Native Instruments Massive X Insert Effects Instruction Manual
Insert Effects
Insert Effects
1. INSERT EFFECTS
There are two different types of effects available in MASSIVE X; Insert Effects and Stereo Effects.
Insert Effects can be used as parts of the polyphonic voice structure, while Stereo Effects are used
on the voice mix at the final stage of the signal chain. This chapter will cover the Insert Effects section, including all available effects, their respective controls and suggestions for most effective use.
Selecting where to place the Insert Effects in the signal chain is done via the Routing page. The
three Insert Effects are represented by circular icons (A, B, C).
Individually, they can be placed anywhere in the voice structure. They can also be chained together, or inserted separately on any sound source. Where you choose to place the effect in the signal
path will have significant impact on the final sound and the way the effect behaves. These crucial
sonic differences will become obvious as you experiment with different routing options and effects
combinations.
The following section provides an overview of the Insert Effects section:
(1) Insert Effect A Menu: Selects an Insert Effect for slot A. The active Effect panel on display is
highlighted with an underline.
(2) Insert Effect B Menu: Selects an Insert Effect for slot B.
(3) Insert Effect C Menu: Selects an Insert Effect for slot C.
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Insert Effects
(4) Parameter Controls: This area hosts a range of buttons and knobs that control different parameters of the effect. Each Insert Effect has a different selection of controls that relate to its behavior and operation.
1.1. Anima
Anima can be used to enhance oscillator signals by altering their frequency content. The results
range from subtle colorization to harmonic transformations that are achieved by adding new sidebands in the frequency spectrum.
As an experimental derivative of effects like comb filters and flangers, its internal structure involves
a unique combination of delay lines, audio rate modulation, and feedback.
Similar to tuned comb filters, Anima tracks the MIDI pitch of the instrument. This way, it can be
tuned relative to the pitch of the input signal, allowing you to explore a range of interesting sounds.
Anima contains the following parameters and controls:
• Pitch: Adjusts the center frequency of the tuned delay lines in Anima's internal structure.
• Mix: Blends between the input signal and the effect signal. Turn the control fully left to bypass
the effect, or right to mix in the effect. Anima is commonly used with high to maximum Mix
settings.
• FB: Adjusts the amount of feedback in Anima's internal structure. Anima is commonly used
with high to maximum FB settings.
• +/-: Selects one of two routing modes of the effect and (+) and (-). A positive polarity setting is
represented by the (+) icon and is the default setting. Press the icon to change to a negative
polarity (-). Each of the two modes features a unique set of signal polarities within Anima's internal structure. This parameter has a strong influence on the overall sound character of the
effect.
• Smear: Adjusts the distribution of tuned delay lines around the center frequency as set with
Pitch.
• Amount: Adjusts the amount of internal modulation applied to the tuned delay lines.
• Rate: Sets the rate of the internal modulation oscillator.
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Insert Effects
• Fast/Slow: Selects one of two basic modes (Slow, Fast). When Slow is selected, the internal
modulation oscillator runs at LFO rates. This produces sounds reminiscent of a comb filter
combined with vibrato. When Fast is selected, the internal modulation oscillator runs at audio
rates, relative to the instrument's MIDI pitch. This produces interesting harmonic transformations by adding new sidebands in the frequency spectrum, similar to frequency modulation or
phase modulation.
1.2. Bit Crusher
The Bit Crusher degrades a signal by reducing the bit depth, which is the number of bits used to
represent amplitude in digital audio. A high bit depth results in an accurate representation of a signal, while a low bit depth adds noise and distortion. This can be used for lo-fi effects ranging from
subtle noise textures to extreme distortion that turns any signal into clicks and pulses.
The Bit Crusher contains the following parameters and controls:
• Crush: Adjusts the bit depth and therefore the strength of the bit reduction effect. By turning
the control fully left, the lowest number of bits is used, resulting in the strongest effect. By turning the control fully right, the highest number of bits is used, closely resembling the input signal.
• Mix: Blends between the input signal and the effect signal. Turn the control fully left to bypass
the Bit Crusher, or turn right to mix in the effect. Turning the control fully right results in a wet
only signal.
• Offset: Adds an offset to the input signal, making it asymmetric. This can be used to create
variations of the basic bit reduction effect.
• Norm: Subtracts the input signal from the effect signal, making the bit reduction effect more
pronounced.
• HQ: Activates high quality anti-aliasing. By default, HQ is deactivated. Press the HQ button for
less harsh, smooth lo-fi results.
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Insert Effects
1.3. Utility
This module helps you correct, level out, or finalize your sound. If a sound is too bright, too bass
heavy, too loud or soft, this is the tool to use. It is especially effective when used in conjunction
with the Tracker, as well as in Feedback scenarios, where it can be used together with the Comb
filter to create an overblown flute and similar effects. This enables you to scale the amplitude in
order to produce a balanced sound over the range of the keyboard. The filters have no nonlinearities or resonance, resulting in a clean and neutral sound.
The Utility contains the following parameters and controls:
• Filter Type: Two menus that offer four filter types (HP1, HP2, LP1, LP2) to select from. If you
use two LP2 filters with the same settings you will achieve a 4-pole filter characteristic.
• Freq: Freq 1 and Freq 2 determine the cutoff point for the corresponding filters.
• Level: The Level knob sets the volume of the VCA (voltage controlled amplifier). Two controls
determine the behavior of the VCA .
• Range: Defines the maximal amplification factor that can be achieved with the VCA. Turning the control from fully counter-clockwise to centre position provides a range from 1% to
100%. Turning Range from the center position to fully right provides a maximum of 500%.
• Curve: Bends the response character of the VCA. At centre position, the VCA behaves linearly. This is the default setting for this module. Turned fully left, it produces a strong bend
with the amplification factor rising exponentially towards the end. At full right position, it
bends strongly in the opposite way, so the amplification factor rises logarithmically towards
the end.
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