How to program your first sounds with Massive X


What is Massive X?

Massive X is a synthesizer plugin with powerful wavetable oscillators, multimode filters, customisable routing and a selection of insert and stereo effects.

Does Massive X have standalone?

Massive X does not have a standalone application, which means that it needs to be used within a DAW. Massive X VST, AU and AAX version plugins are available.

Does Massive X have presets?

Massive X does indeed include many, many presets, and these can be a great way to get started with the synth. To access Massive X’s preset library, click the patch name, which when the synth launches will be ‘Init – Massive X’



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Mastering club-ready dance music with Ozone: Nihil Young’s advice on in-the-box mastering for a massive sound


Beyond mastering, I often use Ozone 11 modules in the mixing process, whether on individual channels or mix buses. These modules are incredibly versatile, whether for dynamic EQing, handling resonances (Stabilizer/Clarity), tackling specific low end issues (Low End Focus), or shaping transients. In some cases, I use them to experiment with sound design – like transforming sounds entirely using Stabilizer’s Transient Mode. Both the Exciter and Imager are also invaluable tools during mixing, offering excellent tonal shaping and spatial control.

For dance music, I prioritize low-end tightness, punch, and stereo imaging, while for acoustic or melodic genres, I focus on warmth, natural dynamics, and tonal balance. For example:

  • Melodic techno: I emphasize subtle midrange details and target a loudness of around -7 LUFS.
  • Drum and bass: I ensure the sub bass is controlled, transients remain sharp, and loudness is pushed as far as possible, sometimes reaching -3 LUFS.

Ozone isn’t just for mastering…

I frequently use its modules in mixing, too – whether for taming resonances with Dynamic EQ, addressing low-end issues with Low-End Focus, or adding tonal character with Exciter. Sometimes I even use tools like Stabilizer in transient mode to experiment with sound design.

Modules like Imager and Exciter are particularly useful for shaping spatial and tonal aspects during mixing.



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Going Deeper into Sound: Eight Standout Features, Videos and Tutorials from 2024


Wrap up 2024 by checking out some of our favorite tutorials, videos, and features from across the year, and head into 2025 with all the music-making inspiration you could wish for.

100 One Things


2024 was the year we started a podcast – discussing musical ideas, techniques, and strategies with the artists who use them daily. Take a listen through the archived episodes and pick up a dose of inspiration.

Take a listen

Aho Ssan: Sound from inside the Rhizome

Discover the rhizome with Aho Ssan, who unpacks his lattice-like approach to production and collaboration and shares a Max for Live device created exclusively for the article.

Download the free device

Make a Beat in Minutes with Move

See how producer and Ableton Certified Trainer Jamie Blake puts together a complete beat on the newly-released Ableton Move in just 10 minutes using resampling and automation techniques, a custom Drum Rack exported from Live and Move's built-in microphone.

Check out the video

Download the Live Set of Nadia Struiwigh’s Track “Leelow Waters”

Get the lowdown on Nadia Struiwigh – the Dutch artist making waves with her machine-heavy blend of techno, ambient, and electro. Plus, download the Live Set of her track "Leelow Waters" for free.

Download the Live Set

20 Years of Operator

2024 marked 20 years of Operator – Ableton Live's first built-in synthesizer, designed by Ableton co-founder Robert Henke. Dive into the device's history and download over 100 presets from Robert and Ableton instrument designer Christian Kleine.

Get the free presets

Designing Dub Chords in Ableton Live with El Choop

Explore the enduring nature of the dub techno sound with London-based artist El Choop, who dissects his reverent yet forward-thinking technique, all made with Live's expansive range of effects, filters, and modulation possibilities.

Discover the techniques

Explore Live 12.1’s Auto Shift

The release of Live 12.1 saw the introduction of real-time pitch correction to Ableton Live. Learn how to get warm, wide, and perfectly pitched vocal harmonies – and much more – with this tutorial from Side Brain.

Learn the process



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Enhance your drum beats with Neutron 5 Transient Shaper


What is a transient shaper?

