N.I. Massive Flashcards
1
Q
he signal flow in MASSIVE is relatively easy to understand, as it follows the well-known paradigm of a ______ synthesizer
A
subtractive
2
Q
Three ___ and a____generate four audio signals to form the basis of the sound.
A
wavetable oscillators
noise oscillator
3
Q
4.1. Signal Flow and Voicing:There is also an additional modulation oscillator that does not mix its signal into the_____, but is used to modulate the _____.
A
audio signal
three main oscillators
4
Q
4.1. Signal Flow and Voicing:Various modulation modes (___ modulation, ___modulation, ___ modulation) can be selected. Besides these modes, the modulation oscillator can also be used to modulate the _____’ frequencies.
A
phase
ring
position
filters
5
Q
4.1. Signal Flow and Voicing:In addition, there is also a feedback bus (explained further below) that brings back part of the signal from later in the chain and _____as an input source
A
mixes it back in
6
Q
4.1. Signal Flow and Voicing:source signals are mixed down to two individual filter busses using the ____ on each source.
A
Routing Faders
7
Q
4.1. Signal Flow and Voicing:you can crossfade between a____filter routing (the second filter uses an individual input bus) and a_____filter routing (the second filter uses the output of the first filter).
A
parallel
serial
8
Q
4.1. Signal Flow and Voicing:After the filters, the signal is routed to the ___Section and the ___. It goes first through an ____ envelope in the___ Section, then through a___ control; then parallel voices are _____. Then the signal passes through the ____ one at a time, then a final ____, and finally through a Master____ to set the ___
A
Amp Master Effects amplification Amp pan downmixed Master Effects EQ Volume global output volume.
9
Q
4.1. Signal Flow and Voicing: Note that there are also a few parts of the signal flow that can be moved or changed: the ___, the ___ Section, and the ___Section.
A
Insert Effects
Bypass
Feedback
10
Q
4.1. Signal Flow and Voicing: The____are effects that can be inserted into the signal flow at various places to manipulate an audio signal.
A
inserts
11
Q
4.1. Signal Flow and Voicing: The ____ control selects the output from one of the three main oscillators or the noise oscillator and routes this signal directly to the Amp Section at the end of the signal chain, where it is added to the downmixed signal at various places: after the ____, or after ___ in the Master Effects Section. This can be used to keep a direct, raw signal mixed in the ___, such as a subbass.
A
Bypass
Pan
FX1 or FX2
output
12
Q
4.1. Signal Flow and Voicing: The ___ control lets you route an audio signal from a number of different points in the chain (selectable in the ____ Page) and route it back to the____Section. ___ can be used to alter a filter’s frequency characteristics, to saturate/distort the sound, or to use ____with delay signals and so on. (See section 4.4.6 for details.)
A
Feedback
Routing
Feedback
Feedback
feedback
13
Q
4.1. Signal Flow and Voicing: tightly linked to signal flow is the ___ structure of MASSIVE, which specifies how the synthesizer’s___ are handled. If you want to play chords, you need several___ one per note, just as when playing a chord on a keyboard, you need multiple fingers to press all keys simultaneously.
A
voicing
voices
voices,
14
Q
Each of MASSIVE’s voices can generate one of the _____ ,i.e. each voice can have its individual ___and _____. However, all voices share the same structure and general settings as adjusted in the ______
A
notes within the chord,
pitch
starting point
User Interface
15
Q
You can see the number of voices when looking at the _____: the number of voices currently being used is displayed first, and the ___number of voices available is displayed second.
A
Navigation Bar
maximum
16
Q
The sound of each voice is computed independently from all others until the signal is ______to generate a ____output signal (like a downmix in a ____ sequencer). This downmix process takes place just before the signal is routed through the_____. This is particularly important as the tube effects, for example, would sound different and less interesting if the downmix took place after the effect.
