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what a f'ing waste of time. why even use this for wobbles if you cant automate the lfo sync? doing bounce tracks or automating the sync manually seems really useless especially if youre in early stages of production

Depone wrote:why dont you just duplicate your channel strips and just change the lfo rates on the now duplicated massives.??

cuz thats a huge waste of cpu and time. Last night I was automating it manually without the sync, it wasnt that bad- took a lot less time then doing bounce tracks

Anyone used monolouge on cubase? Got a lovely bassy pad in there the I've been trying to warp, but doesn't seem like I can automate much apart from the pan, volume and cc's. Any help?

SORTED!

id rather hear songs with resampled unsynced wobbles because there is a groove to it.

stop trying to make everything perfectly easy.

Don't know if anybody mentioned...

the only things that come to mind is to use 2 filters with different LFO routed to them so you have two wobble speeds...

you can take 2 same instances of massive with 2 filters + 2 LFOs = 4 wobble speeds. But massive is a CPU eater so i wouldn't recommend that...

You can also work with unsynced LFO which can be automated and find the correct spots in your DAWs automation editor to know where to "return" while wobbling...

or to use a mouse to switch the ratio and record real time... you might need a few takes to do what you want...

i wanna hear more about controlling the sync rate through velocity, i don't see how thats possible......and also, how do you go about to mapping different rates/lfos to different keys on a midi board?/

Sigmund Floyd wrote:i wanna hear more about controlling the sync rate through velocity, i don't see how thats possible......and also, how do you go about to mapping different rates/lfos to different keys on a midi board?/

hmm I don't think it's possible controlling the sync rate through velocity... I think could be possible but no one has done that with any synth yet as far as I know... very interesting idea...

Maybe you could map different stuff to different keys on the very nice Synplant VST synth which can do various changes depending on the note, but I'm not sure... check it out...

use camelphat to automate a synced lfo

hurlingdervish wrote:id rather hear songs with resampled unsynced wobbles because there is a groove to it.

stop trying to make everything perfectly easy.

This is def true for 1/4 1/8 1/12 1/16 *yawn*
Luckily you can change the top number in massive too

3/16 is my new lucky number...
Also... Drag the fuckers out of place every now and then.


Just my two cents..

So does the folder containing have anything to do with it
If its the full version , Updated & all?
Because my demo version works fine.
as far as creating an automation clip
The full version doesnt allow an automation clip

i usually automate the LFO unsync'd in massive using Ableton. i mess around until i find the rate that suits like a root wobble then just take note of the automation number (0-127), come to think of it i dont think i've ever used the sync function..

also, i noticed you can automate the sync parameters in the more recent updates of massive. never tried that before.

jbird22 wrote:Might be useful:-

http://www.vimeo.com/2711018

tres helpful

awesome, been tryin to figure that one out for about a week, haha

ITS EASY TO AUTOMATE A SYNC'D LFO IN MASSIVE

The parameter names that you need to modulate are "MODULATOR # NUM" and "MODULATOR # DEN". These control the sync'd LFO numerator and denominator, respectively. I assume you're using FL, so the way you would control them is to go to the top left corner of Massive, click the arrow, click Make Editor Thumbnail, go to the browser, click on it, find the parameter, and then right click and Link to Controller or create an automation clip or whatever.

in Cubase it's the same as automating any other parameter, just create an automation lane with the little plus in the bottom left corner, and then open the menu and choose the parameter.

theonelikepaul wrote:Just to throw another idea into the pot..

I sometimes use 4 instances of massive in one project, each with the same patch, but with different settings. You can have a different lfo rate for each one, and or different timbres.

Think my PC is an Althon 64, 1Ghz*, with 1GB of ram and it does it no problem.

Once you got some sections laid out record them to audio and delete an instance of massive.

*could be 2Ghz actually.

that idea i think is what people go to first. basically, it's the natural instinct of most people when they can't get automation, because it does work. only problem, with massive, unless you have a supercomputer laying around the house, massive is going to be a cpu pig. solution? export the clip to wave and reload the sample..

now there's a new problem, you're very stuck with that sample, which can be a byotch in the creative process.

solution? automation. less clutter, more wub wub eargasm shit.

more wub wub eargasm shit = more bitches, licking the ice cream.

ruckus49 wrote:what a f'ing waste of time. why even use this for wobbles if you cant automate the lfo sync? doing bounce tracks or automating the sync manually seems really useless especially if youre in early stages of production

Instead of trying to automate the rate ... AUTOMATE THE SYNCED RATIO, that's what I did, just went into write mode, tweaked the ratios, voila, 2 controller lanes to use on synced LFOs. Also, if you set the resolution small enough on the 16ths, 32nds etc, you don't need 2 sets of controller data.

I've found that I can dial my LFO' in way tighter manually than in sync mode. Plus there's the freedom to do some very off time and delayed automation. The best way do deal with using different lfo sync rates is by opening a new channel for each speed and sequencing them appropriately