It’s been well over two years since I last released a soundset for Massive (not including my fairly recent freebie, Massive Samuraii). For some, it’s a synth that’s long in the tooth, far too associated with the wavetable machinations of aggressive Brostep and the like, it has been superceded by newer digital softsynths such as Serum.
And whilst it’s true that Massive hasn’t had anything resembling a real update in years, it still has a certain little je ne sais quoi that draws me back to it. Although having said that, could this be my final Massive soundset?
Massive Omicron started out life as two separate bespoke projects for film soundtracks that never quite happened. In both instances, the producers/directors decided that they no longer wanted synth sounds in their films’ scores. Their loss, is your gain!
Whilst those two bespoke projects form the core of Omicron, I set about adding a number of new sounds that gelled together those two collections into a single whole. It became clear to me, as I listened through the sounds I’d made, that there was a hint of a direction towards a dark, warm, sci-fi vibe. There wasn’t so much of that bright, harsh digital feel to them; they were more expansive, more brooding, dare I say it more analogue than Massive patches normally sounded.
With that in mind, I completed the soundset with roughly sixty or so newer patches that really established and stamped that lusher, spacey, organic feel. I added in a touch of unpredictability, played fast and loose with tuning, made sure that the macros offered some strange and beautiful new directions to push each sound.
I feel I’ve done something with Massive that will hopefully surprise and delight. And whilst it’s certainly not analogue sounding in the truest sense, I like to think it’s not entirely digital either.
As to the question of whether Omicron might be my last Massive soundset or not? Well, you can help me decide that with your feedback!