A
downmixed
stereo
multi-track
Master Effects
17
Q
In the Voicing Page you can also find the ____Control. This can enable you to trigger several internal voices when triggering one note with the MIDI keyboard. This is analogous to the situation in an orchestra when several violins are playing the same notes, or when several singers sing the same part in a choir.
A
Unison
18
Q
Click with the __mouse button to open a context menu providing a list of commands concerned with MIDI and modulation.
A
right
19
Q
Hold the keyboard’s ____key while changing the knob’s value with the left mouse button to make finer adjustments to a control.
A
shift
20
Q
• You can also use the mouse wheel to change the __ of a control; if you hold down the __ key while using the mouse wheel, the value will change in coarser steps.
A
value
shift
21
Q
•___with the___mouse button to reset the knob to its default position.
A
Double-click
left
22
Q
One of the most important innovations in the design of MASSIVE is the way we have made use of Range Knobs to map and control ____effects. Colored rings around each knob are used to indicate which ___ targets are routed to this parameter.
A
modulation
modulation
23
Q
Sidechain modulation allows you to set up quite dramatic effects with the other available modulation slots, and then vary those effects by _____ of effect, somewhat similar to using a ____ control to vary the amount of an insert effect.
A
wet/dry
a percentage
24
Q
LFOs are_____, i.e., they oscillate between positive and negative values
A
bipolar
25
Macro controls They help unify your interaction with all of the other controls in MASSIVE, particularly when you are trying to_____instead of just creating and programming new sounds.
make music
26
The audio output may also become grainy or distorted if you are using too much of your CPU power. In this case you should try increasing the __/___ of your soundcard
latency/buffer size
27
The_____button (labeled with a small “_” exclamation point) will stop the sound and reinitialize all internal DSP parameters.
Panic
| !
28
The generation of sound in MASSIVE begins from the_____Section, which can be found at the____-hand side of the interface. It includes three ___, a_____, a___, and a____ section.
Oscillator
left
wavetable oscillators
modulation oscillator
noise generator
feedback
29
Three wavetable oscillators form the basis of sound generation in MASSIVE. In this type of synthesis, ___representations of various types of basic waveforms are stored in wavetables. Instead of directly computing a sine wave, for example, a wavetable oscillator uses a ____of a sine wave stored in memory. This synthesis technique is similar to ___
numerical
digital representation
sampling
30
MASSIVE uses a particular form of wavetable: each wavetable contains not only one waveform, but ____.
at least two of them
31
urning the _____ control from left to right now slowly morphs the waveform shape
Wt-position
32
Each oscillator has three___ and two ___that control its functioning.
knobs
| popup menus
33
u can also go through the wavetables in order by using the ___ buttons here.
Prev and Next
34
You can control the selection of the specific waveform to be played from the oscillator by using the____knob. Turning this knob scans through all of the waveforms included in the wavetable. The number of individual waveforms represented in each table can range from only _ to as many as __or more.
Wavetable Position Control
2
128
35
The Intensity knob for each oscillator gives you a number of ways of shaping the wavetable read-out, depending on which____mode is selected in the right-hand popup menu.Several different modes are available including ___, __, and ___modes. The default selection is __mode.
oscillator
Spectrum
Formant
three Bend
Spectrum
36
___mode. In this mode the Intensity control reduces the higher-frequency harmonics heard in the selected waveform. This functions similarly to a ____ cutoff, even though the algorithm behind it is different from a standard filter design
Spectrum
| low-pass filter
37
When any of the Bend modes are chosen, the ____ will shape the readout curve of the wavetables. Normally, the wavetable is read out at constant speed. With the Bend modes you can raise and lower the readout speed depending on___, e.g. slow at the beginning
and fast at the end.
Intensity knob
the position within the wavetable
38
Some wavetables also react in very interesting ways to modulation of the __knob. This can cause very subtle changes of the sound’s frequency spectrum.