Before we dive in, what does a transient shaper do?

A transient shaper is used to manipulate the attack and sustain characteristics of a sound. It focuses on the transient portions of a sound – the initial peaks or hits, like the snap of a drum or the pick of a guitar string – and allows precise control over how these transients are emphasized or suppressed. This makes it easy to control how punchy, snappy or roomy a drum track sounds.

So, is a transient shaper just a compressor? No, it’s not: while they do share similarities in that they allow you to control the dynamics of the input signal, the big difference is that transient shapers are dependent on a threshold level in the same way compressors are. Transient shapers will alter all audio inputs in the same way regardless of the input level, whereas compressors rely on the input level to determine how to affect the sound. So, how these effects are controlled and how they affect the sound are different.

Multiband transient shaping might sound like an intimidating concept to the beginner, but it’s a very simple technique to achieve with Neutron 5 Transient Shaper. Crucially, it’s easy to hear how the effect affects the audio input signal, so you should have little trouble getting to grips with it.



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12 of the best piano plugins and VSTs from Native Instruments


Bring life to your music with piano VSTs

In this article, we’ve run down 12 of the best piano VSTs available from Native Instruments. We’ve explored a selection of world-class instruments, from classical concert grands to idiosyncratic noise makers, vintage electric keys, and more. Now you have a sense of what’s out there, it’s time to find the best piano plugin for you, and start using it to bring life and expression to your productions.

If you’re not sure which piano to start with, The Grandeur is a solid choice. This state-of-the-art sampled grand piano is versatile and stunningly lifelike, making it a good option for all genres and contexts.

Check out The Grandeur



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9 music trends to look out for in 2025


9. Dance music will show its soft side

Dance music has been spiraling upwards for half a decade now. Whether it’s underground clubs in Europe, big festivals in the US, or warehouse raves in South America, the sound of late night partying has been getting faster, harder, and more aggressive. Mainstay genres like techno have hit dizzying speeds, and high-energy styles like gabber, hardcore, hard house, and trance are more popular than ever.

There are a few theories as to why this music industry trend has been so long-lasting. Some argue that the pandemic left clubbers impatient and starved for adrenaline. Others point to social media: genres with big drops and heavy beats make more of an impact in the short videos that DJs and fans post online.

Whatever its source, 2025 might be the year that hard and fast gives way to slow and sensual. There are already signs of a shift. In techno, 2024 has seen the rise of “groove,” a music trend that favors subtle swing over jackhammer beats. Slower, more restrained club genres, like minimal and tech house, are on a steady rise, suggesting possible new directions for the global club scene.

It’s hard to say exactly which new sounds will break through in 2025. But if you want to make the forward-thinking club hit of the year, it might be worth notching down the tempo and exploring softer textures.



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How to create wide bass lines


Often beginner producers are advised to keep their bass lines in mono, and while having a mono low end certainly has its advantages (not least because it will sound tighter and punchier), there are ways that you can add a touch of stereo width to your bass sounds and achieve the best of both worlds.

In this guide to creating wide bass lines we’ll show you how to make your bass more prominent and get a fuller bass sound using mid/side processing techniques. We’ll also explain what mid/side is and how it works, giving you a helpful insight into how to improve not just your bass lines, but your mixes overall.

Here are before and after examples of a mono, and widened bass line:

Jump to these sections:

To follow along with this walkthrough you’ll need this sample pack and a DAW, we’re going to use Ableton Live, plus the free iZotope Ozone Imager 2 plugin. We’ll also show you how to achieve the same effect more quickly with the full version of iZotope Ozone 11.

Get iZotope Ozone Imager 2 free

How to make your bass sound wider

You can make your bass sound wider using the Haas effect or a dedicated stereo widening plugins. However, the Haas effect and many stereo widening plugins have the same issue: they’re not mono compatible. We’ll discuss the importance of mono compatibility and show you how to achieve a mono compatible result in this guide.

