremely powerful synth. Whether it is the synth for you will depend on personal taste 😉
Did I miss out on anything important? Any questions? Let me know over at [email protected]
Robbie Williams has recalled soiling himself while he was performing on stage with Take That.
The British pop star took to his social media channels to share the anecdote with fans, telling them that it left him feeling “like death” while performing.
The moment took place during the Take That reunion tour, when Williams rejoined his old bandmates for a tour of the UK and Europe but fell victim to food poisoning while on the road.
“So, I had food poisoning once on the Take That tour. When I rejoined. It was Horrendous. It felt like death,” he began, writing in the caption. “We unfortunately had to cancel a show in Denmark because of it. I still feel bad.”
“Anyway, A few days later we were playing at the Ajax Stadium in Amsterdam. Still not anywhere near well enough I ventured to the stage,” he continued, saying that he was left in “the precarious position of not being able to ‘trust a fart’”.
“[That] was unfortunate because that’s what I needed to do during my opening song. ‘Let me Entertain you’,” he wrote. “As I’m sure you can imagine it didn’t remain just a fart. But ever the pro I retained my composure and committed to the performance 100%.
“Because of the picture I’ve just painted I’m sure you have questions,” the singer concluded. But let’s just let sleeping logs lie for now.”
To wrap up the update, he also asked his 2.8million Instagram followers to comment, writing which artist they think is also “a Performing Parper” – listing his choice as The Rolling Stones frontman Mick Jagger.
In other Robbie Williams news, earlier this week the singer reunited onstage with his former Take That bandmate Mark Owen.
The singer was performing at Sandringham House in Norfolk on Saturday (August 26) when he introduced his “oldest friend from the band” and brought out Owen for a rendition of their 2008 single ‘Greatest Day’. The moment marked the first time the two have appeared on stage together in 12 years.
Additionally, Williams also appeared at Madrid’s Mad Cool festival back in July, and, in a four-star review, NME said that he was “still the ultimate showman”, who brought “melodrama and self-effacing humour to his back catalogue of hits”.
“As he introduces ‘Angels’ by talking about how he overcame a decade of mental health issues, it is clear that, for Williams, entertaining thousands of people at festivals like this one still acts as a healing salve,” it read. “He is a performer with more than enough heart to match his humour.”
Influential electronic music group Cybotron is making a comeback after a 28-year hiatus.
Cybotron co-founders Juan Atkins and Richard “3070” Davis formed the band back in 1980. Their synth-heavy sound ultimately played a pivotal role in the ensuing advent of Detroit Techno, of which Atkins is revered as a co-originator and pioneer.
Cybrotron’s 1983 breakthrough, “Clear,” has continued to influence contemporary dance and pop music. The song’s iconic arpeggio was sampled in Missy Elliott’s Grammy-winning hit “Lose Control,” among many other songs.
Cybotron’s reemergence comes at a time when techno is exponentially growing in global popularity. Earlier this month, Reinier Zonneveld made history after setting a new Guinness World Record for the longest electronic music set. Just a few months prior, techno superstar Charlotte de Witte became the first woman to close out the main stage of Detroit’s fabled Movement Electronic Music Festival.
Cybotron also revealed a brand-new EP, Maintain The Golden Ratio. The group’s highly anticipated comeback project will be released on October 13th via the renowned techno label Tresor Records.
TWICE member Chaeyoung has revealed how she felt when Jeon Somi didn’t make it into the girl group.
In 2015, both Chaeyoung and Jeon Somi were contestants on the reality TV show Sixteen, where sixteen JYP Entertainment trainess competed for spots in the then-upcoming girl group TWICE.
The two K-pop idols had made it to the final episode of the series, but only Chaeyoung would go on to debut in TWICE. Jeon Somi, who finished the series in tenth place, would later leave JYP Entertainment in 2018, before making her solo debut under YG Entertainment-owned subsidiary The Black Label in 2019.
Chaeyoung and Jeon Somi have since address that moment in a new episode of the online game show Yes or Hot, hosted by the latter. The series features celebrities asking each other questions, and those who fail to answer “yes” have to eat a spicy food.
During a new episode of the show, Somi asked Chaeyoung: “You were relieved when I didn’t get into TWICE, right?” It was followed by a long silence from the TWICE member, before she takes a bite of the food.
“I was so sad,” said Chaeyoung. “We were stuck together. I was so sad I couldn’t be in a team with you. And after that, when you left JYP [Entertainment], I was so upset. But a side of me wanted things to work out [for you].”
Elsewhere during the episode, Chaeyoung also revealed that she once ran away from JYP Entertainment when she was a trainee. “I just felt so empty and out of it, so I went out in secret,” she said. “I think I just wanted to escape the building.”
In other TWICE news, the girl group have added four new shows to their ongoing ‘Ready To Be’ world tour. They include a return to Melbourne, following a sold-out show this May, as well as the first Latin America stops.
Teenage prodigy Orlando Kallen stands out from the crowd with his ground-breaking debut single “Lone Wolf” in a world where musical genres are constantly being blurred and reinvented. Australian-born musician Orlando, who has Greek, Egyptian, and Croatian ancestry, has finally released his long-awaited track today, ushering in a new era of musical experimentation.
“Lone Wolf” is a rich tapestry of diverse influences, reflecting Orlando’s dynamic musical background, and is a far cry from the monotony of mass-produced pop. “Lone Wolf” channels the spirit of its many influences, from the edgy rock of Lenny Kravitz to the emotionally charged pop of Billie Eilish to the timeless allure of Elvis Presley, while forging its own path.
Orlando said, “Everything about ‘Lone Wolf’ is reflective of my life, its highs and lows. I hope this song encourages anyone who has ever felt different to follow their own path. This song represents my personal journey of self-discovery and the unifying power of music.
Those who have followed Orlando’s rapid rise will not be surprised by the strength of his first work. From his early training at Australia’s NIDA and David Jaanz International Singing Academy to his recent award as “Best Leading Actor” from the Music Theatre Guild of Victoria, Orlando has never failed to impress with his natural musical talent and captivating stage presence.
The release of “Lone Wolf” is the first step in Orlando’s grand plan to bring people together and inspire them with his music. As this powerful track reverberates around the world, it gives listeners a taste of the life-altering experience that awaits them in his upcoming debut album.
About Orlando Kallen
Australian-born 18-year-old musical prodigy Orlando Kallen. Orlando’s debut single “Lone Wolf” heralds the beginning of a promising career in the international music industry thanks to his multifaceted talent in musical theater, vocals, piano, guitar, gospel, R&B, and rock. Orlando Kallen is a promising new talent on the international music scene, drawing attention thanks to his captivating live shows and distinctive sound.
We use cookies on our website to give you the most relevant experience by remembering your preferences and repeat visits. By clicking “Accept”, you consent to the use of ALL the cookies.
This website uses cookies to improve your experience while you navigate through the website. Out of these cookies, the cookies that are categorized as necessary are stored on your browser as they are essential for the working of basic functionalities of the website. We also use third-party cookies that help us analyze and understand how you use this website. These cookies will be stored in your browser only with your consent. You also have the option to opt-out of these cookies. But opting out of some of these cookies may have an effect on your browsing experience.
Necessary cookies are absolutely essential for the website to function properly. This category only includes cookies that ensures basic functionalities and security features of the website. These cookies do not store any personal information.
Any cookies that may not be particularly necessary for the website to function and is used specifically to collect user personal data via analytics, ads, other embedded contents are termed as non-necessary cookies. It is mandatory to procure user consent prior to running these cookies on your website.