Intensity
39
Each oscillator also has a ____ Fader at the right edge labeled F1-F2. This controls the ____of the oscillator’s output into either filter 1 or filter 2 or a mix of both.
vertical Routing
| balance
40
____:
This oscillator generates sine wave modulation source signals in the audible range. This oscillator is a perfect tool for sculpting ___sounds!
Modulation oscillator
aggressive, cutting
41
____is a well-known technique within electronic music since the 1950s. Its name is derived from early analog circuits, as the diodes were connected in a ring-like shape.
Ring modulation
42
. Ring modulation combines two audio signals in a way such that their frequencies are interrelated, creating new frequency components in the signal; these are called ___. They can be defined as the __and__of the various frequency components of the two source signals.
sidebands
sum and difference
43
Practically speaking, ring-modulating one of MASSIVE’s main oscillators usually creates___sounds. Try detuning the _____ when using the ring modulator; for example, tune the __ up or down by a tritone (6 semitones) for some interesting results.
bell-like, metallic
modulation oscillator
modulation oscillator
44
The ____modulation implemented in MASSIVE is sonically equivalent to the familiar frequency modulation or FM synthesis technique. The modulation oscillator acts as the ____while the main oscillator becomes the__.
Phase
modulator
carrier
45
You can use the phase modulation capacities of MASSIVE to create classic ___ sounds, for instance.
bass
46
Finally, _____ is a new and unique type of modulation, made possible by the design of MASSIVE’S new wavetable engine. The modulation is more audible the more the __oscillator’s wavetable differs from the ___oscillator’s sine wave. By enhancing the differences of the waves you can make the main oscillator’s sound ___. This can be used to establish signals that sound like a___ (or___) instrument that has some “surface noise” in its sound. Also try ____ or transposing the modulation oscillator to vary the effect.
Position modulation
main
modulation
rougher
bowed
blown
detuning
47
By default, the modulation oscillator is also ____, which means that tonal playability of ring modulation sounds is easily achieved.
pitchtracked
48
Note that due to the analog-style approach of the filter saturation,____ levels routed back through the feedback bus can change the filter behavior significantly and generate very different audio results through any effects that you might be using.
higher
49
another case where you might want to use the feedback bus would be to smooth out the resonance peak of a filter. Try smoothing the sound by___the feedback level back into the same filter bus
increasing
50
the filter section should never be__
ignored.
51
MASSIVE can blend between both routing modes with the ____ (labeled F2) at the left of both filters. It controls the signal source of Filter 2: Moved to the ___, Filter 2 will use the signal of Filter 1 as its input (serial routing). Moved all the way to the____of its range, Filter 2 will use its independent input signal as controlled by the oscillators’ Routing Faders.
Input Fader
top
bottom
52
a Mix Control at the right side of the filter section. It controls ____
which filter’s signal is used as the filter section’s output.
53
: It samples the incoming audio signal at a given time interval, and this sample is held until the next sample is taken. This results in a “stepped,” temporally quantized audio signal.
Sample & Hold
54
insert fx:
| is a digital effect that creates distortion in your signal by reducing the bit depth of the signal.
The Bitcrusher
55
insert fx:
Just as its name implies, the ___ shifts the frequency of the incoming signal. This is a common effect found in many analog synthesizer designs, but is seldom implemented in___-based instruments.
Frequency Shifter
digital/software
56
he ___ effect contains two simple adjustable filters (low-pass and high- pass), placed one after the other.
HPLP
57
___ insert effect routes your signal through a wave shaper, in which the signal’s amplitude is mapped to the rising and falling amplitude of a sine wave.
Sine Shaper
58
_____ is a waveshaping effect like the Sine Shaper, but with a different shaping curve: where the sine shaper uses a sine shape, the ______ uses an s-like curve. As you turn up the Drive control, the linear transition becomes a rectangular one, distorting the smooth transitions of any input curve.
Parabolic Shaper
59
___ in MASSIVE contain modules at the end of the signal flow primarily concerned with the amplitude of the output signal
Output Sections
60
Note that the parallel voices are combined to a stereo down-mix after the____section and before the ___
panorama
master effects.