1. What is mid/side?

Mid/side, sometimes known as (M-S), is an audio processing and recording technique that separates a stereo signal into two components, the mid and the side. These are derived from the stereo left and right signals that you’re probably already familiar with, and the mathematical method by which these are derived is simple enough to explain in this article.

Let’s cover the mid signal first. The mid signal represents the mono or center information of the mix, and this is the sum of the left and right signals.

left + right = mid 

Most DAWs have a tool for “monoizing” an audio signal, for example Ableton Live’s Utility audio effect.

Ableton Live’s Utility effect

Ableton Live’s Utility effect

Here the Utility effect is in its default state, with the Mono button deactivated.

Here’s an example stereo audio signal running through the effect:

When the Mono button is activated, the stereo signal is converted to mono by summing the left and right channels together.

Ableton Live’s Utility effect with Mono activated

Ableton Live’s Utility effect with Mono activated

So, when the Mono button is activated we hear just the mid signal, like so:

Certain audio playback systems such as some Bluetooth speakers only have a single speaker and are therefore unable to reproduce a stereo signal. As such, it’s common for such devices to sum a stereo signal to mono so that it can be reproduced via a single speaker.

In this case, the signal’s side information is lost. Side is the other component of a stereo signal, and this is the difference between the left and right signals.

The Side signal is derived by subtracting the right channel from the left channel.

Any sounds identical in both channels (the mid signal) will cancel out, leaving only the differences, which are the stereo panned elements.

left – right = Side

Ableton Live’s Utility effect can also be used to hear the side signal. If we deactivate the Mono button, then right-click the Width knob and select mid/side Mode, we can use the Width knob to control the amount of mid and side signal in the output.

Putting Utility into Mid/Side Mode

Putting Utility into Mid/Side Mode

Turning the Width knob up to 100s gives us just the pure side signal.

Turning up the Width amount

Turning up the Width amount

Here’s how just the side signal of our audio example sounds:

You’ve probably heard of mid/side EQ. So, what is mid/side EQ? It’s simply an EQ effect that uses mid/side processing techniques to allow the user to affect just the mid or side signal, in addition to regular stereo processing.

2. Why is mid/side useful for producers?

Thinking about, and processing a mix in terms of mid and side signals can be useful because it provides a new dimension of control over your mix’s stereo image.

Instead of treating left and right channels as fixed entities, mid/side allows you to focus on what’s in the mid versus what’s in the side, offering numerous practical and creative benefits.

For example, you can make the sides wider and more immersive while keeping the center tight and focused. Bass frequencies are typically mono to avoid phase issues, especially on club systems or vinyl. Mid/side EQ allows you to roll off low frequencies in the side channel, ensuring that the bass stays mono, and retain the stereo information in the higher frequencies, preserving the spaciousness of synths, pads, or reverb.

Mid/side processing gives you a toolkit to shape your mix in ways that wouldn’t be possible with traditional left-right stereo processing. By thinking in terms of mid and side, you can address mix challenges more efficiently, improve stereo width and depth, and craft a professional-sounding track that translates well across all playback systems.

3. Mono compatibility

Mono compatibility refers to how well the audible information and level balances of a stereo mix will be maintained when the left and right channels are combined and reproduced in mono.

For example, let’s imagine that we have a signal that’s the same in the left and right speakers, except their polarity is inverted. When these signals are summed to mono, giving us the mid signal, they will be canceled out entirely! Naturally, this is something to be avoided, especially if you’d like your music to sound right on a small playback device or club system that might be summing the left and right signals.

Many effects offer the ability to widen a stereo signal using the Haas effect, which involves applying a small delay to the left or right signal, therefore creating a bigger difference between these signals, and making the Side signal more dramatic.

The catch is that this change in phase can cause destructive interference. So, when the signals are added together they cancel each other out to some extent, resulting in a weakened signal.

Thankfully there’s a solution to this in the form of iZotope’s Ozone Imager 2, a free effect that has the ability to widen a stereo signal while maintaining mono compatibility. Naturally, this can be an extremely powerful mixing tool.

