Wavetables are great for replicating both vintage synths and acoustic instruments too they can replicate the natural variety inherent in both analogue oscillators and real instruments. They’re great for pads and atmospheric patches, adding interest to longer, droning sound. Unlike standard samplers though, wavetables can sound more natural or varied as you’re not simply playing the same recorded sound each time you trigger a note. As with a sampler, you can effectively make a wavetable oscillator sound however you want. Wavetable engine popularity in the plugin realm is due to their versatility. Due to the emphasis on movement though, wavetable synths tend to come with modulation options, certainly including LFOs and envelopes, often joined by more complex sequencers and modulation generators.
Massive successor, Massive X, for example, features ten different playback modes that each read, filter and modulate the wavetable differently.īeyond the oscillators, wavetable synths tend to adhere to classic subtractive synth structure, using filters, an envelope-controlled amp and onboard effects. The key differences between wavetable synths lies in the methods used to play back and modulate the wavetables themselves. In creative terms it lets users incorporate textural elements such as rain or static noise, or capture the inconsistencies that come from an acoustic instrument. In analogue terms, that could mean having an oscillator that morphs from a saw wave at one end of a wavetable to a square at the other.
However, the stacked frames of a wavetable allow it to transform from one wave shape to another as you play.
Without movement or modulation, a wavetable synth is effectively no different than a sample-based synth that reads a static waveform.
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