Glitch Hop Wobble Synth Tutorial for NI Massive
I have always loved the glitch movement and how it has been able to creep into so many different popular genres of music over the years. This quick NI Massive tutorial will show you one way to make a cool Glitch Hop wobble synth in just a couple minutes!
As music continues to advance we will see more fusion like this Glitch Hop wobble synth being used in popular music!
The sounds of Glitch Hop are best described as infectious or perhaps just awesome. It brings together two of the most prolific and innovative approaches to music production that we’ve seen in the last few decades and provides a place where new fusions can explode onto the scene overnight. Another one of the quickest growing, and arguable the very fastest growing music genre in the history of modern music (besides the birth of rock n’ roll, that is) is Dubstep. And the signature wobbling bass and synths used in dubstep find themselves right at home in Glitch Hop. Let’s jump into this lesson and see how you can make a cool wobble synth to use in Glitch Hop projects with NI Massive.
This sound starts with loading a PWM wavetable into OSC1, dropped one octave. Next is loading a Roughmath I wavetable into OSC2, also dropped one octave. The two filters are put into play. First a Lowpass 2 filter is added to the Filter1 panel and a Comb filter is added to the Filter2 panel. The main Amp Envelope is also tweaked before moving on, turning up the Decay volume all the way.
A new envelope is set up and is then assigned to both the Pitch value of OSC1, as well as the Bandwidth of the Comb filter. An LFO is now set up and assigned to modulate both the Wt-position of OSC1 and the main Amp Mod panel. To further shape the sound, the EQ is turned on and a small boost to the high shelf is made, as well as the mids. There is also some reverb added at this point, giving the sound more room to develop in.
On the Voicing tab, the Unison voicing is increased to 4 and the synth is set to run in Monorotate mode with Legato Triller set as the trigger. Next, the Pitch Cutoff feature is activated and the slider is offset to generate some phasing amongst the voices. And the Pan Position feature is also turned on, and the sound is spread out across the stereo field making it much wider sounding. On the OSC tab, the Glide parameter is turned up to allow for more gliding between notes.
That wraps this sound up! Do you have a request for a specific sound or technique for a future post? Let us know by send a message our way. Thanks for stopping by!
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