4. Using Ozone Imager 2 with a bass line

Let’s explore how to make your bass sound better with Ozone Imager 2. Begin by downloading this sample pack, and dragging the files it contains into an audio track in your DAW.

The sample pack files on audio tracks

The sample pack files on audio tracks

As you can hear (as long as you’re using a stereo playback device!) the keys are stereo, but the bass line is stuck firmly in the center of the mix. So, how to get a fuller bass sound? Well, let’s split the bass into three signals, one for the lows, one for the mids, and another for the highs. In Ableton Live we can use the Multiband Dynamics plugin to do this. In its default state the Multiband Dynamics plugin doesn’t actually affect the dynamics of the signal, so we can use its band-splitting capabilities for other purposes relatively easily.

First, add an Audio Effects Rack onto the audio track.and drop a Multiband Dynamics effect into it.

Adding an Audio Effects Rack with Multiband Dynamics

Adding an Audio Effects Rack with Multiband Dynamics

Then, click the Show/Hide Chain List button. This will allow us to create a parallel effects chain.

Activating the Show/Hide Chain List button

Activating the Show/Hide Chain List button

Now right-click the existing effects chain and select Duplicate. Do this twice to give us three effects

Duplicating the effects chain

Duplicating the effects chain

Now we have three effects chains. Let’s rename them by right-clicking on each chain and selecting Rename. We’ll call them High, Mid, and Low.

Renaming the effects chains

Renaming the effects chains

Now select the High band, and click the Solo button on the high band of the Multiband Dynamics’ Split Freq section.

Soloing the high band

Soloing the high band

Now on the Mid band, solo the mid band.

Soloing the mid band

Soloing the mid band

Now solo the Low band.

Soloing the low band

Soloing the low band

Now, we’ve split the bass line signal into three bands, and we can hear the individual bands by clicking their corresponding Chain Solo buttons in the Audio Effects Rack.

Soloing a band with its Chain Solo button

Soloing a band with its Chain Solo button

Let’s hear how those bands sound.

The High band contains very little audio information, but it’s still very much audible.

The Mid band contains a lot of audio information, but it doesn’t contain any sub bass.

The Low band contains just the sub bass.

Now un-solo any soloed bands.

We’re going to keep the Low band mono, and just widen the Mid and High bands. The Mid band is the easiest to hear, so let’s work on that first. Add an Ozone Imager 2 effect to the Mid Band. If you play back the bass line you can see from Imager 2’s Polar Sample display that the audio signal is purely mono, indicated by the perfectly straight line at the center.

Adding Imager 2 to the Mid band

Adding Imager 2 to the Mid band

Activate the Stereoize button, and bring the Width knob up to 100%.

Stereoizing the Mid band

Stereoizing the Mid band

You’ll hear that this adds stereo to the sound, but it feels like it’s panned to the left.

We can remedy this by changing the Mode from II to I.

Changing the Mode from II to I

Changing the Mode from II to I

This gives us a result that fills the whole stereo panorama.

Duplicate Imager 2 onto the High band, you can do this by holding Option on MacOS or Alt on Windows, and dragging it onto the High band.

Duplicating Imager 2 onto the High band

Duplicating Imager 2 onto the High band

This gives us a signal that’s very wide everywhere but the Low band

Now we have our promised wide bass sound. Now let’s see how we can more quickly get the same effect with the full version of Ozone 11.

5. Quicker results with Ozone 11

Starting with the unprocessed sample pack audio, add Ozone 11 Imager onto the bass track.

Adding Ozone 11 Imager to the bass track

Adding Ozone 11 Imager to the bass track

Now click the Crossover Spectrum at 120Hz and 2.5kHz to create three band splits.

Creating band splits

Creating band splits

Activate the Stereoizer button, and turn the band 2 and band 3 vertical faders up to 100.

Widening bands 2 and 3

Widening bands 2 and 3

Both Ozone Imager 2 and Ozone 11 Imager give you mono-compatible results, and you can confirm this by clicking the Mono button, which sums the left and right signals to mono.