61
here is no amplitude control knob or fader here as such, just as with a classic synthesizer amplitude envelope: any modulation of the amplitude controls the output level ..
across the entire available output range.
62
default, the ___envelope is assigned to control the amplitude,
fourth
63
....allows you to take the direct output of one of the three oscillators or that of the Noise Section and mix it in with the output from the rest of the signal chain.
Bypass Section
64
Following the Amp and Bypass Sections is the ___Section.
Master Effects
65
FX:...The signal is slightly delayed while varying the delay time, and the result is mixed with the original signal.
Flanger
66
chorus: This effect is technically achieved by
delaying the signal and constantly modulating the delay time
67
chorus This version uses four different modulation signals for a very rich and smooth chorus effect.
Chorus E version
68
flanger: The stereo version of this effect uses a ___modulation signal for left/right imaging; i.e. when the left signal’s delay time is shortened, the right one’s is lengthened and vice versa.
phase-inverted
69
Technically speaking, this effect is created by routing the signal through several all-pass filters with modulated frequencies that change the phase of the signal, depending on the signal’s and the filter’s frequency. When this changed signal is mixed with the original signal, ___changes create sonically interesting interference patterns.
phaser
phase
70
Dimension Expander: a combination of delay and chorus effects. The___creates very clear room-style spatial effects. The sound is more diffuse than DelayShort, but less cloudy than the Space effects.
Dimension Expander
71
simulates the effect of running your output through a tube amplifier, to help you create a “warmer” or “dirtier” sound.
Classic Tube:
72
another tube amp simulator, a bit softer and a bit more CPU-intensive than Tube.
Tele Tube:
73
another tube amp simulator, a bit brighter sounding than Tube.
Brauner Tube:
74
master volume: For best results, adjust it so that the loudest peaks in your output signal are near ____ without____
the top of the meter
actually reaching the top.
75
the ____ contains the controls and display for all of MASSIVE’s global parameters. These are visible on the six upper tabs, called the ____.
In addition, the ___ is the place where you can edit and assign all internal modulation sources. These are accessible via the eight lower tabs, called ___
Center Window
General Pages
Center Window
Modulation Pages.
76
The___Page includes general settings related to the pitch and phase of MASSIVE’s oscillators.
OSC
77
he OSC Page :
The Glide Mode Switch allows you to select from two glide modes. In ____ Mode, all glides are equal in time, no matter how large the interval. In ____ Mode, the glide depends on the interval between the consecutive notes: if the two pitches are near each other, the glide will be shorter, and if the two pitches are further from each other, the glide will take longer.
Equal
Rate
78
• The ____ adjusts the time needed by the glide function to go from the first note pitch to the following note pitch. When the knob is at full ___, there is no glide at all, the pitch jumping all of a sudden to the next one. When you turn the knob to the ___, the glide time increases and makes the transition between the notes smoother.
Glide Time Control
left
right
79
the Vibrato block controls the ____ around the base pitch of the played note:
At the top of this block, a Mono Button forces the vibrato to be monophonic, i.e. the same oscillation is used to cause the vibrato for ___. In other words, when this button is activated, you will hear the pitch of all played notes oscillating together (in phase).
pitch oscillation
all played notes
80
The Pitchbend block You can even set a Down value higher than the Up value here, thus ___the action of your pitch bend wheel.
inverting
81
The Phase block controls the ____ of MASSIVE’s three oscillators and modulation oscillator. At the block’s bottom, the ____Button allows you to set each oscillator to restart at its original phase each time you hit a key. If this Button is activated, the phases are restarted with each ____. (If the Button is deactivated, the phases are continuously played, and when you hit a key, the oscillators take the current phase as starting phase.)
relative phase
Restart Via Gate
new incoming note
82
The Phase Graphic Display shows four lines corresponding to the ____in MASSIVE . The x-axis represents the ___. On each line, a Phase Slider indicates the current phase for each oscillator.
four oscillators
phases
83
The right part of the interface contains an innovative and powerful feature: an internal envelope that can directly modulate the ___ parameters themselves.
