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SoundNuisance wrote:Anyone watch "Shit Dubstep Producers Say" ? There is a line that goes like this.
" I used to use massive but now I'm all about FM8"
Too true.
RandoRando wrote:fm8, cause massive is spottable in songs from 60,000 kilometers away.
Also in the video.
99% of people are going to listen to a track with Massive in it and not have any idea, and when you tell them they'll be like what the fuck is massive?
The only people who give a shit are other producers who are angry that everyone is using Massive because it's such a great synth and they want to use it themselves but don't know how to use it creatively or in a way that they didn't learn from a youtube tutorial, which is what 90% of them do.
As hilarious as I think it is that everyone's on the FM8 tip now, I don't actually mind because the kind of person who migrates to FM8 because Massive is too "rinsed" now is the kind of person who won't have a fucking clue how to make anything good with it and will have the hardest time learning it XD
The first people that are goof to hear your song IS other producers on sound cloud. And I've been on "the fm8 tip" since about 2010 before any video or thread existed on FM8.
If you use soundcloud, yes.
My bit on FM8 wasn't directed at you though. Not a personal attack, was talking about the general know-nothing pirate archetype.
^ I know. I just wanted to get that out there . Don't get me wrong I love massive, but it's getting old for dubstep wobbles. It's lovely for pads as leads.
Massive has a vast amount of ways to modulate any parameter of your synth which is amazing, especially the lfo, performer features
fm8, i still know little about :l lol I have a hard time wrapping my head around fm synthesis, especially on fm8, but I usually take presets of 3rd party packs or factory and tweak them to my liking, especially with the arpeggiators feature, you can create some interesting arpeggios out of anything
Depends on what you're after. One is FM synthesis, the other is subtractive/wavetable synthesis.
Well I have both and I must say, I'm a bit disapointed of FM8. Yes, you can get pretty good sounds of it but the workflow is just bad. Too much clicking to get where you want, the modulation capabilities are BAD, etc. It can get you pretty good waveforms, but you need 1000 clicks to get to one. I like usability when I produce since slow workflow reduces the inspiration.
Massive is very usable, very easy to master AND the modulation system is over the top (seriously, more synths need to adopt it, it should be a standard). It has very good sound (hmm, more for distorted stuff, for deeper stuff there are better alternatives).
I love how I open Massive and 5 minutes after I have a completly new and cool sound (people saying that Massive has been overused is just plainly stupid. It has dozens of wavetables, a lot of filters and dozens of effects WITH excellent modulation capabilities. it has infinite possibilities, you just have to be creative and follow a different path than Modern Talking > LFO).
With this said... Massive, unless you're after FM synthesis (although I saw Ableton's Operator the other day with a friend and I must say that it just felt like a usable version of FM8...).
made this in FM8 today. just FM8 standalone. I plan on resampling the shit out of it. it's fun as hell. just take an adderal and spend a day on it!
the video is cheesy as fuck. it's supposed to be. i made it for my fellow elk.
EDIT: I'll add that all good sound design takes TIME. i've gotten to the point that I can make shit like this pretty quickly. it's about understanding sound, harmonics, waveforms, and developing an 'ear' for stuff. If I think "sine" i know what it sounds like. the same if i think "saw" or "4.5 kHz".
Training your mind's ear to hear the sound you want before turning knobs helps a LOT. Then it's just a matter of recreating what you hear, and you eliminate the need for 'happy accidents'.
I really recommend FM8 - it's potential is quite limitless. and anything really good and unique takes patience.
misk wrote:made this in FM8 today. just FM8 standalone. I plan on resampling the shit out of it. it's fun as hell. just take an adderal and spend a day on it!
the video is cheesy as fuck. it's supposed to be. i made it for my fellow elk.
EDIT: I'll add that all good sound design takes TIME. i've gotten to the point that I can make shit like this pretty quickly. it's about understanding sound, harmonics, waveforms, and developing an 'ear' for stuff. If I think "sine" i know what it sounds like. the same if i think "saw" or "4.5 kHz".
Training your mind's ear to hear the sound you want before turning knobs helps a LOT. Then it's just a matter of recreating what you hear, and you eliminate the need for 'happy accidents'.
I really recommend FM8 - it's potential is quite limitless. and anything really good and unique takes patience.
If i ever wondered what a 200ft tall robot/gargoyle hybrid throwing up sounds like, now i know!
ephyks wrote:If only FM8s interface wasn't a complete cluster fuck.
it is not.
it comes with a manual.
read it.
no i am not nosy in any way.
it is a SIMPLE vst. people believe weirded out hypes.
Yes it is simple, I can understand FM8 and every section of it, but the workflow is not nice. It takes too much clicks to get to the section you want, it's badly organized. And the modulation system is pretty weak (too few targets). And where are the macro controls? You can't compare it to Massive in terms of usability...
RandoRando wrote:^ I know. I just wanted to get that out there . Don't get me wrong I love massive, but it's getting old for dubstep wobbles. It's lovely for pads as leads.
Lol, I'm not like the guys that video talks about, i swear
n.i.s main point in developping massive was to create the most modular softsynth available, which they did.
fm8 is layed out VERY simply, anything can be accessed from a single click from the front page, no submenus. Besides, u dont have to route every osc to an actual envelope curve as each of them is already routed. the curve menu is WAY deeper and way more comprehensive and you can litterally make hundreds of variations of the same patch... and make them evolve with the kaosspad-style section which i forgot the name of.. it goes WAY deeper then massive and i dont understand why somebody would say it isn't easy to use.
they threw in some menus where things are summarized.. so u can do the same things in different menus, but with the workflow oriented on a single osc, or in a more "comparative" manner where u can work with an osc against another... something u simply dont get in massive.
it is NOT fiddly in any fashion... i can't see anything wrong with its interface.
its effect section is QUALITY an can be used as an effect.
plus it has an easy tab.
fm synthesis on a hardware synth like the dx7 is an ABSOLUTE pain in the arse...
the only thing i wish fm8 could improve on is the filter section/filter modulation section. imagine a filter with a performer type automation lane in there.
maybe a couple macro buttons, but i would hardly ever find myself using them, and mapping a midi controller to these is as simple (if u own one).
the fm8 menu is laid out VERY simply, even when u compare it to massive's imo, its more ergonomic and everything has its purpose.
Sharmaji wrote:2011: the year of the calloused-from-overuse facepalm
. Don't get me wrong I love massive, but it's getting old for dubstep wobbles. It's lovely for pads as leads.