Checking the mono signal

Checking the mono signal

As you can hear, when the Mono button is activated this bass line returns to mono, without any phase cancellation adversely affecting it.

So, getting the same result is much quicker with Ozone 11 Imager, and it offers many more features.

Make your bass sounds wider today with Ozone

Here we’ve seen how you can get wider, more prominent bass sounds using the free Ozone Imager 2, or Ozone 11 Imager.

Ozone 11 is available as part of Komplete 15 Standard, Ultimate and Collector’s Edition. Komplete 15 is a comprehensive collection of virtual instruments, effects and sounds that gives you everything you need to bring your musical ideas to life.

Discover Komplete 15

The post How to create wide bass lines first appeared on Native Instruments Blog.



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How to customize Traktor Z1 MK2 for DJing


How to customize the Z1 MK2

Customizing the Z1 MK2 allows you to use the controller in a truly personal way, and map each button on the controller to the Traktor features that you’ll use the most. By customizing the Z1 you can create a workflow that’s completely natural for you, and map the Traktor functions you need to access for performances on the buttons you want them on. The Z1 allows you to add secondary Traktor functions to the controller buttons, increasing the number of Traktor features that can be accessed.

In addition, the Z1 MK2’s colours can be customized to create a unique look and to add helpful visual cues.

Customizing the Z1 creates a natural workflow that allows you to perform your best, and create mixes in a way that’s uniquely yours. Customizing the Z1 MK2 is easier than ever using Traktor Pro 4.

In Traktor’s Preferences, there are two sections that are dedicated to customizing the main features of the Z1 MK2, and the Z1 MK2’s colours. Within a few minutes, you can easily customize the Z1 MK2 so it suits your personal style and preferences for DJing. Before you start customizing the Z1 MK2, it’s a good idea to get acquainted with the controller’s functions, so you know what the Z1 MK2 offers.

Becoming familiar with the button functions and alternative functions will allow you to think about features that will be most helpful for you to add or change. To read more about how to DJ with the Z1 MK2, check out our guide.



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What is modular DJing? | Native Instruments Blog


The history of modular DJing

When Traktor software launched back in 2000 there were some digital DJ options out there, but its extensive features instantly put Traktor way ahead of the pack. Traktor quickly became adopted by pro DJs but back then they relied on generic MIDI controllers, painstakingly assigning everything to knobs and buttons manually. A process that was both time consuming and challenging.

So in 2003 the first Traktor modular DJ controller was born: Kontrol X1. Unlike other controllers of the time, all the labeled functions on the X1’s buttons and knobs were automatically mapped. It was an instant hit. Over two decades later, and with many developments, innovations, and additions, Traktor’s modular controllers remain a mainstay for DJs of all levels around the world.



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What is the 6/8 time signature?


The bottom number shows the note value, and the top number tells us how many will be in a measure.

Understanding what a time signature is will be important if you want to understand 6/8 time, so read our guide on time signatures if you’d like to dive into some more detail.

6/8 time vs. other time signatures

The grouping of the 6/8 time signature sets it apart from others like 3/4 or 4/4.

The 6/8 time signature is a “compound meter”, meaning that its beats are subdivided into groups of three. The “6” in the time signature tells us that there are six beats per measure, while the “8” shows that the eighth note is the note value we are referring to. This gives the time signature its rolling or lilting feel.

Some people get confused between 6/8 and 3/4, wondering if they are the same time signature. If you’re one of those people, don’t worry. It’s a common problem. But it’s not hard to wrap your head around.

Perhaps the confusion lies in the fact that three quarter notes and six eighth notes are, mathematically speaking, the same thing. But the difference is in the way that they are grouped together.

3/4 is grouped as one set of three quarter notes per measure, which gives it a “one-two-three” waltz-like feel. On the other hand, 6/8 consists of two sets of three eighth notes per measure (or two dotted quarter notes). That’s why we call it a “compound meter”. This difference in beat grouping is what distinguishes the two, and it affects the way the two time signatures sound different.

If you want to understand the difference in more depth, check out this video:



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