This envelope is depicted in the upper right part of the ___Page, on the___ Graphic Display.
Pitch
Pitch
Internal Envelope
84
Keytracking Oscillator
| The Keytracking Oscillator Page allows you to define the____ of the oscillators to the pitch of the incoming MIDI notes.
pitch response
85
On an acoustic keyboard instrument (let’s say a piano), the further to the left that you play a note, the ___ the pitch of the sound. The further to the right you play on the keyboard, the ___the pitch. Thus, the pitch follows the position on the keyboard in a ___ way. With the ___Oscillator Page, you can alter this behavior for each of MASSIVE’s oscillators.
lower
higher
linear
Keytracking
86
The Keytracking Oscillator Page is divided into two parts: at the left, a Mapping Area shows how the current keytracking ___ is set up; on the right, a Mapping Selector allows you to ___to the individual oscillators.
response
map this keytracking response
87
Two keytracking responses are available:
• The__ Response is the usual keytracking response (with the lower pitches on the left and the higher ones on the right like an acoustic keyboard), represented by a simple line going from (0.0) to (127.127). This response cannot be edited.
• The____ is freely assignable and you can tweak it according to your wishes.
Linear
User Response
88
You can choose to assign one or the other of these keytracking responses for each oscillator individually. This is done in the _____. This is basically a selection matrix. You can assign the Linear or User Response (represented by the two columns here) to one or several targets including the three main Oscillators, the Modulation Oscillator and the___
Mapping Selector
Insert Effects
89
To assign a response to a specific target, click on the corresponding box in the___.
matrix
90
The_____graphically represents how the MIDI incoming pitch is interpreted to produce the outgoing pitch. The horizontal axis shows the ____pitch, and the vertical axis shows the ___ pitch. At the bottom, a virtual keyboard represents the entire pitch range. The numbers on both axes are the MIDI note numbers, from 0 to 127.
Mapping Area
incoming
resulting outgoing
91
Each time you click on a box in the Mapping Selector to activate or deactivate it, the Mapping Area displays the new keytracking ____. If you click on a box in the User column, you will see a set of ___ appearing on the Mapping Area’s keytracking___. You can edit this User Response in the Mapping Area by using these__.
response
Breakpoints
response line
breakpoints
92
You can move the three central breakpoints on both axis, and the first and last Breakpoints on the vertical axis, by simply clicking and dragging them with the mouse. You also have the following options to make your editing easier:
•____-dragging a breakpoint forces it to move on the vertical axis only, allowing you to define an output pitch for a particular input pitch.
• ___-dragging a point allows you to make finer adjustments.
Alt
Shift
93
The ___ Page allows you to control various parameters dealing with voices and ___
Voicing
polyphony
94
At left, the Voicing Area allows you to define the ____ that you want to use for MASSIVE.
polyphonic scheme
95
Voicing page:The Voice Maximum Control defines the ______. The range of this control is from ___to __. To modify this value, click on the___and drag your mouse up or down, or double-click the field and enter the value via your computer keyboard. Be aware that each voice needs to be computed: the higher this value, the higher the __shown in the navigation bar.
- maximal number of voices that can be played at the same time before the oldest is cut off
- 4 to 64
- number field
- CPU load
96
Voicing page:The Voice Maximum Control is generally known as ___, but this does not necessary imply that you can play as many notes at the same time as what is shown in this number field.
polyphony
97
____:This parameter controls the maximal number of voices, not the____: the actual polyphony depends on the maximal number of voices and the number of voices __
The Voice Maximum Control
number of notes
triggered by each single note.
98
This is exactly what the ____ does: it adjusts the number of voices that should be played for each key that is pressed on the keyboard.
