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Massive has its place, and the macro section is useful, but you have to work had to make it not'sound like Massive. I would personally prefer to spend time twisting something like Synth1 or 3xOsc into a sound I want than taking time trying to get Massive away from something I consider to be a distinctive sound.

rorz9992 wrote:Have you actually spent any time with Massive? It's a genius piece of software. There's plenty of non-brostep artists that use it too, it's good for more than just screeching bass sounds. The interface and intuitiveness of it are really what makes it great, beyond the sounds it can generate.

You're wasting your time. From their juvenile replies, I can tell that they've not even tried it. It sounds like they don't have a clue as to it's functionality - it's one of the most capable synths on the market by far.

And comparing it to 3 osc is like comparing a push bike to a Ferrari.

Seeerious wrote:Pay for massive.....
Yeah, Good joke that is.

Yeah because only respectable Dj's/Producers pay for there gear....??

Buy Maschine Studio and get Massive, Kontakt 5 and Reaktor 5.

Holy shit guys

wub wrote:Massive has its place, and the macro section is useful, but you have to work had to make it not'sound like Massive. I would personally prefer to spend time twisting something like Synth1 or 3xOsc into a sound I want than taking time trying to get Massive away from something I consider to be a distinctive sound.

You're not fooling anyone, you've made it quite obvious that you'be spent no more than 10 minutes with Massive, if that. Not everyone uses Fruity anyway so a lot of us don't have access to 3xOsc. Not that I would use it anyway (I used to use FL Studio but not now)

rorz9992 wrote:

buw wrote:Massive has its place, and the macro section is useful, but you have to work had to make it not'sound like Massive. I would personally prefer to spend time twisting something like Synth1 or 3xOsc into a sound I want than taking time trying to get Massive away from something I consider to be a distinctive sound.

You're not fooling anyone, you've made it quite obvious that you'be spent no more than 10 minutes with Massive, if that. Not everyone uses Fruity anyway so a lot of us don't have access to 3xOsc. Not that I would use it anyway (I used to use FL Studio but not now)

Not trying to fool anyone, mate. My post is meant to be taken at face value...no hidden meaning


As I stated at the bottom, it comes down to personal preference

wub wrote:Massive has its place, and the macro section is useful, but you have to work had to make it not'sound like Massive. I would personally prefer to spend time twisting something like Synth1 or 3xOsc into a sound I want than taking time trying to get Massive away from something I consider to be a distinctive sound.

That's my biggest problem with it too, can never get it to sound too "unique"

As far as having to use Massive, that is of course ridiculous. Does it make it easier to get there for many. Yea probably. To me, Massive is kind of like KRK Rokits...it kept popping up in videos so it became really popular.

As for Massive having a particular tonal quality. I think it does. I think most soft synths do. Just like most hardware synths do. I also think most NI synths have a similar tonal quality I don't always like. But, that is just a matter processing the sound a bit after it leaves the synth. Absynth, for example, has always sounded "icy" to me. But I love it and when I don't want that quality I do something about it.

Also...what about FM8? I thought it turned out a lot of brostep sounds relied on that as much as Massive?

I think to make it in any industry you have spend some amount of money on the tools you use... complaining that you have to buy a few plugins to make sounds is like saying "why can't I become a professional photographer with my disposable camera"... it doesn't make any sense. Now as to why Massive is so popular there are tons of reasons, but you certainly don't need Massive to make good sounds and I bet label owners don't give a shit what synth you used as long as it sounds good.

if u can do a wob in 3xosc then do a wob in 3xosc. if u can do it massive do it in massive. I love all wobs so dont discriminate u bascists

Add9 wrote:I think to make it in any industry you have spend some amount of money on the tools you use... complaining that you have to buy a few plugins to make sounds is like saying "why can't I become a professional photographer with my disposable camera"... it doesn't make any sense. Now as to why Massive is so popular there are tons of reasons, but you certainly don't need Massive to make good sounds and I bet label owners don't give a shit what synth you used as long as it sounds good.

While I absolutely think some great music has been made on a mediocre PC with all freeware and shit headphones...yea...music is unfortunately one of those hobbies/professions where quality of tools counts and the truth is that for the most part you get what you pay for. Honestly, if you could make multi-million dollar pop records in your mama's basement with a cracked copy of FL Studio and gaming headset microphone why the hell does *anybody* ...huge record companies...independent artists...spend money on renting/buying expensive, complex equipment and people who know how to use it?

