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In this third installment of this month-long series on producing trap sounds with NI Massive, we...

Massive Tutorials

Trap Sounds with NI Massive Part 3 - Sub Bass and Arp

In this third installment of this month-long series on producing trap sounds with NI Massive, we look at designing the sub bass and arp elements!

We are happy to welcome back Jonny, for yet another great video tutorial! This time he shows us how to design the sub bass and arp elements for this ongoing project being created throughout the duration of this month’s members only tutorial series. The first sound tackled is the sub bass element, which also features a nice whistle kind of sound in the higher octaves. A nice addition to the sound and the project! The sub bass it self is a simple sine wave based sound ,layered with a SinFormant wavetable for a little extra character and texture from the additional harmonics it brings. An Additivemix I wavetable is used for the whistle element. This synth is set to run in Monophonic mode and a touch of Glide is used to soften the delivery between notes played. A Classic Tube Amp gives it a little grit and drive, while a Chorus effect provides more thickness and depth. The last step is to introduce a small amount of Vibrato and Feedback to provide added warmth and movement.

The second sound worked on in this video tutorial is the arpeggiated element. This particular synth is a nicely layered sound, reminiscent of a classic 8-bit sound. It should fit nicely with the broad range of sounds that have been produced up to this point in the series! Pass this through a Lowpass 4 filter for added shaping. Once you have it sounding the way you like, a Performer can be programmed with the sequence for your project. A Classic Tube Amp is used to add drive and grit to the sound, which Reverb is used to give it more space to move around and develop in. The total number of Unison Voices is increased to two, and they are spread out via the Pitch Cutoff feature to introduce phasing, and the Pan Position feature to add stereo width. That’s it!

Cheers,
OhmLab

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