Voice Unisono Control
99
This control allows you to create thicker- sounding “stacked” sounds. Actually, though, if these unison voices were strictly identical, would not be of much musical interest. But MASSIVE allows you to modify the additional voices, and create some very interesting effects. This is called ____ and this is controlled by the ___ Area
unisono spreading,
Unisono Spread
100
Voice Unisono Control:we find the ___. This switch lets you choose from three polyphonic modes:
Mono/Poly Switch
101
Voice Unisono Control: __allows you to play several notes at the same time, within the limits set by the Voice Maximum and Unisono Controls.
Polyphonic
102
Voice Unisono Control:___ allows you to play only one note at a time.
Monophonic
103
Voice Unisono Control:__is a special monophonic mode in which two notes are always played alternatively. If a new note is played while the previous one is still held, the old one will be____ quickly to ensure that the abrupt stop of this note will not cause a___. This can be done as the new note is started on another layer of voices.
Monorotate
faded out
click
104
Below the Mono Poly Switch is the ___ switch. It defines how and whether the modulation sources are restarted from the beginning:
Trigger Switch
105
Trigger Switch:
| ___ restarts the modulation sources each time a new MIDI note message is received.
Always
106
Trigger Switch: ___ restarts the modulation sources whenever a new MIDI note message is received after the previously played note has been released; this means that the sources are not re-triggered if the notes are being played tied, slightly overlapping. This also implies that the previous note will be automatically stopped when the next note is played, even if the key has not been ____ on the keyboard yet.
Legato
released
107
Trigger Switch:
____restarts the modulation sources whenever a new MIDI note message is received and all other notes have been released before. This is convenient when playing trills or other ornaments on a keyboard: you only need to hit one of the trill notes while holding the other one constantly. This mode can be useful if you intend to_____ all the time as a fundamental while playing figurations above it.
• Legato Trill
hold one key
108
At the right of the Voice/Unisono Page, the _____ Area allows you to control how the different voices of a same note are differentiated from each other.
Unisono Spreading
109
Voice/Unisono Page:Generally, for each of these parameters, the additional voices will sound more and more “distant” from the original voice. That is why this process is called “____”: the additional voices are “___” out around the original one as you adjust the controls.
spreading
spread
110
Voice/Unisono Page;
• A___ Switch allows you to activate the corresponding parameter to spread the voices. If this switch is set to on (it will turn blue), then the voices will be spread out according to the controls in the respective section.
• A ______Control slider allows you to set the maximum amount of spreading between the different voices.
Spread
Spread Amount
111
Voice/Unisono Page:Spread Amount : the_____voices you are using, the closer together each pair individual voices will be.
more active
112
Voice/Unisono Page:The Pitch and Cutoff Spread Amount Control:
____: the pitches are symmetrically spread around the main pitch. This is particularly useful with ___spreading values, up to about one semitone, which are often used to___ a sound.
Centered
slight
thicken
113
Voice/Unisono Page:The Pitch and Cutoff Spread Amount Control:• ___: the pitches are spread alternatively below and above the main pitch. Use this mode with___spreading values that establish chord- like structures.
Chord
high
114
Voice/Unisono Page:____. The range of this control is set as a percentage. This control will cause the Wavetable Position of the various voices to spread out around the original voice.
wavetable Position Spread Amount Control
115
the Panorama Position Spread Amount Control range is not ____. Rather, it allows you to adjust the stereo imaging of the voices. With the slider at the ___, you will hear the full stereo image. When it is ___, you will hear a centered mono signal, and _, you will hear an inverted stereo image, with left and right signals reversed.
editable
far right
in the middle
at far left
116
Routing:____ buttons at the lower right of the Routing Page. Choosing one of these allows you to select the point at which the signal from the Bypass Section will be mixed back into the main signal: after the ___, or after ___or __ in the Master Effects Section.
Bypass Target Selector
Pan
FX1
FX2
117
Global:The___ parameter sets the tempo of the internal clock in beats (quarter notes) per minute. This parameter is saved with the sound, used for example when the Stepper modulator is used in sync mode. The parameter is not relevant if___.
