Brass Horn Synthesis

Welcome back, everyone!

Today we will be discussing brass horn synthesis using Massive but as always keep in mind that these parameters can be used in other plug-ins to create similar sounds. This synth is going to use two oscillators and two filters with a little bit of modulation.

First we are going to set oscillator one to a square/saw wave with the wave table position all the way up and the filter routing (the linear pot to the right) set to filter one (turned all the way up). Next we’re going to set oscillator two to the same settings only this time we’re going to detune this one by taking the pitch up ten cents (0.10). This will create a fuller sounding synth because we are no longer just doubling the oscillator which would just lead to a boost in level.

Next we are going to make some changes to the amp envelope (envelope 4). We’re going to bring the attack up to about 10 o’clock, the decay to about 2 o’clock, the sustain (decay) level to about 1 o’clock, and the release to about 11 o’clock.

Next we’re going to modulate the pitch to the two oscillators by going into LFO 5. Here we are going to push the crossfade (X-Fade) curve all the way up so that we only get the top sine wave and click and drag the phase of the LFO so that it peaks in the middle of the oscilloscope. Then set the rate to about 11 o’clock and the amp to about 1 o’clock. Now we just need to assign the LFO to the modulation slot under the pitch of both oscillators and raise the range on both of them by 12 cents (0.12).

Next we will set-up the voicing tab by bringing the unison up to two, turn the pan position on and drag its linear pot all the way to the right which will widen the stereo field of the synth.

Now go to the oscillator tab and disassociate the vibrato macro from the rate a depth by right clicking on the modulation slot under each one and turn them off. Then bring the depth up just slightly so that the instrument has a little vibrato with separately modulating it.

Next we’re going to set-up the filters so set the series/parallel fader (linear pot) to series (push the fader all the way up). Now we’re going to shape the sound by setting filter one to lowpass 4 with the cutoff and resonance all the way down. Then we’re going to change the brightness of the synth by setting filter two to lowpass 4, setting the cutoff to about 2 o’clock, the resonance all the way down, and the volume (the linear pot on the right) all the way up. Then we want to bring the mix fader all the way down to filter two so that we don’t hear the synth until it has passed through both filters.

Next we are going to modulate the filters with an envelope so go to envelope one and set the attack to about 11 o’clock, bring the decay up slightly, and the sustain and release to about 11 o’clock. Assign the envelope by clicking and dragging envelope 1 to the first modulation slot of the cutoff of filter one. Set the range by clicking the modulation slot and dragging it all the way up.

The rename and assign the first macro to the first modulation slot of the cutoff of filter two. This will let us control filter two’s cutoff in real-time once it has been assigned to a MIDI device. You can assign it by right clicking and selecting MIDI learn and then moving the pot or mod wheel on the device we want it assigned to.

Now we’re going to set FX 1 to chorus with the dry/wet set to about 9 o’clock and the rate and depth to about 10 o’clock. Next set FX 2 to reverb with the wet/dry to about 8 o’clock, the size to about 10:30, and the color to about 9:30. Then enable the EQ and boost the low and high shelf to about 1 o’clock.

Lastly, just bring the master level down a bit so that the instrument isn’t clipping.

Brass Horn Preset

Happy synthesizing!