Instructor Heinrich Zwahlen explores creative possibilities of Massive, Native Instruments synthesizer which is frequently used to create fat bass sounds and intense leads. In this two-part video tutorial, Heinrich focuses on Massive’s ability to create speech-like sounds, showing step by step how to create your own variations of the talking synth, or digital mouth harp.
The Talking Stepper technique allows you to synthesize original sounds from scratch using Massive, and develop the sound further with the step sequencer, which allows you to make unique mechanical melodies.
In part one, Heinrich shows you how to utilize the various parameters of Massive; showing you the basic building blocks, including Oscillator, Filter, Sample & Hold effect, Modulation Oscillator, and of course the Stepper sequencer (which can be selected from the LFO tab) and Performer.
1. Start With a Fresh Patch
Open Massive and select New Sound to start from scratch.
2. Oscillator Section: Setting the Base Tone
Oscillator 1:
Wave Table: Select Dirty PWM (Pulse Width Modulation) for that sharp, mid-range character.
Wave Position: All the way to the right.
Routing: Route Oscillator 1 fully to Filter 1.
Pitch: Leave as is (default).
Note: You don’t want too much bass for this talking sound; mid-range frequencies work best.
3. Filtering: Sculpting the Tonality
Enable Filter 1.
Filter Type: Choose Lowpass 2.
Cutoff: Start low, but be ready to modulate this parameter for formant (vowel-like) effects.
Resonance: Centered (not too high).
4. Modulation Oscillator: Adding Grit
Turn on the Modulation Oscillator (Mod OSC).
Phase Modulation:
Assign Phase modulation to Oscillator 1.
Increase the amount of phase modulation until you start hearing richer overtones.
Tune the Modulation Oscillator:
Drop the pitch by -12 semitones (one octave down) to get a subharmonic, making the sound richer and a bit more aggressive.
5. Insert Effect: Sample and Hold (Bitcrushing)
Activate Insert 1:
Select Sample and Hold.
Set Mix to 100% (fully wet).
Pitch/Pitch Control: Adjust this to taste. Lower gets grittier and more digital (downsampling effect).
Too low or too high will lose the “talking” quality—keep it toward the middle for best vowel-like formants.
Note: Sample and Hold here acts as a kind of bitcrusher, emphasizing formants (peaks in the frequency spectrum that mimic vowels).
6. The Key To Talking Bass: Cutoff Automation (Formant Animation)
Goal: Modulate the lowpass cutoff to simulate vowel changes.
a. Assign a Stepper LFO
Go to the LFO tab and select the Stepper.
Slot: Drag the Stepper’s handle onto Filter 1’s Cutoff knob.
Adjust Range: Adjust the modulation ring (the green ring) so it covers a narrow range in the middle of the cutoff sweep, as this is where you’ll find most of the vowel-like sounds.
Start Position: This range should be centered, not too high or low.
b. Sync Stepper to Tempo
Enable sync on the Stepper (so steps match your DAW’s tempo).
Try eighth or sixteenth notes for rhythmic variation.
Slow the Stepper down while programming so you can hear the effect step by step.
c. Program Steps
Raise/lower individual steps to different heights to animate the cutoff, which makes the filter “talk”.
Experiment with Snap to Grid ON for easy, repeatable steps.
Try using only a few steps to start—16 steps can be a lot; you may want to start with fewer for clarity.
d. Shape the Sequence
Create ups and downs—different heights produce different vowel sounds.
Example: Try a pattern like 6–9–4–7–9, with some repeated values for emphasis.
e. Resolution and Groove
Increase resolution for faster talking/phasing; decrease for slower vowel changes.
7. Final Tweaks & Performance Controls
Further adjust the filter cutoff range if you don’t hear the vowel effects; the sweet spot is narrow.
Experiment with oscillator settings, wavetable position, resonance, and phase modulation amount to enhance character.
Try modulating Performer LFO or adding more effects for extra movement.
8. Additional Tips
If you want less digital harshness, lower the mix on the Sample & Hold insert.
Use the Performer for more complex rhythmic or melodic movement.
Try using different wavetables or filter types to personalize your sound.
Recap: Routing Overview
Oscillator 1 (Dirty PWM) → Filter 1 (Lowpass 2)
Modulation Oscillator: Phase Mod for Osc 1, -12 pitch
Insert 1: Sample & Hold (bitcrusher-style effect)
Filter 1 Cutoff: Modulated by Stepper
Velocity, Envelope, Performer: Optional, for further dynamics and groove
Why It Works
The technique works by mimicking the way human voices create vowels (manipulating formants) using the cutoff modulation, with the Sample & Hold effect accentuating those vowel-like peaks. Using the Stepper allows for precise, rhythmic “syllable” control, making the sound come alive in a sequence or performance.
Congratulations! You’ve just programmed a talking bass in NI Massive from scratch, understanding the ‘why’ as much as the ‘how’. Don’t hesitate to experiment with settings to craft your own unique character within this template