Preset BPM
External Sync is active
118
Global:Clicking on the ___button resets the internal clock’s song position pointer to zero, like going to a track’s start in a sequencer. This is used to ensure the___. This parameter is not relevant if ___is active.
Reset
reproducibility of modulation source signal
External Sync
119
The___buttons switch between two quality modes.___(using oversampling) should be used whenever possible, but note that the CPU load is increased with this setting.
Preset Quality
High
120
The top row for the envelope includes two buttons:
• The ___Switch switches the Decay shape from logarithmic
to linear.
•
Linear Transition
121
the envelope :By default, the Attack shape of the envelope is ___, while the
Decay and Release shapes are __.
linear
logarithmic
122
The ___ Switch causes the envelope to retrigger from the beginning every time it receives an incoming MIDI note.
Trigger Mode
123
At the top left, the Play Mode Selector allows you to choose from three Play Modes: _____, ___and____ .
Gate
One Shot
Hold
124
Play mode selector:
With____ selected, when you press a key, the envelope is started and read until its end. However, if you release the key before the envelope comes to the end, it will immediately jump to the Release stage.
Gate
125
Play mode selector: • With ___ selected, as soon as a key is pressed, the envelope is read to the end, even if the key is released sooner. The full sustain stage (with any possible loops, see below for more on this) is also read.
One Shoot
126
• With ___selected, as soon as a key is pressed, the envelope is read until the Sustain end point (including possible loops). It remains there also if the triggering key is released. The envelope_____ only when the triggering key is pressed a second time, or if another key is pressed, triggering another note.
Hold
jumps to the release stage
127
envelope:The controls for the Sustain stage:
• The ____ Control adjusts the time between the sustain start and end points. If you turn it clockwise, you increase the sustain duration, and therefore also lower the____of the envelope in the sustain stage.
.
Sustain Loop Length
speed
128
envelope:The controls for the Sustain stage:
| • The ___Control sets the amplitude of the sustain end point.
Sustain Level
129
envelope:The controls for the Sustain stage:
• The ___Control adjusts the actual sustain shape between the two reference sustain shapes defined by the Sustain Morph Popup Menus.
Sustain Morph
130
envelope:The controls for the Sustain stage:
| • The ____, at the lower right of the Sustain stage, defines how many times the Sustain stage will loop.
Sustain Loop Count
131
envelope:The controls for the Sustain stage:
If the knob is turned full __, the sustain shape will be the shape selected in the first Morph Menu. With the knob ____, the shape will fit the one selected in the second Morph Menu. In between, the actual sustain shape will be an ___ between the two selected shapes
left
at full right
interpolation
132
Modulation Pages 5-8:The___ Button, when activated, will force the modulator to output a monophonic modulation signal, no matter how many voices are played. You can use this function to “_____” the modulations of different voices.
Mono
synchronize
133
Modulation Pages 5-8:
The ____, at the far right, allows you to select the kind of modulation source you want to use in this Modulation Page (LFO, Stepper or Performer).
Mode Popup Menu
134
Modulation Pages 5-8: ____Switch causes the envelope to re-trigger every time it receives a note (i.e., the envelope starts from the same point each time).
Restart
135
Modulation Pages 5-8: each LFO in MASSIVE is actually a ______: the modulation source features a morphing function that allows you to interpolate between __ curves (similarly to the sustain stage of the envelope modulation source described above). You can adjust the LFO curve on the fly by moving the ___ .This is all done in the left part of the interface.
double LFO
two
Xfade Curve slider.
136
At far left, the Curve Morph Control fader allows you to adjust the___ between both curves, which will be the effective played LFO curve.
interpolation
137
Above the Curve Morph Fader and the Curve Graphic Displays, the Phase Fader sets the ____ of the curves.
starting phase
138
Stepper
The Stepper is basically a ____. It allows you to define a certain number of steps, each of them having a specific ___ value. The steps are read in a looped sequence, recreating a periodic signal to be used as a ___.
step sequencer
amplitude
modulation
139
the Stepper Graphic Display, showing the different steps. For each step, the corresponding amplitude is represented by a ___. To adjust each amplitude,_____ Hold the keyboard’s___key for fine adjustments.