FFS you can get Massive for 99 bones every year around the winter holidays. Its inevitable I'll come off as some elitist hardware/software ass clown if I say this...but come on...99 dollars for Massive is hardly worthy of being deemed "investing in your craft".

But I'm also the dumb tnuc who spends an obnoxious amount of money to fart around making only-passable synth music, so don't even listen to me

OP is one of the most retarded things Ive ever read on here.
Sounds to me like youre just shit at making tunes and want to blame it on something other than yourself.
You think no one got signed before massive was released? What about those using hardware or reason???
Learn the principles behind sound design and youll know how to achieve the sound youre after on any synth
Also lol at using loops

Beare wrote: These days you will never ever get signed to any sort of major label, and probably no minor labels unless your using Massive for your baselines. And sure, you can make some okay shit with freeware, but your seriously wasting your time unless you want to shell out hundreds of dollars for Massive/Sylenth/Etc. It seems to me the only ways to get signed to a dubstep label is to either buy a shit ton of dubstep loops because you can't make them yourself, or spend all your time trying to make halfway decent bass with halfway decent synths and never get anywhere. Literally every single prominent dubstep producer uses Massive. I just watched 5 hours worth of interviews, and allll there people say they use Massive. IDK what the fuck they got started with, but Datsik sure as hell didn't get where he was with TAL Noisemaker and a bunch of BPB plugins.

There's a new software out there called utorrent...if you don't have it get it...

This thread is brostep

I'm pretty sure everyone of this forum is familiar with massive, I just want to know if YOU guys actually rate it..
No doubt you can get some great sounds from it, and it proves versatile. Easy interface, user friendly and you can shape a sound in less than 5.
However I do feel I get very bored of the sounds, especially when it come's to reeses, and standard basslines. When I first got massive I was amazed at almost every waveform, thinking of all the possibilities. Now especially after listening to a lot of dubstep, it just sounds the same (especially the vowel growl sound from bend formants), like you'll listen to a producers song and recognise it's massive.
Also I've never been the greatest fan of waveform synthesis. you should know the lower the pitch the less oscillations from a waveform p/s, that's why if you play a wave in the lowest octave it's almost like a slow wobble and massive beeing waveform it emphasizes it so much.
I never really see it as a challenge anymore although I still use it to make a quick lead bass, but I don't want my tracks relying solely on massive, even though with it's versatility you def can.
Modulation wise, it's perfect. Easy to map, map to anything! (almost)

What do you guys think, would you recommend it to someone who's starting to make any sort of electronic music?

Also what other synths would you suggest for dubstep? I found Synthmaster 2, a hybrid synth where it is possible to mix 2 or more types of synthesis into one patch (waveform + additive, and more) it's amazing.
And also Zebra, where you can physically shape your waveforms. these are synths where you can truly shape your own sound with endless possibilities.

In conclusion, massive is great, I think it is everyone's guilty pleasure. But don't let the simplicity (If I may say that) misguide you from other great synths

Alchemy and Absynth both have a lot more to offer. Personally I think Absynth also has that NI tone to it. I think Alchemy is easier to use than Absynth though. Each have features the others don't.

I got Massive with Maschine 2 upgrade. Basically Massive's only benefit is a quicker workflow IMO. I think it is nice for beginners especially because it is more or less a single panel and everything is so straight forward. But if you are looking for something to keep you busy in sound design maybe that Synthmaster or Absynth or Alchemy both...Ab and Al let you combine synthesis types into a single patch, are samplers and do granular.

Personally I like Alchemy the most out of all the VST synths I've owned/tried.

Massive is a fantastic workhorse.

Screw the rep, and the people that use it to make shitty dubstep basslines.

Yeah, massive is a good synth. If you want to make generic tripe with it, you can. Otherwise there is a lot that it can do.

Will say, its filters are not the best.

nowaysj wrote: Will say, its filters are not the best.

This is really my biggest bitch with it...

3za wrote:Massive is a fantastic workhorse.

Screw the rep, and the people that use it to make shitty dubstep basslines.

+1