- bar
- click on the bar and drag the mouse up or down.
- Shift
140
on the top of the Display, a _____ shows the step numbers. On this bar, a yellow triangle indicates the____.
Loop Area Bar
current step being played
141
Stepper : The steps included in the loop have their numbers____in the Loop Area Bar.
highlighted
142
Stepper : The loop speed is controlled by the _____ Control, in the left block of controls
Rate/Ratio
143
Stepper : At the___of the Stepper Graphic Display, there are two faders:
left
144
Stepper :
• The___Control adjusts the glide between the former step and the current step. The glide can be used to create______ between steps. When this is turned all the way down, there is ____ when turned up to the top, the glide is ____.
Glide Modulation
soft transitions
no glide between the steps
at its maximum
145
Stepper : • The ____Control adjusts the overall amplitude of the modulation defined by the step sequences. When all the way down, there is ____; When all the way up, the modulation is ____.
Amplitude Modulation
no modulation
at its maximum
146
Stepper : Amplitude/Glide modulation:
Each of these faders is related to one of the two _____below the Display. Each Step Activation Row contains a sequence of ____, one under each ___. Each box defines if the corresponding step will be ____or not. If a box is ___(blue), the corresponding step will follow the fader control. If it’s ____ (black), the step is not affected by the fader setting. To activate a box,___. You also can _____to activate or deactivate several boxes.
Step Activation Rows
boxes
step
affected by the relevant fader
activated
deactivated
click on it
hold the mouse button and drag the mouse
147
Performer:
The Performer is quite similar to the Stepper in its implementation, but it allows you to____. The Performer lets you generate step-sequenced rhythms with the aid of____instead of simple vertical bars.
create much more complex sequences
waveforms
148
Performer:Furthermore, it also features a ___function that allows you to interpolate between two sequences, just as in the envelope and in the LFO modulation sources .
morph
149
Performer:
| The steps are depicted in the____. Each step displays its___.
Performer Graphic Display
loaded waveform
150
Performer:You can choose a specific ____for each step. To choose a waveform, click on the ____ at the top left of the Modulation Page. This will open a matrix with a number of different___.
waveform
Load Curve Button
waveforms
151
Performer:Like in the Stepper, you can adjust each step’s amplitude by ____. Hold the keyboard’s ___key for fine adjustments.
- clicking and holding its waveform and dragging the mouse up or down
- Shift
152
Performer:
| When you are done with the waveform assignments, click again on the ___to close the matrix.
Load Curve Button
153
Performer:As in the Stepper, a Loop Area Bar on the top of the:
To edit the loop range, __on the first or last step number in the loop, ___the mouse button and ___ it to the left or to the right: the highlighted numbers follow the mouse movements, defining a new loop range. The loop speed is controlled by the Rate/Ratio Control, in the left block of controls described earlier (“Common Controls for LFO, Stepper and Performer.”)
click
hold
drag
154
• The ___adjusts the overall amplitude of the modulation defined by the step sequences. At full down, there is ___ (whatever the waveforms are); at full up, the modulation is ___. Note that this functionality has to be ___ for each step individually with the Step Activation Rows
Amplitude Modulation Control
no modulation
at its maximum
activated
155
• ____: Generates a modulation signal depending on the pitch of the played MIDI note.
KTr (Keytracking)
156
• _____: Each played MIDI note trigger generates a new random value at the output of the TrR modulation source.
TrR (Trigger Random)
157
• ____ The modulation source provides the aftertouch value of your MIDI messages. Note that relatively few MIDI keyboards send aftertouch information.
AT (Aftertouch):
158
•__: This modulation source relays velocity data from your MIDI keyboard or other MIDI controller.
Vel (Velocity)
